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En garde! Creating violence onstage 10 · In conversation with Mary Zimmerman 18 · The program for Treasure Island 27
THE BERKELEY REP M AGA ZINE
2 015 –16 · I S S U E 6
Beverley Calvo, joined in 2011
Living
LARGER
Moving to a smaller apartment meant giving up a lot. Or so Beverley thought. In hindsight,
smaller meant smarter. Beverley moved to St. Paul’s Towers, the East Bay’s most appealing
senior living community and realized that minimizing meant maximizing. She could do
more, enjoy more, and found our spacious, maintenance-free apartment homes the perfect
fit. With wonderfully prepared menu options, Wi-Fi, and an expanding choice of amenities,
Beverley has the freedom to explore her newest love, acting. See why 94% our residents highly
recommend living here. To learn more, or for your personal visit, please call 510.891.8542.
100 Bay Place Oakland, CA 94610
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I N T H I S I S SU E
M E E T T H E C A ST & C R E W · 28
BE R K E L E Y R E P P R E S E N T S TREASURE I S LAND · 27
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 37
A letter from the managing director · 7
Individual donors to the Annual Fund · 38
Michael Leibert Society · 40
R E P ORT
10
En garde! Creating violence onstage · 10
A BOU T BE R K E L E Y R E P
School of Theatre puts arts education into
Bay Area classrooms · 13
Staff, board of trustees,
and sustaining advisors · 41
Supporting the next generation of leaders in the
arts: Berkeley Rep’s fellowship program · 15
The Ground Floor’s 2016 Summer Residency Lab
welcomes 18 new projects · 16
18
FYI
Everything you need to know about our
box office, seating policies, and more · 42
F E AT U R E S
In conversation with Mary Zimmerman · 18
The original pirate story · 20
Nautical terms used in Robert Louis Stevenson
and Mary Zimmerman’s Treasure Island · 24
20
T H E B E R K E L E Y R E P M AG A Z I N E
201 5–16 · I S S U E 6
The Berkeley Rep Magazine is published
at least seven times per season.
Editor
Karen McKevitt
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725 or
[email protected].
Art Director
Nora Merecicky
Graphic Designer
Itzel Ortuño
Photo on this page and cover: The cast of Treasure Island (photo by Liz Lauren)
Writers
Amy Bobeda
Katie Craddock
Lexi Diamond
Loren Hiser
Sarah Rose Leonard
Madeleine Oldham
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email [email protected]
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3
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P H OTO BY T I M OT H Y G R EE N FI EL D -S A N D ER S
Written and performed by John Leguizamo
Directed by Tony Taccone
A co-production with the Public Theater
Jul 1–Aug 14, 2016 · Peet’s Theatre
World premiere
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from the Artistic Director
“Arrrrggghhhhh…”
Pirates. Mutiny. And buried treasure…
Parrots. Peg legs. Scurvy and then some…
A ship hurtling through the treacherous high seas
toward an unknown destination, its men armed with a map
marked with an X on a mysterious spot. The spot where the
gold lies, with its easy promise of a life of endless pleasure.
Robert Louis Stevenson was channeling the great God
of Adventure when he wrote Treasure Island, his seminal
coming-of-age story centered around young Jim Hawkins;
it’s a story that has captured the imagination of every generation since it was first
serialized in 1881 in Young Folks magazine, remembered as much for Long John Silver
as for the journey of the Hispaniola.
The list of famous actors who’ve played Silver in the movies includes Orson
Welles, Anthony Quinn, Charlton Heston, and Jack Palance (although it was Robert
Newton’s manic, lubricated performance in the ’50s that first gave the role its iconic,
guttural swagger). Even Johnny Depp, who claims to be impersonating the immortal
Keith Richards in his ongoing depiction of the pirate Jack Sparrow, owes a debt to
Stevenson. In the size of the performance, the eccentric behavior, and, most of all, the
flexible moral ground on which Silver treads, Long John feels like a man comfortable
in any period of history. This was Stevenson’s particular genius: marrying the enigmatic Silver to young Jim’s understanding of the world gives Treasure Island the depth
and universal insight worthy of a great work of art.
So when Mary Zimmerman called to tell us that she was working on an adaptation of Treasure Island, I simply said “yes.” I had the great fortune of reading the book
at the perfect age, somewhere between mild and full-on puberty. I boarded that ship,
repulsed and drawn to every character, full up with life and afraid for its loss. At the
end of the book I felt both elated and sad that the journey was over. And I wanted to
do it again.
So now we get to do just that. In the theatre no less.
I’m glad you could be here for it. Just remember:
“Them’s that die’ll be the lucky ones.”
Sincerely,
Tony Taccone
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 5
May 2016
Volume 48, No. 6
Paul Heppner
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Robert Louis Stevenson’s Treasure Island is an
adventurous and perilous place where heroes aren’t always
heroic and villains aren’t always villainous. Moral ambiguity
ebbs and flows like the tides. At the center of it all is Jim
Hawkins, a boy who’s ready to wade into adulthood and
decide what kind of man he wants to be.
Stories like Treasure Island are critical in helping us make
sense of our world, at all stages of our lives. As children we
read fairy tales to learn how to understand our emotions and
feelings. Coming-of-age tales help bridge our transition from
adolescents to adults. And this season at Berkeley Rep, audiences have witnessed
stories that reflect the ambiguity and contradictions in our world today—the cultural
conflict at the heart of Ayad Akhtar’s Disgraced, the generational differences in Julia
Cho’s Aubergine, and the prescient story of political corruption in Macbeth.
What I find so intriguing about this production of Treasure Island is that it’s told
through an adult lens. Mary Zimmerman came to the story a few years ago—and
I soon learned that several members of Berkeley Rep’s staff also recently read the
classic for the first time. And they loved it. Others have carried Treasure Island with
them for decades. Many of you sitting in the theatre may be sharing this tale with your
children or grandchildren, while finding that it resonates with you today in new ways.
That’s the power of a great story.
Proud to
Support
Berkeley Rep
Personal attention
thoughtful litigation
final resolution
Our goal is to preserve our
client’s dignity and humanity.
L A W
from the Managing Director
F A M I LY
P ROL OG U E
FA M I LY L AW G R O U P, P. C .
575 Market Street, Suite 4000
San Francisco, CA 94105
415.834.1120
www.sflg.com
Warmly,
M E E T US I N T H E B A R !
Susan Medak
Join us for signature cocktails
curated by East Bay
Spice Company, wine paired
with each play, craft beer, and
delectable treats.
Open before and after the show,
and during intermission
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 7
Katy Owen in Kneehigh’s
946: The Amazing Story
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C A L L 5 10
IT CAN'T HAPPEN HERE
Adapted by Tony Taccone and Bennett S. Cohen
from the novel by Sinclair Lewis
Directed by Lisa Peterson
Main Season · Roda Theatre
World premiere
First edition of Sinclair Lewis’ novel
A cautionary satire about the fragility of democracy and how fascism can take hold
even in the land of liberty, It Can’t Happen Here follows the ascent of a charismatic and
corrupt politician who becomes president of the United States on a platform of “good
ol’ American values,” promising “to return the country to greatness.” Witnessing the new
president’s tyranny from the sidelines is Doremus Jessup, a financially comfortable, socialdemocratic newspaper editor from Vermont who trusts the system will fix itself—until
he ends up in a prison camp. Sinclair Lewis’ eerily prescient 1935 novel gets a fresh update
in this world premiere adaptation that examines what brings a citizenry to the point of
sacrificing its own freedom and how a courageous few can prevail to overcome the fall.
THE LAST TIGER IN HAITI
By Jeff Augustin
Directed by Joshua Kahan Brody
A co-production with La Jolla Playhouse
Main Season · Peet’s Theatre
World premiere production
There once lived five kids in modern-day Haiti, all entangled in a dark history of servitude.
Huddled in a tent on Mister’s land, they’d spin spellbinding folktales, vying for the title
of best storyteller—and dreaming of their freedom. When two of them reunite 15 years
later, the boundary between reality and fiction vanishes, revealing secrets of their past
more haunting than any of the tales they told. In The Last Tiger in Haiti, Jeff Augustin
weaves a remarkable and gripping narrative of survival, betrayal, and the power of a story.
Jeff Augustin
SEASON
SPONSORS
8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
N
946: THE AMAZING STORY OF ADOLPHUS TIPS
Adapted by Michael Morpurgo and Emma Rice
Directed by Emma Rice
In association with Kneehigh and Birmingham Repertory Theatre
Main Season · Roda Theatre
American premiere
The cast of Kneehigh’s
946: The Amazing Story of Adolphus Tips
P H OTO BY S T E V E TA N N ER
Kneehigh is back! The theatrical alchemists who brought us Tristan & Yseult and The
Wild Bride return with a tender new coming-of-age tale that uncovers the secrets behind
World War II’s D-Day landings. In the idyllic seaside village of Slapton, the lives of Lily,
her family, and her fiercely independent cat Adolphus Tips are barely touched by war…
until Allied soldiers occupy their house and land. With swingin’ live music, enchanting
puppetry, and signature stage sorcery, Emma Rice conjures a story of love, war, and
prejudice that crosses borders both geographical and generational.
HAND TO GOD
By Robert Askins
Directed by David Ivers
Main Season · Peet’s Theatre
West Coast premiere
Director David Ivers
P H OTO BY N O R A M ER EC I C K Y
Be not deceived: The devil is lurking at the Christian Puppet Ministry in Cypress, Texas.
And his name is…Tyrone. He may look like an innocent sock puppet, but when he
infiltrates the angst-ridden church youth group and takes possession of Jason’s arm, well,
all hell breaks loose. Spectacularly foul-mouthed and wickedly scandalous, Tyrone shocks
the congregation with his outrageous insinuations, exposing their deepest secrets—and
teaching us all about love, grief, and what it means to be human. This fast-paced irreverent
comedy is “darkly delightful,” declares the New York Times.
ROE
By Lisa Loomer
Directed by Bill Rauch
A co-production with Oregon Shakespeare Festival and Arena Stage
Limited Season · Roda Theatre
World premiere production
Lisa Loomer
P H OTO BY J E N N Y G R A H A M
Roe v. Wade—the landmark 1973 case that legalized abortion is still fiercely debated, over
40 years later. In her newest play, acclaimed writer Lisa Loomer cuts through the headlines
and rhetoric to reveal the divergent personal journeys of lawyer Sarah Weddington and
plaintiff Norma McCorvey (“Jane Roe”) in the years following the fateful decision. In turns
shocking, humorous, and poignant, Roe reflects the polarization in America today while
illuminating the heart and passion each person has for their cause.
MONSOON WEDDING
Book by Sabrina Dhawan
Music by Vishal Bhardwaj
Lyrics by Susan Birkenhead
Directed by Mira Nair
Main Season · Roda Theatre
World premiere
Mira Nair
You’re invited to the wedding of the season! Award-winning film director Mira Nair brings
her exuberant, hilarious, and sumptuous Monsoon Wedding to Berkeley Rep’s stage in
this highly anticipated world premiere musical. The perfect storm starts brewing when
eclectic family members from all over the world descend on Delhi for a nonstop fourday celebration of an arranged marriage between a modern upper-middle-class Indian
family’s only daughter and a guy she’s never met who lives in Houston. Be sure to send
your rsvp today!
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 9
R E P ORT
En garde!
Creating violence
onstage
BY AMY BOBEDA
The cast of Macbeth rehearsing fight choreography
P H OTO BY LO R E N Z A N G ELO
Whether it’s the wielding of a sword or the
slap of a hand, most everyone loves a little stage violence. This
season’s shows have provided plenty of action for combat
lovers—from Disgraced to Macbeth, and, finally, Treasure Island,
the illusion of injury and death has be prevalent.
The director and fight choreographer often begin the
rehearsal process with a sketch—a mental storyboard of how
violence will unfold onstage. Based on the dramaturgical analysis of the script and time period, they enter rehearsal with a
plan. In Macbeth, Director Daniel Sullivan had a visual narrative
planned for all of the side fights that did not involve dialogue
during the final war scene. The safety and realism of the sword
fights was left to Fight Director Dave Maier, an instructor of
theatrical combat with Dueling Arts International. The fight
director, or choreographer, is an expert at safely creating the
illusion of violence. Without a certified director, actors risk
repetitive stress and injury.
A fight captain is also chosen for each production. The
fight captain is generally one of the more skilled fighters who is
less featured in major fight scenes. They must be able to watch
the nightly pre-show fight call to maintain combat safety and
accuracy. Without a skilled captain, a fight can change over
time, become less safe, or shift from the fight director’s vision.
A director hopes this never happens.
1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
Sometimes actors join a cast with stage-combat certification under their belts, while others have never fought
before. Having many skilled actors gives the fight director
more freedom to build elaborate fights. Training and fight work
usually begin in rehearsal, to both assess and build skill levels.
A portion of every week’s rehearsal is spent wielding weapons:
actors learn how to wear a sword, carry a dagger, or cock a
gun. In period shows, actors also have to consider how their
weapons interact with their costumes. Don’t catch a dagger on
a cowl. Try to balance your sword under your cape. Create the
illusion of grace while murdering the enemy. Time and attention is given to developing safe and convincing carrying skills
so the actors look like natural swordsmen despite the fact that
the clothes and weapons are out of their modern element.
Props and costumes are key components in convincing
combat. The proper gloves, scabbards, and frogs ensure the
safety of actors and weapons, while also setting time period. The medieval capes, cowls, and chest plates in Macbeth
dictated the actors’ movements as well as the best positioning
of weapons. Daggers and swords can tell almost as much in
a story as the actors using them. Unlike a slap or a punch, no
sound is needed for a stab, meaning it could be easier to execute a convincing blow. Blood is the greatest spectacle in stage
CO N TIN U E D O N PAG E 12
Dave Maier (far left) leads a stage violence workshop
P H OTO BY N O R A M ER EC I C K Y
CO N TIN U E D FRO M PAG E 10
combat. Macbeth’s murder scenes come to life with bloodied
knives, daggers, and swords. The domestic violence in Disgraced made an even greater impact when the fight ended
with the reveal of Emily’s bloody cheek.
Scenery also plays a surprisingly important role in choreography. In Disgraced, hiding a blood pack in the back of
the couch was the best way for the actress to bloody her
face when she was thrown over the edge of it. Just like dance
choreography, the fight was perfectly timed for her to move
her torso, head, and hands behind the couch, and dab blood
on her face before revealing her face to the audience. In stage
combat, the power of the fight sits in the hands of the victim.
1 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
If a character is slapped, the actor is often making a slapping
sound. Emily’s movements and responses dictated how Amir
moved her around the room.
Dave, who has choreographed dozens of fights for Berkeley Rep’s productions, found his way to stage combat through
acting. Often cast as a soldier or thug, he began to pick up fight
skills, eventually becoming a certified choreographer. Now, hundreds of people take his certification classes at Berkeley Rep’s
School of Theatre. Students of all ages love stage combat classes
because, putting it simply, there’s catharsis in violence. We
watch it on television every day—but it’s pretty magical watching it onstage, like a tightly maneuvered dance, sometimes with
weapons and words, other times just pushes and shoves.
R E P ORT
School of Theatre
puts arts education
into Bay Area
classrooms
BY LEXI DIAMOND
In elementary, middle, and high school class-
rooms throughout all nine Bay Area counties, students are
engaging with Berkeley Rep School of Theatre’s theatre arts
workshops, which bring interactive, arts-integrated curricula
into classrooms, allowing students to dedicate a part of their
academic day to thinking and working creatively. Leading
workshops from Shakespeare to Stage Combat and Acting
to Playwriting, Berkeley Rep teaching artists are top-notch,
professional theatre-makers who deliver arts education that
students badly want and need.
“The program aims to provide access to theatre for
students from all backgrounds, regardless of socio-economic
classes. It makes theatre available to children who might not
have regular contact with the arts,” says Modesta Tamayo,
community programs manager.
These workshops approach subject matter using practical
theatre skills, and engage students no matter what their style
of learning is. “Every workshop includes components that will
appeal to different learning strengths,” says Modesta. “Teachers say that students excel during the workshops because
they’re physically and emotionally engaged, and learning in a
safe environment with a lot of support.” Since theatre is such a
multifaceted discipline, it provides plenty of opportunities for
all students to thrive.
CO N TIN U E D O N N E X T PAG E
A Story Builders workshop
at John Muir Elementary School
P H OTO BY C H E S H I R E I S A AC S
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3
A Story Builders workshop at Anna Yates Elementary School
P H OTO BY C H E S H I R E I S A AC S
“I have several students who
struggle in many academic
areas of school. I saw those
students shine the brightest
during Berkeley Rep time.”
—T E AC H E R F ROM T HOU S A N D
OA K S E L E M E N TA RY
CO N TIN U E D FRO M PR E VI O U S PAG E
One teacher from Thousand Oaks
Elementary noted, “I have several students who struggle in many academic
areas of school. I saw those students
shine the brightest during Berkeley
Rep time. They were motivated and
confident. They did not need to rely on
reading or writing skills to feel successful. My students who have a hard time
sitting still were able to move their
bodies. Even my English Learners were
successful because the text was not just
being read, but visual movement went
along with it.”
Modesta has heard hundreds of
teachers voice their support for the K-12
workshops in the years that she has
worked with the program. Teachers often mention that the workshops bring a
welcome dose of arts-integrated subject
matter that is missing from the heavily
stem-focused (Science, Technology,
Engineering, Mathematics) Common
Core curriculum. “When teaching standard academic subjects—math, science,
English—it can be a struggle to connect
the material to students’ everyday lives,”
says Modesta. “In any given workshop,
whether it’s Performance Lab or Improv,
the material might cover topics like
bullying, grief, friendship, and family.
Students relate and are able to include
their own perspectives.”
