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Stage kids then and now 14 · In conversation with Sarah Ruhl 24 · The program for For Peter Pan on her 70th birthday 33
THE BERKELEY REP M AGA ZINE
2 015 –16 · I S S U E 7
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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 · 3 4
BE R K E L E Y R E P P R E S E N T S FOR PETE R PAN ON HE R 70TH B IRTHDAY · 33
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 · 41
A letter from the managing director · 7
Individual donors to the Annual Fund · 42
Michael Leibert Society · 44
R E P ORT
10
Home away from home: Welcoming artists to
Berkeley Rep · 10
The doctors in the house · 13
A BOU T BE R K E L E Y R E P
Staff, board of trustees,
and sustaining advisors · 45
Stage kids then and now · 14
Teen Night: Where teens and professional
artists meet · 16
Swanky, spiffy, SPEAKEASY! · 19
FYI
Everything you need to know about our
box office, seating policies, and more · 46
All’s “Wells” that ends well · 21
24
Really live theatre: Animals onstage at
Berkeley Rep · 23
F E AT U R E S
Plays as gifts: In conversation with
Sarah Ruhl · 24
I won’t grow up! · 26
Gravity: An interview with Director
Les Waters · 28
30
I don’t want ever to be a man: Performing
gender in Peter Pan · 30
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 7
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: Kathleen Chalfant (photo by Itzel Ortuño)
Writers
Beryl Baker
Katie Craddock
Bethany Herron
Loren Hiser
Sarah Rose Leonard
Karen McKevitt
Emilie Pass
Jamie Yuen-Shore
Contact Berkeley Rep
Box Office: 510 647-2949
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2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 3
P ROL OG U E
from the Artistic Director
I’m a fan of breaking the rules. But I
also believe that you have to earn the right to break them.
I’ve always felt that a play can change course, employ
a different form, or shift the focus of its content, if such
a change fulfills the play’s intention. The risk is larger, of
course, than a play that uses a simple, linear narrative or a
consistent, familiar style of expression. But the rewards are
potentially much greater: if the shift is effective, the feeling
in the audience of being unexpectedly transported can be
positively euphoric. Things make a different kind of sense.
And in the best experiences, our view of the world is changed.
In her new play, Sarah Ruhl breaks the traditional rules of dramatic structure.
A naturalistic story of a family’s bereavement morphs into a fantastical expression
of their unrealized desire; agnosticism and cynicism give way to faith and wonder.
The story we thought we were watching becomes another story altogether, one
that transcends our original expectations and which becomes a testament to the
redemptive power of human imagination. It is a risk on Sarah’s part, a risk that I think
is entirely earned.
To chart this unique theatrical journey, Sarah has teamed up again with the
intrepid Les Waters. The two have a long and rich history, beginning with Eurydice,
which premiered on our stage over a decade ago. Sarah and Les are both comfortable
pushing the boundaries of form because they are masters of the craft, as evidenced
by their subsequent work on In the Next Room and Dear Elizabeth. From the heartland
of Louisville, Kentucky where this play premiered a few months ago, they bring a cast
to Berkeley headed by the enormously talented Kathleen Chalfant and filled with a
gifted roster of friends old and new. It’s a joy to have Sarah and Les back here, where
they still have an artistic home, and where we get to help them break some old rules
and invent some new ones.
Sincerely,
Tony Taccone
2 0 1 5 –1 6 · I S S U E 7 · 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. 7
Paul Heppner
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5/3/16 12:07 PM
P ROL OG U E
from the Managing Director
As the artistic and creative teams and
Berkeley Rep’s staff approached the first performance of
Sarah Ruhl’s moving meditation about growing up versus
growing old, I was reminded of an extraordinary letter we
received in April from a high school teacher who brought his
class to a student matinee of Macbeth.
“I’ve seen high school more and more resemble the work
place: long hours, hard work, not meant to be fun….” he said.
“It’s become such a high-pressure rat race that it’s harder and
harder to get students to come on field trips.” He said that
students are afraid of missing classes and upsetting other teachers. They’re afraid of
not getting into the right college. He continued, “But seeing my kids watching the
show today, their faces lit up afterward, taking apart this or that scene, it reminds me
of the real job of art: it’s to make us feel alive, not just that we exist.”
How ironic that the Baby Boomers in Sarah Ruhl’s play are nostalgic for their
childhood while so many of today’s children have the stress and worries that adults
do! What will their lives be like—and what will our world look like—20 years
from now?
Countless studies show the arts also promote empathy, collaboration, problem-solving, and more. Certainly these skills are just as vital to the workplaces of
tomorrow as mathematical and scientific aptitude—and that’s just if we think of the
arts in quantifiable terms. The arts do make us feel alive, whether we’re young or
young at heart.
Warmly,
Susan Medak
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 7
This page Katy Owen in Kneehigh’s 946: The Amazing Story of
Adolphus Tips (photo by Steve Tanner)
Opposite page, left to right Director Lisa Peterson, Playwright
Jeff Augustin, The cast of Kneehigh’s 946: The Amazing Story
of Adolphus Tips (photo by Steve Tanner), Director David Ivers,
Playwright Lisa Loomer (photo by Jenny Graham), Director Mira
Nair (photo by Ishaan Nair), Playwright Brandon Jacobs-Jenkins
(photo by Imogen Heath)
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TICKET PA -2949 · CLICK BERKELEY
CALL 510 647
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 7
7
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HAND TO GOD
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
Sinclair Lewis’ satirical novel follows the ascent of a demagogue
who becomes president of the United States by promising to
return the country to greatness. Called “a message to thinking
Americans” upon its publication, this eerily prescient book
receives a new adaptation just in time for election season.
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
Five kids in modern-day Haiti, all entangled in a dark history
of servitude, 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.
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
Kneehigh is back! The theatrical alchemists return with a tender
new coming-of-age tale that uncovers the secrets behind World
War II’s D-Day landings—with swingin’ live music, enchanting
puppetry, and signature stage sorcery.
SEASON
SPONSORS
By Robert Askins
Directed by David Ivers
Main Season · Peet’s Theatre
West Coast premiere
A spectacularly foul-mouthed and wickedly scandalous sock
puppet shocks a town’s congregation with his outrageous
insinuations, exposing their deepest secrets—and teaching us
all about love, grief, and what it means to be human. “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
In turns shocking, humorous, and poignant, Roe cuts through the
headlines and rhetoric to reveal the divergent personal journeys
of Roe v. Wade lawyer Sarah Weddington and plaintiff Norma
McCorvey (“Jane Roe”) in the years following the fateful decision.
MONSOON WEDDING
Book by Sabrina Dhawan
Music by Vishal Bhardwaj
Lyrics by Susan Birkenhead
Directed by Mira Nair
Main Season · Roda Theatre
World premiere
Award-winning film director Mira Nair brings her exuberant and
sumptuous Monsoon Wedding to Berkeley Rep’s stage in this highly
anticipated