1 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
Given the rate at which the School
of Theatre’s K-12 program has grown,
plus the changing climate of California
public schools, Berkeley Rep has had
to expand the way we find the essential funding for the program. Where
individual teachers once made most
bookings for their classes, ptas and
school administrators now drive the
effort to raise the necessary funds and
find grants. “ptas especially are working
really hard to fund the arts these days.
A lot of ptas raise donations so that we
can come in and deliver arts education
that the school itself doesn’t have the
funding to provide,” says Modesta.
Daria Hepps, Berkeley Rep’s associate director of development, adds,
“Every hour of outreach is subsidized
one way or another, either by us, from
the general fund, or by corporate and
community partners who understand
how exposure to the arts helps to create
whole human beings.”
Community partnering and corporate giving also play an enormous
role in ensuring that these workshops
reach all the classrooms that want them,
though schools without drama teachers and other arts curricula get first
priority when booking workshops. For
example, Berkeley Rep has worked with
Target for the past several years to bring
workshops into Oakland Unified public
elementary schools.
One of the most exciting grants
that the School of Theatre received this
year was from Berkeley Public Schools
Fund, which awarded a six-hour Story
Builders workshop to all third-grade
classrooms. In this workshop, teaching
artists use music, movement, dialogue,
and improvisation to create live performances of storybooks collaboratively
with students. Teachers choose stories
from a list that includes myths from
around the world as well as classic
American children’s stories like Where
the Wild Things Are.
“One of the goals of the Berkeley
Public Schools Fund is to bring the
incredible cultural and intellectual
resources that we have in Berkeley into
our schools,” says Erin Rhoades, the
fund’s executive director. “The Story
Builders workshop was already extremely popular with teachers through
individual classroom grants from the
Schools Fund. Now every third-grade
class in the district has the opportunity
to participate in this program.”
For more information on
the School of Theatre’s
K–12 workshops, visit
berkeleyrep.org/outreach.
R E P ORT
Clockwise from top left Anthony Jackson, Susan Medak, Ted Russell, and Sarah Williams participate in a Creative Careers panel on theatre arts administration; the 2014–15 fellows;
Scenic Construction Fellow ET Hazzard (2005–06); the 2015–16 fellows; Graphic Design Fellow Itzel Ortuño (2015–16) takes photos of the Peet’s Theatre construction; the 2013–14 fellows; the 2012–13 fellows
Supporting the next generation of
leaders in the arts:
Berkeley Rep’s fellowship program
BY LOREN HISER
Berkeley Rep has been part of a national
conversation about the lack of diversity in American theatre.
We have always found ourselves concerned with making sure
that myriad experiences are seen on our stages, but we think
it’s important that there’s diversity behind the scenes as well.
One of the initiatives that we believe will be the cornerstone to
increasing diversity at Berkeley Rep and in the field at large is
our fellowship program.
Funded by a generous grant from American Express,
Berkeley Rep’s Next Generation Fellowship Program allows
young professionals to enter the world of the theatre, in both
technical and administrative fields, without having to worry
about being a “starving artist.” Given housing and a monetary
stipend, the fellows are provided with the opportunity to acquire the skills they need to be competitive hires in the field.
Richard Brown, the vice president at American Express
Philanthropy, noted that the importance of this fellowship program’s diversity outreach lies in its simplicity: “Non-profits that
represent their community should represent their community.”
With 20 percent of Berkeley Rep’s staff comprised of former
fellows, the Theatre realized that outreach for the fellowship
program could, over time, help the organization reach its
diversity goals.
The fellowship program’s extensive training and focus
on outreach to under-represented communities is creating a
diverse group of well-prepared future leaders who will go on to
influence the entire field. Carrie Avery, a member of Berkeley
Rep’s board of trustees, notes, “The fact that so many current
Berkeley Rep staff members have come from this fellowship
program speaks to how important it is. The arts field can be
a daunting one to enter, but with programs like this, we can
create a pathway for young people to enter a career in the
arts. We can reach out and make sure the young people we are
bringing in are from diverse backgrounds with diverse experiences, and that makes us a stronger organization.”
Our strategies have varied each year, but they have built
upon what we have learned. We made great strides this year
with Creative Careers, a new web portal with resources for individuals who are considering a career in the arts. Through this
portal, we produced a series of live-streamed panel discussions
with professionals in the industry, and thanks to a new partnership with HowlRound, a collaborative commons for American
theatre, our audience is building. In the coming year, we’re
planning to continue to provide enhanced support to applicants
from Historically Black Colleges and Universities (hbcus) where
we have built strong relationships, as well as in-person outreach
to help a diverse cohort of California college students begin to
explore their own interest in a creative career.
Presenting varied viewpoints on our stages may be the
most visible manifestation of Berkeley Rep’s efforts toward
inclusivity, but through the fellowship program and other
strategies, we are increasing diversity throughout the organization and strengthening our ability to serve our increasingly
diverse community.
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5
R E P ORT
The Ground Floor’s 2016 Summer
Residency Lab welcomes 18 new projects
BY MADELEINE OLDHAM
Berkeley Rep’s Summer Residency Lab celebrates its fifth birthday this June. This dynamic program brings
together writers, composers, directors, actors, dramaturgs, musicians, designers, and assorted other talented folks to break bread
and make art together under our roof.
We are proud to announce this summer’s slate of 18 projects and their lead artists who will be joining us at our Harrison Street
campus to immerse themselves in the delicious work of creating new plays:
Tori Sampson’s Cottoned
Like Candy explores the value
placed on bodies, how we
accept the soul as a living anchor, and what can take place
when we’re forced to choose
one over the other.
The Untitled Hockey Project,
by Joe Waechter, explores
the dark implications of
masculinity, sexuality, and
fantasy around Minnesota’s
most popular sport: high
school hockey.
Lauren Yee will collaborate
with director Benjamin
Kamine on Untitled Cambodia
Pop Play, a joyously dark comedy about a Cambodian rock
band’s unexpected reunion
at the height of the Khmer
Rouge regime.
In Eisa Davis’ Flowers Are
Sleeping, a conceptual artist
takes her work to the edge in
a gallery installation that explores her black female body
through the lens of music and
popular representations.
Squares is a multimedia theatre project about nostalgia,
memory, and technology.
Created by Mallory Catlett, Aaron Landsman, Jim
Findlay, and photographer
Paul Shambroom, the piece
is inspired by a collection
of 583 found snapshots, all
processed at a single lab in
Minnesota in 1976.
Josh Lefkowitz writes a poem
a day, five years and counting.
In Poetry Project subject matters will include the following:
love, break ups, being alone,
internet dating, various bar
foods, Neruda, love again,
heartbreak, baseball games,
depression, Lexapro, and
then, again, love.
A collaboration between Kitka Women’s Vocal Ensemble, members of the Erika
Chong Shuch Performance
Project, stage director/choreographer Erika Chong Shuch,
composer Janet Kutulas, and
librettist Michelle Carter,
Iron Shoes is a neo-feminist,
futuristic folk opera that
transforms ancient Slavic fairy
tales into a contemporary performance experience.
Josh Kornbluth’s The Bottomless Bowl is an autobiographical monologue recounting
Josh’s ongoing experiences as
a volunteer caregiver at the
Zen Hospice Project in San
Francisco. Having reached the
age (55) when his father had
a devastating stroke, Josh discovers through his encounters
with the dying a new way of
viewing mortality—his own,
and those of his loved ones.
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The Meaning of Ants in My
Kitchen by Erin Edens is a
play about the presence of
absence and explores those
palpable spaces that exist in
our lives when something or
someone goes missing.
Dipika Guha and award-winning author Maxine Hong
Kingston will develop The Art
of Gaman, in which Kingston will portray Tomomi, an
immigrant whose arrival in
San Francisco coincides with
the first wave of West Coast
Japanese internment.
Lileana Blain-Cruz and
Susan Soon He Stanton
will collaborate on Intimacy,
an experiment inspired by a
psychological study featured
in the New York Times article,
“The 36 Questions That Lead
to Love.” Why? Because Tinder exists.
Lisa Peterson and Todd
Almond will do further work
on their Berkeley Rep commission, The Idea of Order, a musical about the role of poetry
in our lives inspired by the life
and work of Wallace Stevens.
Writer James Magruder and
actor Danny Scheie will collaborate on Keep Your Forks,
in which protagonist Eddie
Monell, a gay trophy husband cast off by his partner
after 31 years, has to start
over in Indianapolis at the
age of 50 with no life skills,
a bad attitude, and serious
entitlement issues.
Jen Silverman’s My Father
the Speeding Bullet: Nincest
uses the frame of Anaïs Nin’s
love affair with her concert
pianist father to create a gender-bending play-with-songs.
She will collaborate with Pig
Iron co-founder Dito Van
Reigersberg, director Mike
Donahue, scenic designer
Dane Laffrey, and musician
Max Vernon.
Amy Staats will work with
director Margot Bordelon
and dramaturg/performer
Megan Hill to develop Eddie
and Dave: A Fictionalized
Tale of Van Halen, a comedy
about the on, off, and then on
again relationship between
the painfully shy but brilliant
Eddie Van Halen and the
flamboyantly extroverted
David Lee Roth.
UNIVERSES, a nationally acclaimed performance ensemble (last seen at Berkeley Rep
with Party People) will work
on the August Wilson Poetry
Project, using the poetry of
August Wilson as a foundation to create a musical poetic
exploration that examines the
power of legacy.
Mia Chung’s Bloken Engrish
is about translation and
English as the dominant
lingua franca.
Megan Cohen’s Truest is
a surreal Sam-Shepardmeets-Thelma-and-Louise
drama in which two sisters
pursue a uniquely twisted
American Dream.
Please visit our website at
berkeleyrep.org/groundfloor
and sign up for our mailing list to receive more
information about these wonderful artists and
how you can attend their work-in-progress
readings this summer.
The Ground Floor and this year’s Summer Residency Lab
is funded by the generous institutional and individual
supporters of Berkeley Rep’s Create Campaign.
Find out how you can support this innovative program
at berkeleyrep.org/create.
IN CO NVE R SATIO N
Top left Kim Miyori, Jane Cho, and Christopher Donahue in 1996’s Journey to the West (photo by T. Charles Erickson); Top right Mariann Mayberry and Christopher Donahue in 2003’s The Notebooks of
Leonardo da Vinci (photo by Ken Friedman); Bottom left Erik Lochtefeld in 1996’s Metamorphoses (photo by Ken Friedman); Bottom right the cast of 2007’s Argonautika (photo courtesy of kevinberne.com)
Lookingglass Theatre artist Marti Lyons
chatted with Mary Zimmerman about her unique creative process and the persistent resonance of Robert Louis Stevenson’s
Treasure Island before the initial run of the show in Chicago.
When did you first read Treasure Island?
I didn’t read it until last summer. I have a house on an
island off the coast of Maine. It’s a very maritime culture there
and I always like to read things connected in some way to
where I am when I’m away from home (although, in fact, everything I’ve done has had something to do with the sea, I had
a great romance about that as a child growing up in Nebraska).
So in Maine I came across it at the local library, a beautiful edition with the N.C. Wyeth illustrations—this great classic from
young adulthood that I had never read. The moment I started
reading it, I was completely smitten by it and in an unusual
way; instead of experiencing it in the filmic way one usually
has when reading (a kind of virtual filmic experience) I was very
much seeing it on a stage—in a room, in a theatre. Initially, I
was feeling kind of odd about approaching it for adaptation
because unlike so much of what has comprised my adult work,
this wasn’t a great childhood favorite of mine. But then, very
early in my research I realized Stevenson was the author of
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A Child’s Garden of Verses, which was perhaps my first literary
obsession as a child. I had had no idea that it was Stevenson, or
even by a single author. So I do have a Stevenson connection
through those poems, though I didn’t know it when I entered
the library last summer.
I’ve read that there have been about 50 prior adaptations of
Treasure Island. Have you absorbed any of them or will you?
No, I won’t. I don’t want to put myself in a situation where
I accidentally imitate or copy something. The amount of prior
adaptation both encourages and discourages me. It discourages me because I realize it isn’t a very original idea to dramatize
this story, but it encourages me in that many people have
similarly found it or thought of it as stage-worthy. I think some
of those adaptations go back a hundred years.
I’d love it if you’d talk a little bit about your process.
I have an unusual process that I’ve somehow just gotten
away with for the last however many decades, and it’s that I
don’t start with a script—although I’m always starting with a
source text—and with my designers who design without that
script. I also cast with no script, although I sometimes write
little scenes for actors to read in auditions. I write the script in
WITH
M ARY ZIM M E R M AN
Top left Anne Fogarty and Louise Lamson in 2004’s The Secret in the Wings (photo courtesy of kevinberne.com); Top right Ryan Artzberger and Sofia Jean Gomez in 2008’s The Arabian Nights
(photo courtesy of kevinberne.com); Bottom left Mary Zimmerman (photo courtesy of Lookingglass Theatre Company); Bottom right the cast of 2012’s The White Snake (photo courtesy of mellopix.com)
the hours before and after rehearsal. I’m writing specifically for
my cast; who they are as people and what they can do, and I
can also be influenced by what’s happening in the world precisely during the process of rehearsal—although with something like Treasure Island, it’s so plotted from beginning, middle,
to end, there’s less of that. When I’m doing something like
the Myths of Ovid or fairytales, or Tales of the Arabian Nights,
that’s an almost infinitely large source, and I have a double
task nightly not just of writing the scene but of structuring the
theatrical evening. With something like Treasure Island or The
Odyssey, which both have quite brilliant narrative structures, I
don’t have that worry. What I’m really doing is problem-solving
and figuring out how to manifest something onstage which
wasn’t originally intended to be onstage. One of the greatest
joys is trying to stage the impossible. The theatre is just a box,
and everything that happens in it must be brought into it; and
you have to engage the audience’s imagination to make them
believe or at least simultaneously see what you are doing. They
grant that you are on a ship, or that someone is turning into
a bird, or flying on a carpet, or that there are elephants going
through when no such thing is actually happening—when
only a small part of the elephant or motion of a bird is present.
The kind of backyard solutions we all employed as children
to create entire worlds is what I’m still working with. Most
of my shows are characterized by suggestion and metaphor,
allowing the part to represent the whole, and all the tropes of
literature actually, made visually manifest. Although I will say,
this Treasure Island set is one of the most representational sets
I’ve done—it’s quite defined as a ship while having to serve as
much more. But I think that is in keeping with the straightforward, highly plotted nature of text.
Why do you think Treasure Island resonates 100 years later?
What is it about the story that is still so attractive to us?
I think we all long for more life, more life, more life, and I
don’t mean in terms of years, I mean in terms of more adventure, more not knowing what the next day is, what the next
wave is, what the weather is, where the ocean is going to take
us. I think we have dual needs: a need for security and knowing
how the story ends; but also, there’s a part of us that has that
wild longing all the time to be tested, to have life and death
situations, to have to use our wits, to be so alert to possible
danger, to have to act and save ourselves and save the crew.
That’s what I think it is.
Thanks to Lookingglass Theatre Company for the permission to reprint this interview.
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Jim Hawkins, Long John Silver, and his parrot, by N.C. Wyeth, 1911
The original pirate story
BY SARAH ROSE LEONARD
Treasure Island by Robert Louis Stevenson was
one of the first adventure novels of the 19th century and
remains a love letter to the imagination. The author, who led
an extraordinary life, wrote his story with the intention of
sparking young readers’ minds. What better way to convey
a break with convention than with pirates? In particular, he
introduced Long John Silver as the iconic antihero of his tale,
and thereby inserted a moral quandary into the coming-of-age
narrative. The novel is a wellspring for just about everything
we associate with the word “pirate.” The book is responsible
for the proliferation of treasure maps marked with an X, the
popularity of the familiar story of buried treasure on a tropical
island, the image of a one-legged seaman bearing a talking
parrot on his shoulder, the phrase “yo-ho-ho and a bottle
of rum!”, the understanding that handing someone a “black
spot” means certain death, and more. One might think that
such a text, written in 1881, would feel dated. Yet something
about this story won’t let the imagination go: it has inspired
over 60 adaptations, sequels, and prequels, the earliest dating
to 1918. It feels almost inevitable that this material eventually
found its way into the hands of Mary Zimmerman, the directorial queen of adapting classical tales for the stage in lush,
wondrous productions.
Treasure Island is narrated by protagonist Jim Hawkins,
a young boy (commonly thought to be about 12 or 13), who
speaks in an innocent, excited, perceptive voice. The novel
covers Jim’s adventures as he searches for buried treasure
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with a crew who mutinies under the leadership of Long John
Silver (the owner of the original stump leg and talking parrot).
Stevenson initially wrote the tale as a serialized column in the
children’s magazine Young Folks under the name “The Sea
Cook: A Story for Boys” in 1881; it was published in book form
with its current title in 1883. Stevenson came up with the story for Treasure Island when he drew a map of an island for his
12-year-old stepson. He said, “It was to be a story for boys; no
need of psychology or fine writing; and I had a boy at hand to
be a touchstone.” The resulting novel brought him popularity
and profit, and by the end of the century, Treasure Island was
one of the most widely read books in Europe.
No one would have thought literary success was in the
cards for Stevenson. Born in Scotland in 1850, he became a
lawyer after he rejected his family’s profession—lighthouse
engineering—eventually leaving law to become a writer.
Stevenson’s health was poor; he constantly suffered from
fevers and coughs (today some people believe that he had
tuberculosis). His troubled health led him to travel often to
recuperate in the more temperate climes of France and Switzerland (as you did if you were of a certain class in the 1880s),
but travel quickly became less of an obligation and more of a
passion for Stevenson as time went on. One time he followed
Fanny Van de Grift Osbourne, his future wife, from Europe to
her home in Northern California—no easy feat in 1879! By the
time he arrived in Monterey, CA it is said that he was close
to death. He recovered and produced some of his best work
Robert Louis Stevenson
Jim Hawkins and the treasure,
by George Roux, 1885
William Ernest Henley, Stevenson’s
inspiration for Long John Silver
Long John Silver and the pirates
find the skeleton of Allardyce,
by George Roux, 1885
when he hopped back and forth from Europe and America: he
wrote Strange Case of Dr Jekyll and Mr Hyde, The Black Arrow,
and Treasure Island during those travels. Stevenson never tired
of exploring new places. He died in 1894 in Samoa, where he
was living at the time, and was buried on a mountain overlooking the sea.
Stevenson’s proclivity for risk-taking is central to Jim’s
character in Treasure Island, yet it was not a singular trait in
19th-century nautical English literature. Works such as Sir
Walter Scott’s The Pirate (1822), Herman Melville’s Moby-Dick
(1851), Joseph Conrad’s Lord Jim (1900), and Victor Hugo’s
Toilers of the Sea (1866) all concerned getting figuratively and
literally lost at sea. It is interesting to note that these novels
were written at a time when the English maritime industry
was particularly strong. Some sea novels were about the realistic perils a seaman might face out on the ocean; others were
more about shipwrecks and pirates.
One might argue that the shipwreck as narrative trope
began in 1719 with Daniel Defoe’s Robinson Crusoe, but
Treasure Island expanded on this idea with treasure-hunting
lore and pirate thrills. Stevenson acknowledges how he was
influenced by other writers’ work in his “Essays in the Art of
Writing”: “Stolen waters are proverbially sweet…No doubt
the parrot once belonged to Robinson Crusoe. No doubt the
skeleton is conveyed from Poe. I think little of these, they are
trifles and details; and no man can hope to have a monopoly of skeletons or make a corner in talking birds.” Treasure
Island was especially prominent because it was the epitome
of a subgenre: nautical stories for children. This genre often
featured boys undergoing a moral lesson through romantic
liaisons and epic adventures, often at sea. Stevenson wrote
other works that utilized this frame: Kidnapped, The Master of
Ballantrae, and Catriona. However, the ubiquity of this genre
eventually faded, perhaps because the role of the British navy
and merchant fleet was waning.
Treasure Island rose to be among the most famous of
seafaring tales, and as a result numerous rumors proliferate
as to which events in the book are connected to historical
truths. It seems likely that the pub Jim Hawkins’ family runs,
the Admiral Benbow Inn, was named after John Benbow, an
English naval officer who won various battles against pirates.
The Internet is full of various theories as to where the island
Stevenson alludes to is located, or if it was based on a real
place at all. Most guesses revolve around a resemblance to
Stevenson’s hand-drawn map and point to places as diverse
as the Shetland Islands, Cuba’s Isla de la Juventud, Tobago,
and the British Virgin Islands. Some believe the buried treasure in the novel was inspired by a Spanish fleet’s shipwreck
in 1715, in which 11 of the 12 ships carrying booty were lost
in a hurricane when they were returning to Spain from the
New World. Fleets such as these carried silver, gold, tobacco,
spices, gems, and indigo, and pirates were always lurking
to steal the goods. (Today, the remains from one of the
CO N TIN U E D O N N E X T PAG E
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CO N TIN U E D FRO M PR E VI O U S PAG E
1715 ships are protected as part of the Florida Underwater
Archaeological Preserves.)
Some elements of the novel were invented, but widely
taken for truths due to their repetition in popular culture.
Captain Flint, the pirate who buried the treasure before the
events of the story took place, is featured in various prequels,
but most notably is mentioned in the novel Peter and Wendy by
J.M. Barrie, a friend of Stevenson’s. Flint was said to have died
in an upstairs room in The Pirates’ House in Savannah, Georgia, a house that used to be an inn for seafarers and exists as a
restaurant today. Some believe that the ghost of Flint haunts
the house…never mind that he was fictional to begin with.
What is certain is that the pirate and antihero Long John
Silver was based on Stevenson’s friend, the poet William
Ernest Henley (1849–1903). Stevenson wrote that to create
the character of Long John Silver, he had the idea “to take an
admired friend of mine […] to deprive him of all of his finer
qualities and higher graces of temperament, and to leave him
with nothing but his strength, his courage, his quickness, and
his magnificent geniality, and to try to express these in terms
of the culture of a raw tarpaulin.” Stevenson was struck by
Henley’s physicality as well as his personality: when he was 12
years old, Henley contracted tuberculosis and had to have his
left leg amputated below the knee in 1868. Stevenson wrote,
“Such psychical surgery is, I think, a common way of ‘making
character’ […] We can put in the quaint figure that spoke a
hundred words with us yesterday by the wayside; but do we
know him? Our friend, with his infinite variety and flexibility,
we know—but can we put him in? Upon the first we must
engraft secondary and imaginary qualities, possibly all wrong;
from the second, knife in hand, we must cut away and deduct
the needless arborescence of his nature; but the trunk and the
few branches that remain we may at least be fairly sure of.”
Perhaps it is this train of thought that led Stevenson to create
such a morally ambiguous character. Just when we think we
know Long John Silver, we don’t. He is both a father figure
for Jim, and his potential murderer. Arguably, it is this striking
moral ambiguity that makes the novel such a fundamental
coming-of-age story.
Characters like Long John Silver put us on edge and make
us realize how close we are to the unknown. When we don’t
know a person’s intentions we get nervous; we flail around
for some certainty. With Jim Hawkins, Stevenson shows us
what one boy is made of when the ground beneath his feet
falls away. And since this is an adventure story, the pressure is
continuously on. Mary Zimmerman said that a major theme
for this adaptation has been to show how we humans “long
for more life.” Stevenson might have agreed. He wrote in his
essay “The Day After To-morrow,” “The bourgeois is too much
cottoned about for any zest in living; he sits in his parlour out
of reach of any danger, often out of reach of any vicissitude
but one of health; and there he yawns.” Treasure Island is a call
to the parts of life that scare us, to getting lost, and especially,
to new journeys.
San Francisco’s Treasure Island
(disclaimer: bears no relation
to the novel)
There are around 45 locations named “Treasure Island” in
North America; most of them are actual islands, but some
are casinos, RV parks, and hotels. It makes sense: the name
activates the imagination with visions of discovery. San
Francisco’s own Treasure Island began as a Works Progress
Administration project, built in the 1930s to be the site for
the first San Francisco airport and for the city’s third World’s
Fair. The island is comprised of sand dredged from the bay
and carried down from the Sacramento River Delta; it was
optimistically named for the gold that might exist within
the soil. Approximately 260,000 tons of rock were used to
create the wall that surrounds the artificial island. The island
became a naval base in WWII; military operations ceased
there in 1997, and the island became a residential site. In
2012 something buried was dug up: the Navy acknowledged
that the island was used as a repair and salvage operation for
ships that may have been exposed to nuclear testing during
the Cold War, and since then investigations of radioactivity
levels have continued.
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The map was drawn again in my father’s
office, with embellishments of blowing
whales and sailing ships, and my father
himself brought into service a knack he
had of various writing, and elaborately
forged the signature of Captain Flint, and
the sailing directions of Billy Bones.
I have said the map was the most of the
plot. I might almost say it was the whole.
A few reminiscences of Poe, Defoe, and
Washington Irving, a copy of Johnson’s
Buccaneers, the name of the Dead Man’s
Chest from Kingsley’s At Last, some recollections of canoeing on the high seas, and
the map itself, with its infinite, eloquent
suggestion, made up the whole of my materials. It is, perhaps, not often that a map
figures so largely in a tale, yet it is always
important. The author must know his
countryside, whether real or imaginary,
like his hand; the distances, the points of
the compass, the place of the sun’s rising,
the behaviour of the moon, should all be
beyond cavil.
Better if the country be real, and he has
walked every foot of it and knows every
milestone. But even with imaginary places, he will do well in the beginning to provide a map; as he studies it, relations will
appear that he had not thought upon; he
will discover obvious, though unsuspected,
short-cuts and footprints for his messengers; and even when a map is not all the
plot, as it was in Treasure Island, it will be
found to be a mine of suggestion.”
—ROBERT LOU IS ST E V ENSON
Map of Treasure Island drawn by Robert Louis Stevenson
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topsail
cutlass
jolly boat
Nautical terms
used in Robert Louis Stevenson and Mary Zimmerman’s Treasure Island
abeam : on the beam, a direction bearing at right angles
close hauled : sailing as close into the direction of
to the centerline of the ship’s keel
the wind as possible
anchor home : when the anchor is secured
cutlass : a short, thick, curving sword with a single
avast : stop, cease (command)
dav y jones : the spirit of the sea
batten dow n your hatches : to fasten
ebb tide period between high and low tide during
which water flows away from the shore
for sailing
canvas over a ship’s hatchways (covered openings in the
deck) as in preparing for a storm
berth : bed on a ship
bilge : compartment at the bottom of the hull of a ship
or boat where water collects and must be pumped out of the
vessel (listen for the insult “bilge rat”)
boat - cloak : long overgarment worn on boats
broadside : side by side with another ship, long
sides facing
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cutting edge, used by sailors
:
figurehead : symbolic image at the head of a ship
fo ’c ’sle : forecastle, the part of a ship in front of
the foremast
’ ’
:
fo c sle council rules that allow the crew to
take council among themselves
galley: kitchen of a ship
figurehead
gammon : lash up, make secure
:
hazing punishment or harassment, often by forcing to
do unnecessary work (as in fraternities)
holus - bolus : all at once
jolly boat : small boat on a ship, usually carried on
the stern
larboard : left side of a ship (obsolete;
modern: “port”)
lee shore : sheltered shore, out of the wind
marlinespike : a pointed metal tool for separating
the strands of a rope in splicing
quadr ant : an instrument used for taking angular
rudder : steering device
’
:
ship s bell traditional way to mark time and
regulate crew’s watches; each bell from 1-8 represents a
30-minute period since the start of a 4-hour watch
swab : low-ranking sailor
:
supercargo officer on a merchant ship who has
charge of the cargo and business dealings
:
tip us a stave start singing a song for us; sailors
sang to establish a rhythm for their work
topsail : the second sail (counting from the bottom) up
a mast
weigh anchor : to heave up an anchor
before sailing
measurements of altitude in navigation, typically consisting
of a graduated quarter circle and a sighting mechanism
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P O R T H O L E I M AG E CO U R T E S Y O F H O B V I A S S U D O N EI G H M V I A A F L I C K R C R E AT I V E CO M M O N S L I C E N S E
quadr ant
N E X T AT B E R K E L E Y R E P
“Funny, smart and compassionate”
—LEO WEEKLY
“The power to win a viewer’s heart”
—LOUISVILLE COURIER-JOURNAL
Sarah Ruhl
DIREC TED BY Les Waters
BY
STARTS MAY 20 · RODA THEATRE
E X E CU T I V E S P O N S O R
SEASON SPONSORS
Berkeley Repertory Theatre,
in a co-production with
Lookingglass Theatre Company,
presents the West Coast premiere of
adapted and direc ted by
Mary Zimmerman
from the novel by robert louis stevenson
Location: England, 17—. Black Cove, Bristol, aboard the
Hispaniola, and on Treasure Island.
APRIL 22–JUNE 5, 2016
PEE T ’ S THE ATRE · M AIN SE A SON
Treasure Island is made possible thanks to the generous
support of
SEASON SPONSORS
Jack & Betty Schafer
Michael & Sue Steinberg
The Strauch Kulhanjian Family
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R
SUSAN M E DAK , M ANAGIN G D IREC TO R
CAST
Jim Hawkins John Babbo
Squire Trelawney Matt DeCaro*
Constable Dance/Dick Travis Delgado*
Billy Bones/Redruth Christopher Donahue*
Long John Silver Steven Epp*
Mrs. Hawkins/George Merry/ Kasey Foster*
Musician
Pew/Others Anthony Irons*
Dr. Livesey Alex Moggridge*
Black Dog/Ben Gunn Steve Pickering*
Captain Smollett Philip R. Smith*
Israel Hands Demetrios Troy*
Abraham Gray/Musician Matthew C. Yee
Musicians Greg Hirte,* L.J. Slavin
LE A D S P O N S O R S
Martha Ehmann Conte
Bruce Golden & Michelle Mercer
Helen & John Meyer/Meyer Sound
E XECU TIV E S P O N S O R S
Pam & Mitch Nichter
SPONSORS
David & Vicki Fleishhacker
Paul Haahr & Susan Karp
Janis Turner
PRODUC TION S TAFF
Scenic Design
Costume Design
Lighting Design
Original Music/Sound Design
Chicago Casting
Todd Rosenthal
Ana Kuzmanic
T.J. Gerckens
Andre Pluess
Philip R. Smith with
Raymond Fox
Bay Area Casting Amy Potozkin, csa
Stage Manager Megan McClintock*
A S S O CIAT E S P O N S O R S
Julie & Darren Cooke
John & Carol Field
Jill & Steve Fugaro
Peter & Melanie Maier
Patricia Sakai & Richard Shapiro
Cynthia & William Schaff
Emily Shanks
Pat & Merrill Shanks
Karen Stevenson & Bill McClave
Martin & Margaret Zankel
*Indicates a member of Actors’ Equity Association, the Union of Professional Actors and
Stage Managers in the United States.
Treasure Island was originally produced by Lookingglass Theatre Company,
Chicago IL, October 2015.
Affiliations
The director is a member of the Society of
Stage Directors and Choreographers, Inc., an
independent national labor union. The Scenic,
Costume, Lighting, and Sound Designers in
lort Theatres are represented by United
Scenic Artists Local usa-829, iatse.
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
BE R K E L E Y R E P P R E S E N T S
profiles
John Babbo
Travis Delgado
John was seen in
Lookingglass Theatre
Company’s productions
of Treasure Island and In
the Garden. His other
theatre credits include
A Christmas Story, the
Musical (Broadway and
national tour); Strandline
(A Red Orchid Theatre);
Oliver, Gypsy, and Sweeney Todd (Drury Lane
Theatre); Beauty and the Beast (Chicago Shakespeare Theater); A Christmas Carol (Goodman
Theatre); and Night and Day (Remy Bumppo
Theatre Company). His television and film
credits include Chicago Fire (nbc), Sense8 (Netflix), Deadbeat (Hulu), UnderEmployed (mtv),
Nintendo Amiibo (YouTube promotion, 2014),
and upcoming independent features Thrill Ride
and Not a Stranger.
Travis is proud to join
the cast and crew of
Treasure Island as well
as Berkeley Rep. Travis
graduated from Texas
A&M University at
Corpus Christi and now
lives in Edgewater, Chicago. He is best known
for playing Jurgis in The
Jungle, adapted and directed by Jeff Award
winner Matt Foss at Oracle Productions.
J I M H AW K I N S
Matt DeCaro
S Q U I R E T R E L AW N E Y
Matt has appeared as Fa
Hai in Mary Zimmerman’s The White Snake
at the Old Globe, the
McCarter Theatre,
Goodman Theatre, the
Guthrie Theater, and
the Wuzhen Theatre
Festival in China. He
has appeared in the
Lyric Opera of Chicago’s Oklahoma! and
Goodman Theatre’s Camino Real, The Play
About the Baby, Romance, Heartbreak House,
Boy Gets Girl, and Spinning into Butter, among
others. Matt has also appeared at Chicago
Shakespeare Theater in Gypsy, The Merry
Wives of Windsor, Richard III, and As You Like It.
Other Chicago credits include The Lieutenant
of Inishmore, Talley’s Folly, and Glengarry Glen
Ross, Perfect Mendacity, Men of Tortuga, Our
Lady of 121st Street, and Slaughterhouse-Five
at Steppenwolf Theatre. His regional credits
include American Buffalo, Machinal, A Streetcar
Named Desire, and Dark Rapture at American
Conservatory Theater. Recent film credits
include The Last Rites of Joe May, The Wise Kids,
U.S. Marshals, Eagle Eye, and Mr. 3000. Matt’s
TV credits include Curb Your Enthusiasm,
House, csi, The Office, and Prison Break, among
many others.
2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
C O N S TA B L E DA N C E / D I C K
Christopher Donahue
B I L LY B O N E S/ R E D R U T H
Christopher has
appeared at Berkeley
Rep in Mary Zimmerman’s productions of
Journey to the West, The
Notebooks of Leonardo
Da Vinci, and The Secret
in the Wings. He has also
performed at Arden
Theatre Company,
American Repertory Theatre, Boston Lyric
Opera, Chicago Opera Theater, Circle in the
Square, City Theatre of Pittsburgh, Classic
Stage Company, Court Theatre, Goodman
Theatre, Hartford Stage, Huntington Theatre
Company, La Jolla Playhouse, Lincoln Center’s
Serious Fun! Festival, Lookingglass Theatre
Company, Manhattan Theatre Club, McCarter
Theatre Center, Milwaukee Repertory Theater,
Oxford House Company, the Public Theater,
Remains Theatre, Seattle Repertory Theatre,
Second Stage Theatre, Shakespeare in the
Park, the Smith Center (Las Vegas), Stories on
Stage, Two River Theatre Company, Weston
Playhouse, and Yale Repertory Theatre.
Steven Epp
LO N G J O H N S I LV E R
Steven has appeared at
Berkeley Rep in Tartuffe,
Accidental Death of an
Anarchist, A Doctor in
Spite of Himself, Figaro,
The Miser, Don Juan
Giovanni, and he did the
adaptation for The Green
Bird. He is an actor,
writer, and co-artistic
director of the Moving Company, based in
Minneapolis, where his acting/writing credits
include The House Can’t Stand, Come Hell and
High Water, Out of the Pan Into the Fire, and
Imaginary Invalid at Playmakers, Massoud for
Center Theatre Group, Tartuffe at South Coast
Rep, and Love’s Labour’s Lost at Actors Theatre
of Louisville. moco will present the world premiere of their newest creation Refugia at the
Guthrie Theater, spring 2017. Steven’s regional
credits include productions at the Guthrie, Ten
Thousand Things, Yale Repertory Theatre, the
Jungle Theater, La Jolla Playhouse, Trinity Repertory Company, Spoleto Festival, American
Repertory Theatre, the Alley Theatre, Intiman
Theatre, Center Stage, the Shakespeare Theatre Company, Seattle Repertory Theatre, and
the New Victory Theater off Broadway. Steven
was an actor, writer, and co-artistic director at
Theatre de la Jeune Lune, winner of the 2005
Tony Award for Best Regional Theatre, from
1983–2008. Acting credits include title roles
in Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and
The Miser. Steven has co-authored numerous
plays including Children of Paradise, winner of
the 1993 Outer Critics Circle Award for Best
New Play. He was a 1999 Fox Fellow, a 2009
McKnight Theatre Artist Fellow at Playwrights’
Center, and a 2013 Reinecke Fellow at Yale
University, and won the 2012 Helen Hayes
Award for Best Actor as Truffaldino in Servant
of Two Masters. Steve holds a degree in Theatre
and History from Gustavus Adolphus College.
He lives in Minneapolis with his wife, and has
three grown children.
Kasey Foster
M R S . H AW K I N S/G E O R G E M E R RY/
MUSICIAN
Kasey has been
performing, singing,
directing, and producing in Chicago since
2004. This production
of Treasure Island marks
her first regional theatre
experience. In Chicago,
Kasey has worked with
the following theatre
companies: Lookingglass Theatre Company,
Manual Cinema, Chicago Children’s Theatre,
Blair Thomas & Co., Redmoon Theater, Dog &
Pony Theatre Company, Trap Door Theatre,
Theater Wit, Red Tape Theatre, and Collaboraction. She sings with Chicago bands Grood,
Babe-alon 5, Old Timey, and This Must Be the
Band. Kasey has directed/choreographed over
30 original works, and produces an annual
(and fantastic) series called Dance Tribute.
Greg Hirte
MUSICIAN
Greg is an actor, musician, and composer
based in Chicago. He is
happy to be continuing
with the cast of Treasure
Island and making his
first appearance at
Berkeley Rep. Other
recent Chicago credits
include Luther in Ring
of Fire: Music of Johnny Cash, Leon in the
American Blues production of Hank Williams
Lost Highway, and at Goodman Theatre for
his 18th season of A Christmas Carol. Other
Chicago credits include performance and mu-
sical composition for the Goodman, Chicago
Shakespeare Theater, Drury Lane Theatre,
the Marriott, Court Theatre, Victory Gardens
Theater, and the Piven Theatre Workshop (Jeff
Award nomination for Best Original Score for
Sarah Ruhl’s Melancholy Play). Other credits
include performances for several national
and international theatre and music festivals.
Greg is also a member of several Chicago area
bands touring nationally and internationally,
including Chicago’s own Mucca Pazza.
Anthony Irons
P E W/O T H E R S
Anthony is delighted to
make his Berkeley Rep
debut with this great
Lookingglass Theatre
Company adventure. He
is a Congo Square Theatre Ensemble member
in Chicago, where he
has performed in over
a dozen productions
and garnered Black Excellence Awards, Black
Theatre Alliance Awards, and a Jeff nomination
(King Hedley II). Other credits include Two
Trains Running (Goodman Theatre), Waiting for
Godot (Court Theatre), Red Scare and Second
City Mile High (Second City), Black Eagles (Penumbra Theatre), Hamlet (Illinois Shakespeare
Festival), As You Like It (Georgia Shakespeare
Festival), and Treemonisha (Birmingham
Broadway Series). Anthony’s television and
film credits include Chicago Fire, Boss, Let’s Go
to Prison, and The Lucky Ones.
Alex Moggridge
DR . LIVESEY
Alex has appeared in
Berkeley Rep’s productions of Three Sisters
and Chinglish (which
also traveled to South
Coast Repertory and
the Hong Kong Arts
Festival). Regionally, he
has appeared at Actors
Theatre of Louisville’s
Humana Festival, Long Wharf Theatre, Yale
Repertory Theatre, Artists Repertory Theatre,
Pittsburgh Irish Classical Theatre, and Utah
Shakespeare Festival. He understudied on
the Broadway production of Betrayal, starring
Daniel Craig and Rachel Weisz and directed
by Mike Nichols. In the Bay Area, he has performed at American Conservatory Theater in
The Beard of Avon, A Christmas Carol, and The
Threepenny Opera; Aurora Theatre Company
in Betrayed, The Entertainer, and Salomania;
San Jose Repertory Theatre in By the Bog
of Cats and The Weir; as well as at Center
Repertory Company, Magic Theatre, Marin
Theatre Company, SF Playhouse, and Shotgun
Players. Alex’s film and TV credits include
Batman Begins, Law & Order: Criminal Intent,
Person of Interest, and Trauma. Alex is also a
writer, and his play Simon Dawes Becomes a
Planet will be produced this fall at New York’s
Access Theatre.
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9
Steve Pickering
B L AC K D O G/ B E N G U N N
Extraordinary theatre.
All because of you.
Ensure more great theatre by exceptional artists
with your gift to the Annual Fund.
As a donor, you’ll receive special perks like behind-thescenes tours, free goodies at concessions and much more!
Steve performed in the
original run of Treasure
Island at Lookingglass
Theatre Company in
Chicago. Before that,
he appeared as the title
role in Macbeth for Santa Cruz Shakespeare,
and as Oscar in The
Little Foxes for Goodman Theatre —one of over 30 productions
with the company since 1987, including Robert
Falls’ staging of King Lear, Long Day’s Journey
into Night, and Death of a Salesman (in Chicago, on Broadway, for the national tour and
in London’s West End). He received a Helen
Hayes Award nomination for Michael Kahn’s
production of Wallenstein for the Shakespeare
Theatre Company in D.C., and has performed
with many of the country’s major regional theatres, including Milwaukee Repertory Theater,
Indiana Repertory Theatre, Arena Stage, City
Theatre in Pittsburgh, the Old Globe, and the
Public Theater. Formerly the artistic director
for Next Theatre in Evanston, he is currently a
Goodman Theatre Creative Partner, and project manager for Shanghai Low Theatricals.
L.J. Slavin
MUSICIAN
Give today.
berkeleyrep.org/give · 510 647-2906
The cast of Amélie, A New Musical (photo courtesy of kevinberne.com)
3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
L.J., an award-winning
multi-instrumentalist,
has performed in almost
every type of venue
imaginable. Theatrically,
he recently performed
in the premiere of Mary
Zimmerman’s Treasure
Island at Lookingglass
Theatre Company. He
served as musical director and lead musician
in the Steppenwolf Theatre production of The
March. Additional Steppenwolf credits include
The Grapes of Wrath (Tony Award–winning
production on Broadway, the National Theatre
in London, and regional productions at La Jolla
Playhouse, Denver Center Theatre Company,
and Pioneer Theatre Company in Salt Lake
City), and provided music for Tennessee, The
Glass Menagerie, and Curse of the Starving
Class. Other productions include Woody Guthrie’s American Song at Northlight Theatre in
Evanston (IL), Briar Street Theatre in Chicago,
Goodspeed Opera House in Connecticut, and
Pope Theatre in West Palm Beach; Appalachian
Strings at the Denver Center, Meadow Brook
Theatre in Michigan, Cincinnati Playhouse,
and Virginia Stage Company; Twelfth Night at
Chicago Shakespeare Theater; Sounding the
River at Milwaukee Repertory Theater; and
three seasons of A Christmas Carol at
Goodman Theatre.
BE R K E L E Y R E P P R E S E N T S
Philip R. Smith
C A P TA I N S M O L L E T T
This is Philip’s first
appearance at Berkeley Rep. In Chicago he
serves as the producing
director of Lookingglass
Theatre Company,
co-producer of Treasure
Island. As such he promotes the company’s
brand, ensemble, and
mission through casting, marketing, facilities,
events, and fundraising initiatives. He also
acts. Recent Chicago credits include Bastion
Podaris in Keith Huff’s Big Lake Big City at
Lookingglass Theatre Company directed by
David Schwimmer, and Wrede Sartorius in
The March at Steppenwolf Theatre Company
directed by Frank Galati. Other Lookingglass
credits include the titular role in Ethan Frome,
Will in Trust, Phileas Fogg in Around the World
in 80 Days, Ivan in The Brothers Karamazov, Tinker Bosch in The Wooden Breeks, and Creon in
Hillbilly Antigone. Other recent credits include
Atticus Finch in To Kill a Mockingbird and Rev.
Parris in The Crucible, both at Steppenwolf, and
Fogg in Around the World in 80 Days at Baltimore’s Center Stage. Other regional credits
include work at the McCarter Theatre Center,
Seattle Repertory Theatre, the Arden Theatre
Company, bam (nyc), and the Actors’ Gang
(LA). TV and film credits include Boss, Friends,
Prison Break, Chicago Hope, Early Edition, Kissing a Fool, Since You’ve Been Gone, High Fidelity,
The Express, and The Dilemma.
Demetrios Troy
ISRAEL HANDS
Demetrios makes
his Berkeley Rep and
Lookingglass Theatre
Company debut. A
Chicago–based actor,
Demetrios’ credits
include 2666, The Happiest Song Plays Last,
A Christmas Carol, The
Seagull, The Good Negro,
and numerous readings at Goodman Theatre.
His other Chicago credits include The Wheel
(Steppenwolf Theatre Company); Never the
Sinner (Victory Gardens Theater); Inana, Blood
and Gifts, and Danny Casolaro Died for You
(TimeLine Theatre Company); Henry V, Julius
Caesar, Timon of Athens, Richard III, and Short
Shakespeare! Romeo and Juliet (Chicago Shakespeare Theater); Awake and Sing (Northlight
Theatre); Beyond the Score: Haydn, Beyond the
Score: Beethoven, Beyond the Score: Schoenberg,
The Soldier’s Tale, and Welcome Yule (Chicago
Symphony Orchestra); and Working (Broadway Playhouse). Demetrios’ regional credits
include The Boys Next Door (Syracuse Stage),
Julius Caesar (Utah Shakespeare Festival), King
Lear and The Merry Wives of Windsor (Riv-
profiles
erside Shakespeare), King Lear and Tartuffe
(Milwaukee Repertory Theater), and Julius
Caesar and A Midsummer Night’s Dream
(Door Shakespeare). His TV and film credits
include Chicago Fire, Mob Doctor, The Year that
Changed Us, The King, Two Thieves, and Jobless.
He holds a BA from DePaul University/Barat
College and an mfa from the University of
South Carolina. Demetrios is an artistic associate at TimeLine Theatre.
Matthew C. Yee
A B R A H A M G R AY/M U S I C I A N
Matthew appeared in
Treasure Island at Lookingglass Theatre Company. Previous credits
include The Wheel at
Steppenwolf Theatre
and Wonderland: Alice’s
Rock and Roll Adventure
at Chicago Children’s
Theatre. In 2014, he
had a co-starring role in season three episode
four of the nbc series Chicago Fire. In 2013, he
graduated from Northern Illinois University
with a bfa in Acting.
Mary Zimmerman
A DA P T O R / D I R E C T O R
Mary received the 2002 Tony Award for Best
Director and a 1998 MacArthur Fellowship.
This is her eighth show for Berkeley Rep,
following acclaimed productions of The Arabian Nights, Argonautika, Journey to the West,
Metamorphoses, The Notebooks of Leonardo da
Vinci, The Secret in the Wings, and The White
Snake. These plays — and others that she’s
adapted and directed such as The Jungle Book,
Eleven Rooms of Proust, The Odyssey, Silk, and
S/M —have enjoyed celebrated runs at Brooklyn Academy of Music, Goodman Theatre, the
Huntington Theatre Company, Lookingglass
Theatre Company, the Mark Taper Forum,
McCarter Theatre Center, Seattle Repertory
Theatre, and Second Stage Theatre. She also
directed All’s Well That Ends Well and Pericles
for the Goodman, Henry VIII and Measure
for Measure for the New York Shakespeare
Festival, A Midsummer Night’s Dream for
the Huntington, and Guys and Dolls for the
Oregon Shakespeare Festival and at L.A.’s
Wallis Annenberg Center for the Performing
Arts. In 2002, Mary created a new opera with
Philip Glass called Galileo Galilei, which was
presented at bam, the Goodman, and the
Barbican in London. In recent years, she has
staged Armida, and La Sonnambula for the
Metropolitan Opera in New York and Lucia
di Lammermoor at the Met and at La Scala,
Milan. Based in Chicago, Mary has won numerous Joseph Jefferson Awards—the city’s
top theatrical honors—including prizes for
best production and best direction. She is a
member of Lookingglass, an artistic associate
of the Goodman, and she holds the Jaharis
Family Foundation Chair in Performance
Studies at Northwestern University.
Todd Rosenthal
SCENIC DESIGNER
Todd previously designed X’s and O’s (A
Football Love Story), Tribes, and Ghost Light for
Berkeley Rep. His Broadway credits include
August: Osage County (Tony Award), The
Motherfucker with the Hat (Tony nomination),
Who’s Afraid of Virginia Woolf? (Tony Award
for Best Revival), and Of Mice and Men. Off
Broadway, he designed for the premiere of
Red Light Winter at the Barrow Street Theatre
and Domesticated at Lincoln Center Theater.
Todd was the set designer for six years for
the Big Apple Circus. His international credits
include August: Osage County (National
Theatre in London and Sydney Theatre in
Australia) and The Beauty Queen of Leenane
at Theatre Royal in Ireland. Todd designed 33
productions for Steppenwolf Theatre and is
an artistic partner at Goodman Theatre. He
also designed for the Guthrie Theater, the Alliance Theatre, the Mark Taper Forum, La Jolla
Playhouse, Arena Stage, Cincinnati Playhouse,
the Alley Theatre, Lyric Opera of Chicago, Oregon Shakespeare Festival, and many others.
Todd was lead designer for Mythbusters: The
Explosive Exhibition and the International
Exhibition of Sherlock Holmes. He received
many other accolades, including the Laurence
Olivier Award, the Helen Hayes Award, Ovation Award, the Back Stage Garland Award,
the Joseph Jefferson Award, and the Michael
Merritt Award for Excellence in Design and
Collaboration. Todd is an associate professor
at Northwestern University and a graduate of
Yale School of Drama.
Ana Kuzmanic
COSTUME DESIGNER
Ana is Yugoslav–born, Chicago–based costume designer for theatre and opera. She is
thrilled to be back at Berkeley Rep where she
last designed Argonautika directed by Mary
Zimmerman. Most recently Ana designed
costumes for Goodman Theatre’s production of 2666—stage adaptation of Roberto
Bolaño’s novel, directed by Robert Falls and
Seth Bockley. Ana’s Broadway credits include
Desire Under the Elms (Carla Gugino, Brian
Dennehy), Superior Donuts (Michael McKean),
and the Tony Award–winning August: Osage
County, for which she was the recipient of
Drama Desk nomination for outstanding
costume design. Her off-Broadway credits
include The Jacksonian (Ed Harris, Bill Pullman)
by Beth Henley. Her upcoming projects
include Disgraced directed by Marcela Lorca at
the Guthrie Theater, Wonderful Town directed
by Mary Zimmerman at the Goodman, and
Peter Grimes directed by Robert Falls at the
Lyric Opera. Ana is associate professor of
costume design at Northwestern University.
Please visit anakuzmanic.com.
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BE R K E L E Y R E P P R E S E N T S
T.J. Gerckens
LIGHTING DESIGNER
T.J. is pleased to return to Berkeley Rep
where he previously designed The Arabian
Nights, Journey to the West, Metamorphoses, The Notebooks of Leonardo da Vinci, The
Secret in the Wings, and The White Snake.
Recent designs include Guys and Dolls at the
Oregon Shakespeare Festival and the Wallis
Annenberg Center, Treasure Island and Blood
Wedding at Lookingglass Theatre Company, and Mary Zimmerman’s adaptation of
Disney’s The Jungle Book at Goodman Theatre
and the Huntington Theatre Company. Other
notable designs include the Mary Zimmerman
and Philip Glass opera Galileo Galilei at the
Goodman; Pericles at the Shakespeare Theatre
in Washington, DC; and Lucia di Lammermoor
at La Scala Opera House in Milan, Italy. T.J.’s
New York designs include Lucia di Lammermoor and La Sonnambula for the Metropolitan
Opera, Measure for Measure in Central Park,
Metamorphoses on and off Broadway, and
The Notebooks of Leonardo da Vinci at Second
Stage. He has received numerous honors for
his lighting, including a Bay Area Theatre Critics Circle Award, Chicago’s Jefferson Award,
Drama Critics Circle Award, Los Angeles
Ovation Award, and New York’s Drama Desk
Award. T.J. is the faculty lighting designer at
Otterbein University.
Andre Pluess
ORIGINAL MUSIC/SOUND DESIGNER
Andre has worked with Berkeley Rep on
numerous shows: after the quake, The Arabian
Nights, Argonautika, Blue Door, Ghost Light,
Honour, Metamorphoses, The Secret in the
Wings, and The White Snake. His Broadway
credits include 33 Variations, The Clean House,
I Am My Own Wife, and Metamorphoses. His
other credits include many productions for
About Face Company (artistic associate),
Court Theatre, Goodman Theatre, Lookingglass Theatre Company (artistic associate),
Northlight Theatre, Steppenwolf Theatre
Company, Victory Gardens Theater (resident
designer), and other Chicago and regional
theatres. His more recent projects include
Cymbeline at the Shakespeare Theatre, Equivocation at Arena Stage, Ghost Light and The
Merchant of Venice at Oregon Shakespeare
Festival, Macbeth and Titus Andronicus at
California Shakespeare Theater (where he is an
artistic associate), Palomino at Center Theatre
Group, Sex with Strangers at Steppenwolf, and
Stage Kiss at the Goodman, as well as the score
for the film The Business of Being Born. Andre
received a Barrymore Award, a Drama Critics
Circle Award, Drama Desk and Lortel nominations, multiple Joseph Jefferson Awards
and Citations, and an LA Ovation Award for
composition and sound design.
3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
profiles
Amy Potozkin, csa
D I R E C T O R O F C A S T I N G/
A R T I S T I C A S S O C I AT E
This is Amy’s 26th season at Berkeley Rep.
Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona
Theatre Company, Aurora Theatre Company, B
Street Theatre, Bay Area Playwrights Festival,
Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre,
Social Impact Productions Inc., and Traveling
Jewish Theatre. Amy cast roles for various
independent films, including Conceiving Ada,
starring Tilda Swinton; Haiku Tunnel and Love
& Taxes, both by Josh Kornbluth; and Beyond
Redemption by Britta Sjogren. Amy received
her mfa from Brandeis University, where she
was also an artist in residence. She has been
an audition coach to hundreds of actors and a
presentation/communication coach to many
businesspeople. Amy taught acting at Mills
College and audition technique at Berkeley
Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay
Area. Prior to working at Berkeley Rep, she
was an intern at Playwrights Horizons in New
York. Amy is a member of csa, the Casting
Society of America, and was nominated for
Artios Awards for Excellence in Casting for The
Intelligent Homosexual’s Guide to Capitalism
and Socialism with a Key to the Scriptures and
One Man, Two Guvnors.
Megan McClintock
S TAG E M A N AG E R
Megan is always happy to come home to
Berkeley Rep after starting her stage management career as a Berkeley Rep fellow.
In the years since she has stage managed
at American Conservatory Theater, Aurora
Theatre Company, Center Repertory Company,
California Shakespeare Theater, and the San
Francisco Opera. She most recently stage
managed the world premiere of Swimmers at
Marin Theatre Company. Favorite Berkeley
Rep credits include The Intelligent Homosexual’s
Guide to Capitalism and Socialism with a Key to
the Scriptures, Girlfriend, The Arabian Nights,
The White Snake, No Man’s Land, Dear Elizabeth,
The Wild Bride, Eurydice, and How To Write a
New Book for the Bible. Megan has a BA in theatre and history from Willamette University.
Lookingglass Theatre Company
CO -PRODUCER
Inventive. Collaborative. Transformative.
Lookingglass is home to a multi-disciplined
collective of artists who create original,
story-centered theatre through a physical and
improvisational rehearsal process centered on
ensemble. Lookingglass has staged 64 world
premieres and garnered numerous awards in
its mission to change, charge, and empower
audiences and artists alike. Lookingglass Education and Community programs encourage
creativity, team work, and confidence with
thousands of students and community members each year. In 2003, Lookingglass Theatre
opened in Chicago’s landmark Water Tower
Water Works. In 2011, Lookingglass received
the American Theatre Wing’s Tony Award for
Outstanding Regional Theatre.
Tony Taccone
MICHAEL LEIBERT
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director of
Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 19
years, Berkeley Rep has presented more than
70 world, American, and West Coast premieres
and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged
more than 40 plays in Berkeley, including new
work from Culture Clash, Rinde Eckert, David
Edgar, Danny Hoch, Geoff Hoyle, Quincy
Long, Itamar Moses, and Lemony Snicket. He
directed the shows that transferred to London,
Continental Divide and Tiny Kushner, and two
that landed on Broadway as well: Bridge &
Tunnel and Wishful Drinking. Prior to working at
Berkeley Rep, Tony served as artistic director of Eureka Theatre, which produced the
American premieres of plays by Dario Fo, Caryl
Churchill, and David Edgar before focusing on
a new generation of American writers. While at
the Eureka, Tony commissioned Tony Kushner’s
legendary Angels in America and co-directed its world premiere. He has collaborated
with Kushner on eight plays at Berkeley Rep,
including The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the
Scriptures. Tony’s regional credits include
Actors Theatre of Louisville, Arena Stage,
Center Theatre Group, the Eureka Theatre,
the Guthrie Theater, the Huntington Theatre
Company, Oregon Shakespeare Festival, the
Public Theater, and Seattle Repertory Theatre.
As a playwright, he debuted Ghost Light, Rita
Moreno: Life Without Makeup, and Game On,
written with Dan Hoyle. In 2012, Tony received
the Margo Jones Award for “demonstrating a
significant impact, understanding, and affirmation of playwriting, with a commitment to the
living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration
and operations of the Theatre. She has served
as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent
the interests of nonprofit theatres across the
nation. Susan chaired panels for the Massachusetts Arts Council and has also served on
program panels for Arts Midwest, the Joyce
Foundation, and the National Endowment for
the Arts. Closer to home, Susan serves on the
board of the Downtown Berkeley Associa-
tion (dba). She is the founding chair of the
Berkeley Arts in Education Steering Committee for Berkeley Unified School District and
the Berkeley Cultural Trust. She was awarded
the 2012 Benjamin Ide Wheeler Medal by the
Berkeley Community Fund. Susan serves on
the faculty of Yale School of Drama and is
a proud member of the Mont Blanc Ladies’
Literary Guild and Trekking Society. She lives
in Berkeley with her husband.
Theresa Von Klug
G E N E R A L M A N AG E R
Theresa joined Berkeley Rep at the beginning
of the 2015–16 season. She has over 20 years
of experience in the New York not-for-profit
performing arts sector where she has planned
and executed events for dance, theatre, music,
television, and film. Most recently she was the
interim general manager for the Public Theater
and general manager/line producer for Theatre
for a New Audience, where she opened its
new state-of-the-art theatre in Brooklyn, and
filmed a major motion picture of the inaugural
production of Julie Taymor’s A Midsummer
Night’s Dream, released June 2015. Theresa has
worked as a production manager at the New
Jersey Performing Arts Center and New York
City Center, including the famous Encores!
Great American Musicals in Concert, and as
a field representative/lead negotiator for the
Association of Theatrical Press Agents and
Managers. She holds a MS in Labor Relations
and Human Resources Management from
Baruch College.
HOME
Peter Dean
P R O D U C T I O N M A N AG E R
Peter arrived at Berkeley Rep in 2014 after
a 20-year career in New York, Boston, and
Denver. Prior to trekking across the country
to find home, Peter was serving as production manager at the Public Theater, where
favorite works include Here Lies Love, Father
Comes Home from the War Parts 1–3, Mobile
Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and
the Eagles. Peter also spent time in New York
helping Alex Timbers to develop Rocky the
Musical, The Last Goodbye, and the cult classic
Dance Dance Revolution the Musical. Other
favorites include working with Edward Albee
to remount The Sandbox and The American
Dream at their original home at the Cherry
Lane Theatre, Little Flower of East Orange
directed by the late Phillip Seymour Hoffman,
and being a part of the development team
for The Ride, an interactive four-mile traveling
performance in the heart of Times Square.
Regionally Peter has had the honor of working
with the Huntington Theatre Company,
American Repertory Theater, Commonwealth
Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera,
and the Denver Center Theatre Company.
Peter is a graduate of Otterbein University.
G
The GRUBB Co.
R E A L T O R S
GRUBBCO.COM
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3
BE R K E L E Y R E P P R E S E N T S
Madeleine Oldham
R E S I D E N T D R A M AT U R G/
D I R E C T O R , T H E G R O U N D F LO O R
Madeleine is the director of The Ground Floor:
Berkeley Rep’s Center for the Creation and
Development of New Work and the Theatre’s
resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of The
House that will not Stand, Passing Strange, and
In the Next Room (or the vibrator play), among
others. As literary manager and associate
dramaturg at Center Stage in Baltimore, she
produced the First Look reading series and
headed up its young audience initiative. Before
moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she
oversaw an extensive commissioning program.
She also acted as assistant and interim literary
manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive
committee of Literary Managers and Dramaturgs of the Americas and has also worked with
act (Seattle), Austin Scriptworks, Crowded
Fire, the Eugene O’Neill Theatre Center, the
Kennedy Center, New Dramatists, Playwrights
Center, and Portland Center Stage.
Michael Suenkel
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley
Rep as the stage management intern for the
1984–85 season and is now in his 22nd year
as production stage manager. Some of his
favorite shows include 36 Views, Endgame,
Eurydice, Hydriotaphia, and Mad Forest. He has
also worked with the Barbican in London, the
Huntington Theatre Company, the Juste Pour
Rire Festival in Montreal, La Jolla Playhouse,
Pittsburgh Public Theater, the Public Theater
and Second Stage Theater in New York, and
Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s The Late
Henry Moss.
Jack & Betty Schafer
SEASON SPONSORS
Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s
board and is on the boards of San Francisco
Opera and the Straus Historical Society. He is
vice-chair of the Oxbow School in Napa and
an emeritus trustee of the San Francisco Art
Institute where he served as board chair. Betty
is on the boards of Earthjustice, Coro Foundation, Sponsors for Educational Oppor- tunity
(seo), San Francisco Community College
Foundation, and Brandeis Hillel Day School.
They live in San Francisco.
Michael & Sue Steinberg
SEASON SPONSORS
Michael and Sue have been interested in the
arts since they met and enjoy music, ballet,
and live theatre. Michael, who recently retired
3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
profiles
as chairman and chief executive officer of
Macy’s West, served on Berkeley Rep’s board
of trustees from 1999 to 2006 and currently
serves on the board of directors of the Jewish
Museum. Sue serves on the board of the
World of Children. The Steinbergs have always
enjoyed regional theatre and are delighted to
sponsor Berkeley Rep this season.
The Strauch Kulhanjian Family
SEASON SPONSORS
Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently
vice president of the board. He is chairman of
the Roda Group (rodagroup.com), a venturedevelopment company based in Berkeley
focused on cleantech investments, best
known for launching Ask.com and for being
the largest investor in Solazyme, a renewable
oil and bio-products company (Nasdaq: szym,
solazyme. com). Roger is chairman of the
board of CoolSystems, a medical technology
company, and a member of the UC Berkeley
Engineering Dean’s college advisory board.
He is chairman of the board of trustees for
the Mathematical Sciences Research Institute;
a member of the board of Northside Center,
a mental-health services agency based in
Harlem, New York City; and a co-founder of
the William Saroyan Program in Armenian
Studies at Cal. His wife, Julie A. Kulhanjian, is
an attending physician at Oakland Children’s
Hospital. They have three children.
Martha Ehmann Conte
LEAD SPONSOR
Martha, a 10-year season ticket holder, is
thrilled to once again support a season of
groundbreaking regional theatre at Berkeley Rep. Martha divides her time between
caring for her four incredible children, ages
7 to 18, and being an active philanthropist
and civic leader in the Bay Area. She serves
on the boards and committees of numerous
nonprofit organizations, including the Golden
Gate National Parks Conservancy, Point Blue
Conservation Science, and the Exploratorium
Catalyst Committee. In her free time, Martha
enjoys running, hiking, rowing, and traveling.
Martha’s professional background includes
15 years of brand-strategy consulting and
consumer advertising. She is a graduate and
active alumna of Princeton University.
Bruce Golden & Michelle Mercer
LEAD SPONSORS
Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they
moved with two young children in tow to
Berkeley. Their favorite evenings at Berkeley
Rep were usually the discussion nights, where
often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep
was an exceptional Bay Area cultural treasure
as it was willing to support courageous new
works and nurture innovative young play-
wrights. In 2002, Bruce and Michelle moved
to London, where they nourished themselves
on a steady diet of English theatre (note the
proper spelling) until they could return to
their beloved Berkeley Rep. They are delighted once again to be back in the very center of
leading-edge theatre and are honored to be
lead sponsors for two of this season’s great
productions. Their two now-grown children
are also tremendous theatre junkies and will
hopefully be joining Bruce and Michelle for
some of this season’s performances.
Helen & John Meyer/Meyer Sound
LEAD SPONSORS
John and Helen Meyer founded Meyer Sound
in 1979 to make high-quality, professional
sound systems. The company is now a global
leader offering a full-range of innovative audio
solutions including the patented Constellation Acoustic System recently installed in the
Peet’s Theatre. Global offices support clients
such as prestigious concert halls, sports stadiums, and airports, as well as restaurants, corporate boardrooms, and university classrooms
around the world. All products are manufactured at the company’s Berkeley headquarters
with premium materials and rigorous quality
control. Meyer Sound breakthroughs have
garnered more than 40 U.S. and international
patents and a string of top industry awards
including the prestigious R&D 100. A lifelong
passion for culture and community drives
John and Helen Meyer’s generous support
of performing arts organizations locally and
worldwide. The Meyers have subscribed to
Berkeley Rep since the Theatre’s inception,
and Helen has served as an integral member
of the Theatre’s board of trustees for 18 years.
Pam & Mitch Nichter
EXECUTIVE SPONSORS
Pam and Mitch recently retired from their
long-time careers as partners at Osterweis
Capital Management, a San Francisco investment manager, and Paul Hastings, a global
law firm, respectively. They recently moved to
their home in San Luis Obispo County where
they keep busy enjoying the beauty that life
has to offer by gardening, hiking, traveling,
and, of course, wine tasting. Pam serves on
the board of trustees at Berkeley Rep and is
chair of its Investment Committee. Pam and
Mitch have been enthusiastic supporters of
Berkeley Rep for years, are huge fans of Mary
Zimmerman’s work, and are thrilled to help
sponsor this production of Treasure Island.
David & Vicki Fleishhacker
SPONSORS
David and Vicki Fleishhacker’s families trace
their California roots back to the Gold Rush.
Both are have been involved in amateur
theatre for decades. Vicki has long been active
and performed with Children’s Theatre Association of San Francisco productions. David
appeared in over a dozen musical productions
as actor, singer, and lyricist. He is currently
on the board of Berkeley Rep and the San
Francisco Symphony Youth Orchestra. David's
parents met in amateur theatre, and his
father was instrumental in bringing American
Conservatory Theater to San Francisco. Other
family members have served on the boards of
act and Magic Theatre.
KATHIE LONGINOTTI
REALTOR® and Berkeley Rep Subscriber
Janis Turner
SPONSOR
Janis is delighted to be sponsoring Treasure
Island. She has attended and enjoyed Berkeley
Rep for 40 years, since it was in the theatre
on College Avenue. This sponsorship is in
gratitude for the pleasure she has received
from the productions. Janis is a retired public
school teacher who continues to get her kid
fix by substituting. She is an environmental
activist, chair of both the Tri-Valley group of
Sierra Club and Tri-Valley Citizens Against a
Radioactive Environment. An avid gardener,
she volunteers for U.C. Master Gardeners.
Thank you, Berkeley Rep, for your exciting innovation, represented in this new production
of Treasure Island.
510.981.3032
www.AtHomeEastBay.com
BART
SEASON SPONSOR
Bay Area Rapid Transit (bart) is the backbone
of the Bay Area transit network and serves
more than 100 million passengers annually.
bart’s all-electric trains make it one of the
greenest and most energy-efficient transit
systems in the world. Visit bart.gov/bartable
to learn more about great destinations and
events that are easy to get to on bart (like
Berkeley Rep!). At bart.gov/bartable, you can
get discounts, enter sweepstakes offering
fantastic prizes, and find unique and exciting
things to do just a bart ride away. While
you’re there, be sure to sign up for bartable
This Week, a free, weekly email filled with the
latest and greatest bartable fun.
kpix-tv (Channel 5)
SEASON SPONSOR
kpix 5 shares a commitment with cbs News to
original reporting. “Our mission is to bring you
compelling, local enterprise journalism,” emphasized kpix/kbcw President and General
Manager Bruno Cohen. “And just like Berkeley
Rep, we’re passionate about great storytelling. We strive to showcase unique stories
that reflect the Bay Area’s innovative spirit,
incredible diversity, and rich culture as well as
its challenges.” Sister station kbcw 44 Cable
12 airs the region’s only half-hour newscast
at 10pm. Produced by the kpix 5 newsroom,
“Bay Area NightBeat” offers viewers a fresh
perspective on current events along with a
lively—and often provocative—look at what
the Bay Area is saying and sharing online and
in social media. Both stations are committed
to supporting valuable community organizations such as Berkeley Rep, and are proud to
serve as season media sponsors.
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 35
Peet’s Coffee
SEASON SPONSOR
Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and salutes
Berkeley Rep for its dedication to the highest
artistic standards and diverse programming.
Peet’s is honored to support Berkeley Rep’s
renovation of the new, state-of-the-art Peet’s
Theatre. In 1966, Alfred Peet opened his first
store on Vine and Walnut in Berkeley, and
Peet’s has been committed to the Berkeley
community ever since. As the pioneer of the
craft coffee movement in America, Peet’s is
dedicated to small-batch roasting, superior
quality beans, freshness, and a darker roasting
style that produces a rich, flavorful cup. Peet’s
is locally roasted in the first leed ® Gold certified roaster in the nation.
Wells Fargo
SEASON SPONSOR
As the top corporate philanthropist in the Bay
Area (according to the S.F. Business Times),
Wells Fargo recognizes Berkeley Repertory
Theatre for its leadership in supporting the
performing arts and its programs. Founded
in 1852 and headquartered in San Francisco,
Wells Fargo provides banking, insurance,
investments, mortgage, and consumer and
commercial finance. Talk to a Wells Fargo
banker today to see how they can help you
become more financially successful.
Additional staff
Associate lighting designer
Stephen Sorenson
Deck crew
Bradley Hopper, Sofie Miller
Dialect coach
Lynne Soffer
Fight consultant
Dave Maier
Electrics
Melina Cohen-Bramwell, Gabriel Holman,
Bradley Hopper, Kevin August Landesman, Will
Poulin, Minerva Ramirez, Sarina Renteria, Matt
Reynolds, Corey Schaeffer, Andrea J. Schwartz,
Kourtney Snow, Caitlin Steinmann, Molly
Stewart-Cohn, Thomas Weaver, Lauren Wright
Production assistant
Amanda Mason
Did you know that you can purchase
GUARANTEED PARKING
for your performance?
Find out more at
BERKELEYREP.ORG/PARKING
or ask at the box office!
Props
Amelia Burke-Holt, Noah Kramer,
Rebecca Willis
Scene shop
Roger Chapman, Ross Copeland, Will Gering,
Noah Lange, Carl Martin, Read Tuddenham
Stage carpenter
Kourtney Snow
Studio teacher
Donnell Barnes
Wardrobe
Eva Herndon, Andrea Marlo Phillips,
Anna Slotterback
Medical consultation for Berkeley Rep
provided by Cindy J. Chang MD, ucsf Assoc.
Clinical Professor and Steven Fugaro, MD.
3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
We thank the many institutional partners who enrich our community by
championing Berkeley Rep’s artistic and community outreach programs.
We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who
made their gifts between December 2014 and February 2016.
G IF T S O F $ 10 0,0 0 0 A N D A B OV E
The California Endowment
The California Wellness Foundation
The William & Flora Hewlett Foundation
The Shubert Foundation
G IF T S O F $50,0 0 0 –9 9,9 9 9
Akonadi Foundation
The Reva and David Logan Foundation
National Endowment for the Arts
The Bernard Osher Foundation
The Harold and Mimi Steinberg Charitable Trust
BE R K E L E Y R E P T H A N K S
G IF T S O F $2 5,0 0 0 –49,9 9 9
Anonymous
BayTree Fund
The Frank H. & Eva B. Buck Foundation
Edgerton Foundation
The Ira and Leonore S. Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
G IF T S O F $ 10,0 0 0 –24,9 9 9
map Fund
Sierra Health Foundation
Institutional Partners
G IF T S O F $5,0 0 0 –9,9 9 9
Anonymous
Berkeley Civic Arts Program
Distracted Globe Foundation
East Bay Community Foundation
Ann and Gordon Getty Foundation
Panta Rhea Foundation
Ramsay Family Foundation
The Ida and William Rosenthal Foundation
G IF T S O F $750 –4,9 9 9
Alameda County Arts Commission/artsfund
Berkeley Association of Realtors
Joyce & William Brantman Foundation
Civic Foundation
The Entrekin Foundation
jec Foundation
twanda Foundation
COR P OR AT E S P ON S OR S
SEASON SPONSORS
G I F T S O F $ 10 0,0 0 0 A N D A B OV E
SPONSORS
G I F T S O F $ 3,0 0 0 – 5,9 9 9
Mechanics Bank Wealth Management
The Morrison & Foerster Foundation
4U Sports
Bayer
Gallagher Risk Management Services
Macy’s
CO R P O R AT E PA R T N E R S
G I F T S O F $ 6,0 0 0 –11,9 9 9
LE A D S P O N S O R
G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9
American Express
PE R FO R M A N CE S P O N S O R S
G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9
Armanino llp
City National Bank
Deloitte
LG Wealth Management llc
Meyer Sound
Panoramic Interests
Schoenberg Family Law Group
U.S. Bank
B U S IN E S S M E M B E R S
G I F T S O F $ 1, 5 0 0 –2 ,9 9 9
Bank of the West
BluesCruise.com
Cooperative Center Federal Credit Union
McCutcheon Construction
Oliver & Company
A DVO C AT E S
GIFTS OF $500–999
Presidio Bank
E XECU TIV E S P O N S O R S
G I F T S O F $ 2 5,0 0 0 –49,9 9 9
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent
opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts
education in the community. For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S
act Catering
Angeline’s Louisiana Kitchen
Aurora Catering
Autumn Press
Bare Snacks
Bistro Liaison
Bogatin, Corman & Gold
C.G. Di Arie Vineyard & Winery
Café Clem
Comal
Cyprus
Domaine Carneros by Taittinger
Donkey & Goat Winery
Drake’s Brewing Company
East Bay Spice Company
etc Catering
Eureka!
Farella Braun & Martel llp
Farm League Design &
Management Group
five
Folie à Deux
Gather Restaurant
Gecko Gecko
Hafner Vineyard
Hotel Shattuck Plaza
Hugh Groman Catering &
Greenleaf Platters
Jazzcaffè
Kevin Berne Images
La Mediterranee
La Note
Latham & Watkins llp
Match Vineyards
Mayer Brown llp
Pathos Organic Greek Kitchen
Phil’s Sliders
Picante
PiQ
Public Policy Institute
of California
Quady Winery
Revival Bar + Kitchen
The Ritz-Carlton, San Francisco
St. George Spirits
Sweet Adeline
Tigerlily Berkeley
Venus Restaurant
Whole Foods Market
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
Pro-bono legal services are
generously provided by
Farella Braun & Martel llp,
Latham & Watkins llp, and
Mayer Brown llp
M AT C H I NG G I F T S
The following companies have matched their
employees’ contributions to Berkeley Rep. Please
contact your company’s HR office to find out if your
company matches gifts.
Adobe Systems Inc. · Advent Software · American
Express · Apple · Applied Materials · Argo Group ·
at&t · Bank of America · BlackRock · Bristol Myers
Squibb · Charles Schwab & Co, Inc · Chevron
Corporation · Clorox · Constellation Energy · Dolby ·
Gap · Genentech · Google · ibm Corporation · John
Wiley & Sons, Inc. · kla Tencor · Lawrence Livermore
National Laboratory · Macy’s Inc. · Matson
Navigation Company · Microsoft · Morrison &
Foerster · norcal Mutual Insurance Company ·
Nvidia · Oracle Corporation · Salesforce.com · Shell
Oil · Sidley Austin llp, San Francisco · Synopsys · The
Walt Disney Company · Union Bank, The Private
Bank · visa u.s.a., Inc.
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7
BE R K E L E Y R E P
THANKS
Donors to the Annual Fund
We thank the many individuals in our community who help Berkeley Rep produce
adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands
of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual
Fund, who made their gifts between January 2015 and February 2016.
To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
S P ON S OR C I RC L E
SEASON SPONSORS
$ 10 0,0 0 0 +
Jack & Betty Schafer
Michael & Sue Steinberg
The Strauch Kulhanjian Family
LE A D S P O N S O R S
$ 5 0,0 0 0 – 9 9,9 9 9
Martha Ehmann Conte
Bruce Golden & Michelle Mercer
Frances Hellman & Warren Breslau
Wayne Jordan & Quinn Delaney
Ms. Wendy E. Jordan
Jane Marvin/Peets Coffee
Stewart & Rachelle Owen
Mary Ruth Quinn & Scott Shenker
Steve Silberstein
E XECU TIV E S P O N S O R S
$ 2 5,0 0 0 –49,9 9 9
Edward D. Baker
Rena Bransten
John & Stephanie Dains
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson M
Edward Kaufmann
Pam & Mitch Nichter
Marjorie Randolph
Sheli & Burt Rosenberg, in honor of
Leonard X Rosenberg
Jack & Valerie Rowe
Jean & Michael Strunsky
Guy Tiphane
Gail & Arne Wagner
A S S O CIAT E S P O N S O R S
$ 6,0 0 0 – 11,9 9 9
SPONSORS
$ 12 ,0 0 0 –2 4 ,9 9 9
Anonymous
Barbara & Gerson Bakar
Carole B. Berg
Maria Cardamone & Paul Matthews
Susan Chamberlin
David & Vicki Cox
Thalia Dorwick
Robin & Rich Edwards
David & Vicki Fleishhacker
Paul Friedman & Diane Manley M
Paul Haahr & Susan Karp
Scott & Sherry Haber
Jack Klingelhofer
Dixon Long
Sandra & Ross McCandless
Dugan Moore
Leonard X & Arlene B. Rosenberg
Joan Sarnat & David Hoffman
Liliane & Ed Schneider
Norah & Norman Stone
Janis Turner
Felicia Woytak & Steve Rasmussen
Anonymous (3)
Shelley & Jonathan Bagg
Edith Barschi
Neil & Gene Barth
Valerie Barth & Peter Wiley
Lynne Carmichael
Daniel Cohn & Lynn Brinton
Julie & Darren Cooke
Robert Council & Ann Parks-Council
Daryl Dichek & Kenneth Smith, in memory
of Shirley D. Schild
Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards M
Tracy & Mark Ferron
John & Carol Field, in honor of
Marjorie Randolph
Virginia & Timothy Foo
Jill & Steve Fugaro
Mary & Nicholas Graves
Doug & Leni Herst, in honor of Susie Medak
Hitz Foundation
Christopher Hudson & Cindy J. Chang, MD
Seymour Kaufman & Kerstin Edgerton
Wanda Kownacki
Ted & Carole Krumland
Zandra Faye LeDuff
Peter & Melanie Maier, in honor of
Jill Fugaro
Dale & Don Marshall
Martin & Janis McNair
Susan Medak & Greg Murphy,
in honor of Marcia Smolens
John & Helen Meyer / Meyer Sound
Steven & Patrece Mills M
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Barbara L. Peterson
Sue Reinhold & Deborah Newbrun
Kaye Rosso
Pat Rougeau
Patricia Sakai & Richard Shapiro
Cynthia & William Schaff
Emily Shanks
Pat & Merrill Shanks
Karen Stevenson & Bill McClave
Lisa & Jim Taylor
Wendy Williams
Linda & Steven Wolan
Martin & Margaret Zankel
A R T I S T IC DI R E C T OR’ S C I RC L E
PA R T N E R S
$ 3,0 0 0 – 5,9 9 9
Anonymous (5)
Marcia & George Argyris
Stephen Belford & Bobby Minkler
Becky & Jeff Bleich
Cynthia & David Bogolub
Kim Boston K
Jim Butler
Brook & Shawn Byers
Ronnie Caplane
Jennifer Chaiken & Sam Hamilton
Constance Crawford
Karen & David Crommie
Lois M. De Domenico
Delia Fleishhacker Ehrlich
Nancy & Jerry Falk
Karen Galatz & Jon Wellinghoff
Richard & Lois Halliday
Earl & Bonnie Hamlin
Vera & David Hartford
Renee Hilpert K
Richard N. Hill & Nancy Lundeen
James C. Hormel &
Michael P. Nguyen, in honor of
Rita Moreno
Lynda & Dr. J. Pearce Hurley
Kathleen & Chris Jackson
Duke & Daisy Kiehn
Rosalind & Sung-Hou Kim
Louise Laufersweiler &
Warren Sharp
Christopher & Clare Lee
Charlotte & Adolph Martinelli
Phyra McCandless &
Angelos Kottas
Miles & Mary Ellen McKey
Michele & John McNellis
Toby Mickelson & Donald Brody
Eddie & Amy Orton
Janet Ostler
Sandi & Dick Pantages
Pease Family Fund
Kermit & Janet Perlmutter
Ivy & Leigh Robinson
David S. H. Rosenthal &
Vicky Reich
Beth & David Sawi
Stephen Schoen & Margot Fraser
Linda & Nathan Schultz
Beryl & Ivor Silver
Audrey & Bob Sockolov
Vickie Soulier
Stephen Stublarec &
Debra S. Belaga
Deborah Taylor
Pamela Gay Walker/
Ghost Ranch Productions
Patricia & Jeffrey Williams
Sheila Wishek
Sally Woolsey
Mark & Jessica Nutik Zitter
B E N E FAC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (10)
Mel Adamson K
Naomi Auerbach & Ted Landau
Nina Auerbach
Linda & Mike Baker
Michelle L. Barbour
Don & Gerry Beers M
David Beery & Norman Abramson
Annikka Berridge
BluesCruise.com
Brian Bock and Susan Rosin
Caroline Booth
Linda Brandenburger
Broitman-Basri Family
Don & Carol Anne Brown
Katherine S. Burcham M
Stephen K. Cassidy &
Rebecca L. Powlan
Leslie Chatham & Kathie Weston
Terin Christensen
Ed Cullen & Ann O'Connor
James Cuthbertson
Barbara & Tim Daniels M
Jim & Julia Davidson
Richard & Anita Davis
Ilana DeBare & Sam Schuchat
David & Helen Dichek
Francine & Beppe Di Palma
Becky Draper
Susan English & Michael Kalkstein
Bill & Susan Epstein, in honor of
Marge Randolph
Merle & Michael Fajans
3 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
Cynthia A. Farner
Lisa & Dave Finer
Ann & Shawn Fischer Hecht
Linda Jo Fitz M
Patrick Flannery
James & Jessica Fleming
Jacques Fortier
Thomas & Sharon Francis
Herb & Marianne Friedman
Don & Janie Friend, in honor of
Bill & Candy Falik
Christopher R. Frostad M
James Gala
Dennis & Susan Johann Gilardi
Marjorie Ginsburg &
Howard Slyter
Daniel & Hilary B. Goldstine
Phyllis & Gene Gottfried
Robert & Judith Greber
William James Gregory
Garrett Gruener & Amy Slater
Ms. Teresa Burns Gunther &
Dr. Andrew Gunther
Migsy & Jim Hamasaki
Bob & Linda Harris
Ruth Hennigar
In memory of Vaughn &
Ardis Herdell
Howard Hertz & Jean Krois
Bill Hofmann & Robbie Welling M
The Hornthal Family Foundation,
in honor of Susie Medak’s
leadership
Rick Hoskins & Lynne Frame
Paula Hughmanick &
Steven Berger
George & Leslie Hume
Ingrid Jacobson
Beth & Fred Karren
Doug & Cessna Kaye
Bill & Lisa Kelly
Steve K. Kispersky
Jean & Jack Knox
Lynn Eve Komaromi, in honor of
the Berkeley Rep Staff
John Kouns & Anne Baele Kouns
Helen E. Land
Robert Lane & Tom Cantrell
Randy Laroche & David Laudon
Sherrill Lavagnino &
Scott McKinney
Andrew Leavitt & Catherine Lewis
Ellen & Barry Levine
Bonnie Levinson & Dr. Donald Kay
Erma Lindeman
Jennifer S. Lindsay
Tom Lockard & Alix Marduel
John Maccabee K
Vonnie Madigan
Elsie Mallonee
Naomi & Bruce Mann
Helen Marcus & David Williamson
Lois & Gary Marcus
Sumner & Hermine Marshall
Rebecca Martinez
Jill H. Matichak
Erin McCune
Kirk McKusick & Eric Allman
Dan Miller
Andy & June Monach
Scott Montgomery & Marc Rand
Jerry Mosher
Marvin & Neva Moskowitz
Daniel Murphy & Ronald Hayden
Judith & Richard Oken
Sheldeen Osborne
Joshua Owen & Katherine Robards
Judy O’Young, MD & Gregg Hauser
Matt Pagel & Corey Revilla
Gerane Wharton Park
Bob & MaryJane Pauley
Tom & Kathy Pendleton
David & Bobbie Pratt
Carol Quimby-Bonan
Andrew Raskopf &
David Gunderman
Bill Reuter & Ruth Major
Maxine Risley, in memory of
James Risley
John & Jody Roberts
Horacio & Angela Rodriguez
Deborah Romer & William Tucker
Boyard & Anne Rowe
Enid & Alan Rubin, in honor of
Rebecca Martinez
Lisa Salomon & Scott Forrest
Monica Salusky &
John K. Sutherland
Jeane & Roger Samuelsen
Stephen C. Schaefer
Jackie & Paul Schaeffer
Dan Scharlin & Sara Katz
Joyce & Jim Schnobrich
Neal Shorstein, MD &
Christopher Doane, in honor of
Gail Wagner, MD
Mark Shusterman, M.D.
Edie Silber & Steve Bomse
Dave & Lori Simpson
Amrita Singhal & Michael Tubach
Cherida Collins Smith
Ed & Ellen Smith
Sherry & David Smith
Sigrid Snider
David G. Steele
Andrew & Jody Taylor
Alison Teeman &
Michael Yovino-Young
Susan Terris
Samuel Test
Jonathan & Kiyo Weiss
Beth Weissman
Wendy Willrich
Steven Winkel & Barbara Sahm
Charles & Nancy Wolfram
Ron & Anita Wornick
Sam & Joyce Zanze
Jane & Mark Zuercher
LEGEND
K in-kind gift
M matching gift
We are pleased to recognize
first-time donors to
Berkeley Rep, whose names
appear in italics.
BE R K E L E Y R E P T H A N K S
Donors to the Annual Fund
CH A M PIO N S
$ 1,0 0 0 –1, 49 9
Anonymous (6) · Tracy Achorn · Gertrude E.
Allen, in memory of Robert Allen · Roy &
Judith Alper · Peggy & Don Alter · Pat Angell,
in memory of Gene Angell · Ross E.
Armstrong · Barbara Jones & Massey J.
Bambara M · Leslie & Jack Batson · Patti
Bittenbender · Dr. S. Davis Carniglia & Ms. M.
Claire Baker · Paula Carrell · Stan & Stephanie
Casper · Ed & Lisa Chilton · Patty & Geoff
Chin · Chris & Martie Conner · Phyllis
Coring K · John & Izzie Crane · Mike & Pam
Crane · Teri Cullen · Meredith Daane M · Abby
& Ross Davisson · Harry & Susan Dennis ·
Robert Deutsch · Corinne & Mike Doyle · David
& Monika Eisenbud · Paul Feigenbaum & Judy
Kemeny · Frannie Fleishhacker · Dean Francis ·
Lisa Franzel & Rod Mickels · Donald & Dava
Freed · Judith & Alex Glass · Ann Harriman, in
memory of Malcolm White · Elaine
Hitchcock · Mr. & Mrs. Harold M. Isbell · Ken
& Judith Johnson · Randall Johnson · Barbara
E. Jones, in memory of William E. Jones ·
Thomas Jones · Marilyn Kecso · Christopher
Killian & Carole Ungvarsky · Janet Kornegay
and Dan Sykes · Woof Kurtzman & Liz Hertz ·
William & Adair Langston · Linda Laskowski ·
Glennis Lees & Michael Glazeski · Nancy &
George Leitmann, in memory of Helen
Barber · Jay & Eileen Love · Meg Manske · John
E. Matthews · Brian & Britt-Marie Morris ·
Margo Murray · Paul Newacheck · Claire
Noonan & Peter Landsberger · Judy Ogle ·
Lynette Pang & Michael Man · Charles R.
Rice · Richard Rouse M · Deborah Dashow
Ruth, in memory of Leo P. Ruth · Mitzi Sales &
John Argue · Teddy & Bruce Schwab · Seiger
Family Foundation · Alice & Scott So · Joshua
We gratefully recognize
the following members
of the Annual Fund whose
contributions were
received in January and
February 2016:
S U PP O R T E R S
$ 2 5 0 –49 9
Anonymous (4) · Anonymous, in honor of
Ruth & George Staten · Miriam & Matthew
Agrell · Anna Badger · Alice Breakstone &
Debbie Goldberg · Eugenia Brin · Barbara J.
Brown · Marc & Ellen Brown · Patricia & Peter
Coffin · Chris & Martie Conner · Edith
Cornelsen · Gary & Diana Cramer, in memory
of Doris Titus · Rev. Don & Lil Cunningham ·
Cecilia Delury & Vince Jacobs · Karen & David
Dolder · Laura Downing-Lee & Marty Lee ·
Stephen Follansbee & Richard Wolitz · Molly
& Harrison Fraker · Kate Funk · John & Diane
Gossard · Linda Graham · Nina G. Green · Roy
& Ann Hammonds Jr. · Dr. & Mrs. Alan Harley ·
Alan Harper & Carol Baird · I. Craig
Henderson · Henry Hewitt · Pamela Hudson ·
Kimberly J. Kenley-Salarpi · Beth & Tim
Kientzle M · Marit Lash · Harry & Eileen
Lewis · Gerald Lubenow, in memory of Joan
Lubenow · Charles Mann · Igor Maslennikov ·
Aliza and Peter Metzner · Lynne & Perry Pelos ·
Evan Painter & Wendy Polivka · Bonnie Raitt ·
Arthur Reingold & Gail Bolan · Ruth Rosen &
David Galin · Marie Rosenblatt · Ezekiel B.
Scherl, in honor of Bruce Golden · Ron & Esther
Schroeder · James Skelton · Nancy Spero &
Norm Brand · Lillis & Max Stern · Duncan
Susskind K · Ted Westphal · Moe & Becky
Wright · Paul Wyman · William Yragui
& Ruth Simon · Douglas Sovern & Sara
Newmann · John St. Dennis & Roy Anati ·
Gary & Jana Stein · Annie Stenzel · Michael
Tilson Thomas & Joshua Robison · Pate & Judy
Thomson · Alistair & Nellie Thornton · Deborah
& Bob Van Nest · Sallie Weissinger · Lee
Yearley & Sally Gressens
A DVO C AT E S
$500–999
Anonymous (21) · Denny Abrams · Fred &
Kathleen Allen · Kerrie Andow · Robert &
Evelyn Apte · Jerry & Seda Arnold · Gay & Alan
Auerbach · Steven & Barbara Aumer-Vail ·
Todd & Diane Baker · Celia Bakke · Steve
Benting & Margaret Warton · Richard & Kathy
Berman · Robert Berman & Jane Ginsburg ·
Caroline Beverstock · Steve Bischoff · Gun
Bolin · Ellen Brackman & Deborah Randolph ·
Diane Brett · Eric Brink & Gayle Vassar M · Jill
Bryans · Wendy Buchen · Barbara & Robert
Budnitz · Don Campbell and Family · Dr. Paula
Campbell · Robert & Margaret Cant · Bruce
Carlton · John Carr · Carolle J. Carter & Jess
Kitchens · Laura Chenel · Kim & Dawn Chase ·
Karen Clayton & Stephen Clayton · Dennis
Cohen & Deborah Robison · Robert & Blair
Cooter · Philip Crawford · Sharon & Ed
Cushman · Jill & Evan Custer · Robert & Loni
Dantzler · Pat & Steve Davis · Jacqueline
Desoer · Noah & Sandra Doyle · Kristen
Driskell · Linda Drucker & Lawrence Prozan ·
Burton Peek Edwards & Lynne Dal Poggetto ·
Roger & Jane Emanuel · Meredith & Harry
Endsley M · Gini Erck & David Petta · Michael
Evanhoe · James Finefrock & Harriet Hamlin ·
Brigitte & Louis Fisher · Martin & Barbara
Fishman · Patrick Flannery · Robert Fleri, in
memory of Carole S. Pfeffer · Midge Fox K ·
CO N T RIB U TO R S
$ 15 0 –2 49
Anonymous (8) · Mehrdad Afrahi · Mark &
Dana Allen K · Clara Arakaki · Steve Balling ·
June Barbera · Anne Binnie · Lara Blair · Beverly
Blatt & David Filipek · Shawn Borsky · Francois
Bourgault · James Bovee · Maureen Burchert ·
Jennifer Burden · Robert & Karen Cabrera ·
Lucy Carter · Anita Cazin · Timothy & Rita
Child · Soo-Young Chin · Matthew & Sandra
Coblentz · Tacy Quinn, in the name of Andrew
Conard · Edmund L. DuBois, in honor of Ethel
McDonald DuBois · Lori & Gary Durbin · Lara
Eidemiller, in memory of Mary Jo Pottenger ·
David Eimerl, in memory of Geoffrey · Roy
Eyal · Antonia Fairchild · Michael & Vicky Flora ·
Walt French & Virginia Yang · Angie Garling ·
Kevan Garrett · James & Jewelle Gibbs · Janet
Goldberg · Nancy A. Goolsby · Dan Grace ·
David Graves · Lisa Hane · Jane Headley ·
Laurin Herr & Trisha Gorman-Herr · Carolyn
Holm · Derek Holstein · William Hyatt · Lynn
Ireland · Armond & Kathy Jordan · Sally Juarez ·
Mr. & Mrs. David Kirshman · Mary Sue &
Dennis Kuzak · Marc Larby · Gloria Letelier ·
Ronald & Shoshana Levy · Ana Lichterman ·
Annette C. Lipkin, in memory of Paul Lipkin ·
Dottie Lofstrom · Janet & Marcos Maestre ·
Laura Martell · Shawn & Jane Mason · Andrew
R. McGrath · Catherine McLane · Kathy
McLean · Jamie Miller · Farrokh Modabber ·
Ann Marie W. Molyneaux · Marie A. Moran ·
Tom & Karen Nagy · Jennifer Nixon & Charles
Wood · Crystal Olson · Denise Pate, in
memory of William Ian Fraser · Riess & Tara
Potterveld · Kristen Ray · Ann Regan · Marianna
Reynova · Virginia N. Rigney · Kathleen Anson
Riley · Robert Rogers · Joe Rudy M · Kay Vinson
Ruhland · Thomas Savignano & Peter Benson ·
Diane Schreiber & Bryan McElderry M · Hugh
& Aletha Silcox · Madeleine Sloane · Anne &
Robert Spears · Bonnie Taylor · Susan Taylor &
Nancy H. Francis · Harvey & Deana
Freedman · Paul & Marilyn Gardner · Tim
Geoghegan · Robert Goldstein & Anna
Mantell · Susan & Jon Golovin · Jane
Gottesman & Geoffrey Biddle · Priscilla
Green · Don & Becky Grether · Dan & Linda
Guerra · John G. Guthrie · Ken & Karen
Harley · Janet Harris · Dan & Shawna Hartman
Brotsky M · Geoffrey & Marin-Shawn Haynes ·
Irene & Robert Hepps · Steven Horwitz K ·
Helmut H. Kapczynski & Colleen Neff ·
Patricia Kaplan · Marjorie & Robert Kaplan, in
honor of Thalia Dorwick · Natasha Khoruzhenko
& Olegs Pimenovs · Mary S. Kimball · Beverly
Phillips Kivel · Jeff Klingman & Deborah
Sedberry · Judith Knoll · Joan & David
Komaromi · Yvonne Koshland · Jennifer
Kuenster & George Miers · Natalie Lagorio ·
Jane & Michael Larkin · Almon E. Larsh Jr ·
Henry Lerner · Ray Lifchez · Renee M. Linde ·
Mark & Roberta Linsky · Bruce Maigatter &
Pamela Partlow · Joan & Roger Mann · Sue &
Phil Marineau · Marie S. McEnnis · Sean
McKenna · Christopher McKenzie & Manuela
Albuquerque · Brian McRee · Ruth Medak ·
Jeff Miner · Geri Monheimer · Ronald
Morrison · Patricia Motzkin & Richard
Feldman · James & Katherine Moule · James
Musbach · Ron Nakayama · Kris & Peter
Negulescu · Jeanne E. Newman · Pier &
Barbara Oddone, in memory of Michael
Leibert · Peggy O'Neill · Carol J. Ormond ·
Mary Papenfuss & Roland Cline · Nancy Park ·
Brian D. Parsons · James Pawlak · P. David
Pearson · Bob & Toni Peckham, in honor of
Robert M. Peckham, Jr. · Lewis Perry · Suzanne
Pierce, in honor of Carol D. Soc · F. Anthony
Placzek · Gary F. Pokorny · Charles Pollack &
Joanna Cooper · Susie & Eric Poncelet ·
Roxann R. Preston · Rich Price · Linda Protiva ·
Laurel & Gerald Przybylski · Dan & Lois
Purkett · Kathleen Quenneville · David &
Mary Ramos · Sheldon & Catherine Ramsay ·
Adam Rausch K · Arthur Reingold & Gail
Bolan · Helen Richardson · Wesley Richert ·
Paul & Margaret Robbins · Gary Roof &
Douglas Light · Ronald & Karen Rose · Geri
Rossen · Jirayr & Meline Roubinian · Eve
Saltman & Skip Roncal, in honor of Kerry
Francis & John Jimerson · Dorothy R. Saxe ·
Joyce & Kenneth Scheidig · Laurel Scheinman ·
Bob & Gloria Schiller · Mark Schoenrock &
Claudia Fenelon · Dr. David Schulz M · John &
Lucille Serwa · Lyman Shaffer · Brenda
Buckhold Shank, M.D., Ph.D. · Margaret
Sheehy · Steve & Susan Shortell · Margaret
Skornia · William & Martha Slavin · Carra
Sleight · Suzanne Slyman · Jerry & Dick
Smallwood · Louis & Bonnie Spiesberger ·
Robert & Naomi Stamper · Herbert
Steierman · Lynn M. & A. Justin Sterling ·
Monroe W. Strickberger · Dr. & Mrs. Joseph
Terdiman · Prof Jeremy Thorner & Dr. Carol
Mimura · Karen Tiedemann & Geoff Piller ·
William van Dyk & Margi Sullivan · Gerald &
Ruth Vurek · Jon K. Wactor · Adrian & Sylvia
Walker · Louise & Larry Walker · Kate Walsh &
Dan Serpico · Buddy & Jodi Warner · Dena &
Wayne Watson-Lamprey · Mike Weinberger &
Julianne Lindemann · Harvey & Rhona
Weinstein · William R. Weir · Robert & Sheila
Weisblatt · Dr. Ben & Mrs. Carolyn Werner ·
Elizabeth Werter & Henry Trevor · Jill Wild ·
Fred Winslow & Barbara Baratta · Laura &
Ernest Winslow · Carol Katigbak Wong ·
Caroline Wood · Evelyn Wozniak · Margaret Wu
& Ciara Cox · Sandra Yuen & Lawrence Shore
Paul Utrecht · Marta Tobey · Clarence Travis ·
Susan D. Ward · Andrew T. & Linda V.
Williams · William Wolverton · Christopher D.
Woodward · Carolyn Zaroff
Kewchang Lee, M.D. & Kevin DeYager · James
Leventhal & Karen Klier · Trudy Lionel · Fred &
Amy Loebl · Nancy Loewenthal · Patricia Lord ·
Michael Manga · Redge & Carole Martin ·
Kimberly Mayer · Christopher F. McKee ·
Malvern & Suzy Mead · Diane Means & Tom
Slanger · David & Corey Miller · David Miller, in
memory of Jennifer Miller · Pamela Miller ·
Katherine B. Mohr · Stephanie Mooers ·
Robert & Mia Morrill · Linda Moulton · Sora
Lei Newman · Lisa Norris · Robert & Carol
Nykodym · Marcia Nyman · Robin Olivier ·
Kristin & David Olnes · Jim Olson · David &
Mary O'Neill · Judith O'Rourke · Kristina
Osborn · Lori Ostlund & Anne Raess · Roy &
Susan Otis · Michelle Parker · Margaret Pasholk ·
Beth Pennington · Wendy Peterson · Margaret
A. Phillips · Stephen Popper & Elizabeth Joyce ·
Chuck & Kati Quibell · Charleen Raines ·
Charles Raymond & Nancy Nagramada ·
Susan Robertson · Linda Roman · Martha Ross ·
Carolyn Sanders · Babak Sani · Heather
Schooler · James Schubert · Janice Schwartz ·
Grant Scully · Willa Seldon · Lyman Shaffer ·
Carole Sheft · Lee & Mary Shilman · Alexander
Shtulman · Nicholas Smith · Pam Smith · Steven
Sockolov · Karla Spormann · Christy Story ·
Marietta Stuart · Jane Swinerton · Carol
Takaki · Jill Tarter · Carol Thompson · Jennifer
M. Van Natta · Barbara & William Vaughan ·
Robert Visser M · Paul & Dorothy Wachter ·
Norma Walkley · Kathleen Wallace · Jan O.
Washburn · Neil Weinstein · Sue Weinswig ·
William Weisman · Robert T. Weston · Kent
Wisner · Susan Wolfe · Michael A. Wong · Peter
& Loretta Woolston · Marisha Zeffer
FRIE N D S
$ 75 –149
Anonymous (13) · Mark Amaro · Kris Anthony ·
Margalynne Armstrong · Kate Augus · Peter
Bacich · Kent & Carolyn Barnes · Alice
Bartholomew · Louise & Stuart Beattie · Holly
& Martin Bern · Thomas G. Bertken · Helmut
Blaschczyk · Katherine Blenko · Margaret
Booth · Karen & Steven Bovarnick · Elizabeth
Breslin · Ken Bruckmeier · Melody Burns ·
Alice Butler · Susan Carling · Linda Carr & Jay
Siegel · Tomas Christopher & Elizabeth
Giacomo · Sofia Close · Marc & Jennifer
Cohen · Jan Collins · Jeff & Laura Critchfield ·
Andrew Davis · Jamie B. Deichen · Chauncey
DiLaura · Daniel Druckerman · Robert Engel, in
memory of Natalie Seglin · Tina & Dennis
Etcheverry · Linda A. Feldman, in memory of
Robert Feldman · Patricia Fox · Beverlee
French & Craig L. Rice · Mr. & Mrs. Jack M.
Garfinkle · Diane Garrett · Steve & Valerie
Garry · Jim Gilbert & Susan Orbuch · Meryl
Ginsberg M · Roberta Goldberg · Michael
Green · Susan Guerrero · Jeffrey & Leslie
Hamerling · Frede S. Hammes · Larry
Hanover · Thomas Haspel · Nancy Heastings &
Colleen Vermillion · Jan & Richard Heinz · Jane
Hiatt · Tina Hittenberger & Charles Pyle ·
Marie F. Hogan & Douglas A. Lutgen · Karen
Holtermann · Dr. Steven J. and Helen Holtz ·
H. Cavett Hughes · Carolyn Hutton · Clay
Jackson · Fred Jacobson · Loisann Jacovitz ·
Ginny & Robin Jaquith · Dashini Jeyathurai ·
Kristen & Todd Jones · Kimberley Kahler ·
Casey Kho · Susan Kraft & Patrick Scott · Lynn
Landor · Mr. & Mrs. Richard Larsen · Joan
Larson · Melissa & Steve Lawton · Eun Soo Lee ·
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9
BE R K E L E Y R E P T H A N K S
Donors to the Annual Fund
PAT RO N S
$ 1 –74
Anonymous (23) · Marsha Abbott · Helen Abel ·
Julie Absey · Elizabeth Accardi · Amelia Adams ·
Joy Addison · Susan Adler · Rajesh Aji · Judi G.
Amos · Patt Bagdon · Suzanne L. Baird · Renee
Baker · David Bassein · Janet M. Basu · Francine
Beall · Philip J. Beilin · Stuart Bell · Peter
Benvenutti & Lise Pearlman · Richard & Jan
Bergamini · Philip E. Berghausen Jr · Shawna
Berry · Ann T. Binning · David Bird · Diana
Black-Kennedy · Mary Anne Bland · Joan
Bodway · Dixie L. Bohlke · Dvora & Neil
Boorstyn · Celine Boutte · Melanie M.
Brandabur MD · Sheila Braufman · Lucinda L.
Brisbane · Elizabeth Brooking · Sara Brose ·
Jacquelyn Brown & Ken Prochnow · Kay
Browne · Angela Brunton · Elena Caruthers ·
Stephanie Casenza · Linda Chambers · Marcelle
Ching · Elvin Chong · Glenda Chui · Alvin
Claiborne · Nicole Claro & Francis Quinn · Susie
Coliver · Jennifer Colosimo · Jeanne Cooper ·
Patricia Corrigan · Daniel Cowles · Pamela
Coxson · Peter & Karen Dahl · Anthony M.
Dalli · Susan David · Rena Davidow · Donna
Davies · Harold A. Davis · Rekisha T. Davis ·
Kathryn Day · Katherine De luna · Daphne de
Marneffe · Clay Deanhardr · Hannah Denmark ·
Laura & Todd Dillard · Gloria Donohue · Steven
& Sylvia dos Remedios · Jason Dulkin · Mariko
Eastman · Kevin Eckert · Lisberth Elgroth · Ellen
Eoff & Michael Kelly · Brenda Evans · Kathy
Evans · Marna & Phil Eyring · Al & Sue Farmer ·
Ernie J. Fazio Jr · Elisa Federspiel · Bella Feldman ·
Barbara Fendel · Mary Ann Fisher · Susan
Fishman · Richard J. Foote · Nancy Fox · Rose
Fraden · William Freais & Andrea Silvestri ·
Mildred Frederick · Ronald Freitas, in memory
of William Ian Fraser · Geroncio Galicia · Tom
Gandesbery · Susan Gann · Deborah Garcia ·
Sandi Gariffo · Phoebe Gaston · Ms.
Antoinette Gathy · Richard Gentry · John C
Gerhart · William C. Glenn · Paul Glodis & Mary
Sanders · David M. Goi · Kayla Gold · Nancy
Gorrell · Jordan Greenwald · Marilyn Griego ·
Tom & Emily Griswold · Tom Harrington ·
Jonathan Harvey · Barbara J. Hazard · Yunqian
He · Stephen Headley, Oceola Gallery · Joya
Heart · Mrs. Karen Heather · John & Bonna
Heebink · Michele & Karl Heisler · Peter Heller ·
Marilyn & Seymour Hertz · Stanley & Maria
Hertz · Edwin Hill · Richard Hippard · Barbara
Hirschfeld and David Sussman · Hawley
Sterling Holmes · Peter Honigsberg · Harold
Hughes & Esther Gordon, in honor of Alan
Seder · Barbara Hume · Austin Hurst · Rebecca
Husband · Anne Huyett · Candace
Hyde-Wang · Donna Ireland · Mary Ireland ·
Aditi Iyer · Kevin Jackson · Sandy Jaffe · Denise
Jenkins · Ann Jennings, in memory of Nancy
Nieradka · Sheri Jennings · Lani Jerman · Ji-li
Jiang · Karen Johnson · Peter D. Johnson · Susan
Johnson · Kenneth P. Jones · Lynn Jones · Sheila
Kahan · James Kaiser · Elizabeth Kaplan · Tobey
Kaplan & Nan Busse · Irene Katsumoto · Jon
Keller · Jeff Kelley & Hung Liu · Nancy Kelly ·
Dacher Keltner & Mollie McNeil · Robert &
Carla Kennis · Robert Kessler · Amy Kidd ·
Sustaining members
as of February 2016:
Anonymous (6)
Norman Abramson & David Beery
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Susan & Barry Baskin
Carole B. Berg
Linda Brandenburger
Broitman-Basri Family
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Paula Champagne & David Watson
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Thomas W. Edwards &
Rebecca Parlette-Edwards
Bill & Susan Epstein
William Espey & Margaret
Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Haeyuon Kim · Christine Kinavey · Dana Kirby ·
Irina Kizler · Tracey Kniffin · Bruce Knopf · Doris
Kogo · Ron Kresge · Beatrice Krivetsky ·
Brooke Kuhn · Howai Lai · Sunshine Lampitoc
Smith · Lanny J. Lampl & Sharon Hunter · Gilad
Landan · Zelda Laskowsky · Maria Lee · Troy
Lee · Monika Leitz · Dean Leri · Catherine
Leutzinger · Carole Levenson · Susan Levin ·
Sandy Levitan · Barbara Levy · Nancy
Lewin-Offel · Susan Li · Betsy Lichtenberg · Jean
Rowe Lieber · Liedeker Family · Silvia Lin ·
Andrea Linder · Janice Loh · Michelle Lommen ·
The Hardtke Family · Marguerite Longtin ·
Marlene Lund · Diana Lyster · Kiran Malavade ·
Lesley Martin · Bradford & Jennifer
McCullough · Beatrice McIntosh · Kent
McKinney · Stacey Merryman · Harriett
Michael · Kathleen Michon & Dough
Riegelhuth · Paul Millner · Kirk Mills · Sandra
Mills · William Mills · Amy Mitchell · Morvarid
Moayeri · Sonjay Modi · Adam Montanaro ·
Cindy Morris · Jane Dutton Morris · Dr. & Mrs.
Charles Moser · Tod Mostero · Edie Murphy ·
Karen Myers · Arvalea Nelson · Marilyn K.
Nelson · Alice & Norbert Nemon · Ann
Newman · Wendy & Craig Nishizaki · Helen
Norris · Kenneth D. Nowick · Jean O'Donnell ·
Vivian Olsen · Sally Ooms · Anne Ording ·
Elizabeth Ouren · Milton Palmer · Lisa Palter ·
James Parent · Philip E. Peabody · Jonathan
Peischl · Janice Perry · Michael & Laura
Perucchi · Thomas Peters · Hillary Pierce · Estelle
Piper · Margo Pizzo · Rachel Plummer · Carolyn
Poetzsch · Don and Vivian Polishuk · Paula
Dr. Harvey & Deana Freedman
Joseph & Antonia Friedman
Paul T. Friedman
Dr. John Frykman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Mary & Nicholas Graves
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Julie & Paul Harkness
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Lynda & Dr. J. Pearce Hurley
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez
Suzanne & Charles McCulloch
Polley · Balaji Rajam · Nancy Reyes · Jane
Reynolds · Katherine Riemer · Maura Riordan ·
Jeffrey Robbins & Mary Spletter · Nancy
Rutledge · William Ryan · Nancy Sale · Judith
Saucedo · Robert Scalise · Heather Schlaff ·
Allison Schneider · Otto Schnepp · Tamar
Schnepp · Rebecca Scholl · Susan Schreiber ·
Patricia A. Schwartz · William Scott · Roberta
Sears · Don Seaver, in memory of Bill Ian
Fraser · Jennifer Seid · Daniel Seligson · Priya
Shah · Peter Sharp · Mertis Shekeloff · Dawn
Shifreen-Pomerantz · Jeff & Mardi
Sicular-Mertens · Eve Siegel · Belinda Sifford ·
James Silkensen · Kay Slocum · Beth Smerdon ·
Gwen Souza · Claudia Spain · Sandra Spangler ·
John Spence · Margaret Stark · Peter Stein · Mary
Alice & Walt Stevenson · Amy Stoloff · Beverly
Stone · Craig Stone · Lori Stone · Owen Strain ·
Ruth & David Stronach · Patricia Sullivan ·
Wayne Sutton · Ruth Suzuki · Miriam Swernoff ·
Claire Tam · Diana Tauder · David Thompson ·
Baela Tinsley · Linda Torres · Alice & John Trinkl ·
Hong Tsui · Burr Tyler · Antonia van Becker &
Greg Lee · Richard & Virginia Van Druten ·
Anthony W. Vigo & Marcy Jackson · Martha
Wade · Agnieszka Walczak · William Walraven ·
William Watson · Gene Weinstein · Kathleen
Weater · Douglas Wilcoxen & Karen Carkhuff ·
Emily J. Willingham · Lois B. Winter · Dorothy
Woessner · Chad Wolbrink · Charlene & Jerry
Wolf · Justin Wong · Grace D. Woods-Puckett ·
Ruth Wrentmore · Evyn Zell · Mike & Leslie
Zimring · David Zisser · Linda Zittel
John G. McGehee
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Stephanie Mendel
Toni Mester
Shirley & Joe Nedham
Pam & Mitch Nichter
Sheldeen G. Osborne
Sharon Ott
Amy Pearl Parodi
Barbara L. Peterson
Regina Phelps
Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
David Rovno
Tracie E. Rowson
Deborah Dashow Ruth
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Michael & Sue Steinberg
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Guy Tiphane
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust—Weil Family
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Helen Barber
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Jill Bryans
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Gladys Perez-Mendez
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected].
4 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
BOA R D OF
T RU ST E E S
BE R K E L E Y R E P STA F F
Michael Leibert Artistic Director
Tony Taccone
ARTISTIC
Director of Casting &
Artistic Associate
Amy Potozkin
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Manager
Sarah Rose Leonard
Ground Floor Visiting
Artistic Associate
SK Kerastas
TCG Artist-in-Residence
Reggie D. White
Associate Artist
Liesl Tommy
Artists under Commission
David Adjmi · Todd Almond ·
Christina Anderson · Glen Berger ·
Jackie Sibblies Drury ·
Rinne Groff · Dave Malloy ·
Lisa Peterson · Sarah Ruhl ·
Joe Waechter
P R ODUC T ION
Production Manager
Peter Dean
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Leslie M. Radin · Karen Szpaller ·
Julie Haber · Kimberly Mark Webb
Production Assistants
Amanda Mason · Sofie Miller ·
Betsy Norton
S TA G E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P R OP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Assistant Technical Director
Matt Rohner
Shop Foreman
Sam McKnight
Master Carpenter
Jamaica Montgomery-Glenn
Carpenter
Patrick Keene
SCENIC ART
Charge Scenic Artist
Lisa Lázár
COSTUMES
Costume Director
Maggi Yule
Associate Costume Director/
Hair and Makeup Supervisor
Amy Bobeda
Managing Director
Susan Medak
Draper
Alex Zeek
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Box Office Manager
Richard Rubio
Ticket Services Supervisor
Samanta Cubias
Box Office Agents
Sophia Brady · Christina Cone ·
Carmen Darling · Jordan Don ·
Julie Gotsch · Eliza Oakley
ELECTRICS
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
M A R K E T I NG &
C OM M U N I C AT ION S
Director of Marketing,
Communications, and
Patron Engagement
Polly Winograd Ikonen
Director of Public Relations
Tim Etheridge
Marketing Director
Peter Yonka
Art Director
Nora Merecicky
Communications Manager
Karen McKevitt
Webmaster
Christina Cone
Video & Multimedia Producer
Christina Kolozsvary
Program Advertising
Ellen Felker
Front of House Director
Kelly Kelley
Senior House Manager
Debra Selman
Assistant House Managers
Jessica Charles · Steven Coambs ·
Aleta George · Mary Cait Hogan ·
Ayanna Makalani · Sarah Mosby ·
Tuesday Ray
Concessions Manager
Hugh Dunaway
Concessionaires
Jessica Bates · Samantha Burse ·
Steven Coambs · Alisha Ehrlich ·
Sarah Mosby · Benjamin Ortiz ·
Jenny Ortiz · Sandy Valois
S OU N D A N D V I DE O
Sound Supervisor
James Ballen
Sound Engineers
Angela Don
Annemarie Scerra
Video Supervisor
Alex Marshall
A DM I N I S T R AT ION
Controller
Suzanne Pettigrew
General Manager
Theresa Von Klug
Associate General Manager/
Human Resources Manager
David Lorenc
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Sarah Williams
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Payroll Administrator
Rhonda Scott
Systems & Applications Director
Diana Amezquita
Systems Assistant
Debra Wong
Yale Management Fellow
Adam Frank
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Director of Special Events
Julie Cervetto
Special Events Manager
Kelsey Hogan
Individual Giving Manager
Joanna Taber
Development Database
Coordinator
Jane Voytek
Development Operations Associate
Beryl Baker
Executive Assistant
Emma Nicholls
B OX OF F I C E
Ticket Services Director
Destiny Askin
Subscription Manager
Laurie Barnes
OP E R AT ION S
Facilities Director
Mark Morrisette
Facilities Manager
Lauren Shorofsky
Building Engineer
Thomas Tran
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Sophie Li · Carlos Mendoza · Oliver
Sweibel · James Posey · Jesus
Rodriguez · LeRoy Thomas
BERKELEY REP
S C HO OL OF T H E AT R E
Associate Director
MaryBeth Cavanaugh
Program Manager, Training and
Community Programs
Anthony Jackson
Registrar
Katie Riemann
Community Programs Administrator
Modesta Tamayo
Faculty
Andy Alabran · Bobby August Jr. ·
Erica Blue · Rebecca Castelli · Jiwon
Chung · Sally Clawson · Dex Craig ·
Laura Derry · Deborah Eubanks ·
Maria Frangos · Nancy Gold · Gary
Graves · Marvin Greene · SusanJane Harrison · Andrew Hurteau ·
Julian López-Morillas · Dave Maier ·
JanLee Marshall · Patricia Miller ·
Jack Nicolaus · Slater Penney · Marty
Pistone · Diane Rachel · Rolf Saxon ·
Elyse Shafarman · Arje Shaw · Joyful
Simpson · Rebecca Stockley
Jan and Howard Oringer
Teaching Artists
Erica Blue · Carmen Bush · Khalia
Davis · Amber Flame · Safiya
Fredericks · Gendell Hing-Hernández ·
Dave Maier · Marilet Martinez ·
Michelle Navarette · Jack Nicolaus ·
Carla Pantoja · Marcelo Pereira ·
Radhika Rao · Salim Razawi · Lindsey
Schmelzter · Teddy Spencer · Simon
Trumble · Elena Wright · Patricia
Wright · Michelle Wyman
Teen Core Council
Bridey Bethards · Carmela Catoc ·
Fiona Deane-Grundman · Lucy Curran ·
Tess DeLucchi · Devin Elias ·
Adin Gilman-Cohen · Max Hunt ·
Michael Letang · Joi Mabrey ·
Genevieve Saldanha · Christian
Santiago · Maya Simon · Chloe Smith
Docent Co-Chairs
Matty Bloom, Content
Joy Lancaster, Recruitment
Selma Meyerowitz, Off-Sites
and Procedures
Treasure Island Docents
Ellen Kaufman, Lead Docent
Francine Austin · Monica Fox · Helen
Gerken · Joy Lancaster · Stephen Miller ·
Rhea Rubin · Catherine Warren
201 5–16 B E R K E L E Y R E P
FELLOWSHIPS
Bret C. Harte Directing Fellow
Molly Houlahan
Company Management Fellow
Emilie Pass
Costume Fellow
Anna Slotterback
Development/Fundraising Fellow
Loren Hiser
Education Fellow
Jamie Yuen-Shore
Graphic Design Fellow
Itzel Ortuño
Harry Weininger Sound Fellow
Sam Fisher
Lighting/Electrics Fellow
Harrison Pearse Burke
Marketing &
Communications Fellow
Lorenz Angelo Gonzales
Peter F. Sloss Literary/
Dramaturgy Fellow
Katie Craddock
Production Management Fellow
Katherine DeVolt
Properties Fellow
Samantha Visbal
Scenic Art Fellow
Melanie Treuhaft
Scenic Construction Fellow
Shannon Perry
Stage Management Fellow
James McGregor
President
Stewart Owen
Vice Presidents
Roger A. Strauch
Jean Z. Strunsky
Treasurer
Emily Shanks
Secretary
Leonard X Rosenberg
Chair, Trustees Committee
Jill Fugaro
Chair, Audit Committee
Kerry L. Francis
Immediate Past President
Thalia Dorwick, PhD
Board Members
Carrie Avery
Edward D. Baker
David Cox
Robin Edwards
Lisa Finer
David Fleishhacker
Paul T. Friedman
Karen Galatz
Bruce Golden
David Hoffman
Susan Karp
Jonathan C. Logan
Jane Marvin
Sandra R. McCandless
Susan Medak
Pamela Nichter
Richard M. Shapiro
Tony Taccone
Gail Wagner
Felicia Woytak
Past Presidents
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Marjorie Randolph
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Martin Zankel
Sustaining Advisors
Carole B. Berg
Rena Bransten
Diana J. Cohen
William T. Espey
William Falik
John Field
Nicholas M. Graves
Scott Haber
Richard F. Hoskins
Carole Krumland
Dale Rogers Marshall
Helen Meyer
Dugan Moore
Mary Ann Peoples
Peter Pervere
Marjorie Randolph
Pat Rougeau
Patricia Sakai
Jack Schafer
William Schaff
Michael Steinberg
Michael Strunsky
Martin Zankel
F OU N DI NG DI R E C T OR
Michael W. Leibert
Producing Director, 1968–83
2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1
FYI
Latecomers
Please arrive on time. Late seating is not guaranteed.
Connect with us online!
Theatre info
Considerations
Visit our website berkeleyrep.org
You can buy tickets and plan your visit,
watch video, sign up for classes, donate to
the Theatre, and explore Berkeley Rep.
Emergency exits
Please note the nearest exit. In an emergency,
walk—do not run —to the nearest exit.
No food or glassware in the house
Beverages in cans or cups with lids
are allowed.
Accessibility
Both theatres offer wheelchair seating and
special services for those with vision or
hearing loss. Assistive listening devices are
available at no charge. Scripts are available in
the box office.
No smoking
The use of e-cigarettes is prohibited in
Berkeley Rep’s buildings and courtyard.
facebook.com/
berkeleyrep
@berkeleyrep
@berkeleyrep
vimeo.com/
berkeleyrep
We’re mobile!
Download our free iPhone or Google Play
app — or visit our mobile site —to buy
tickets, read the buzz, watch video, and plan
your visit.
Tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
Educators
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Ticket exchange
Subscribers may exchange their tickets for
another performance of the same show—
for free (no fees)! Online or by phone.
Nonsubscribers may also exchange their
tickets, but an exchange fee and reasonable
restrictions will apply, by phone or in person
only.
All exchanges can be made until 7pm the day
preceding the scheduled performance. All
exchanges are made on a seat-available basis.
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647-2949; email [email protected];
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Phones / electronics / recordings
Please make sure your cell phone or watch
alarm will not beep. Use of recording
equipment or taking of photographs in the
theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look, but
please don’t step onto the stage.
Bringing children to the Theatre
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre. All
attendees must have a ticket: no lap-sitting
and no babes in arms.
Theatre maps
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42 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6
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CON VER SAT ION
My Retirement Plan® is a simple, online tool that creates manageable steps to keep your
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Find your way up.
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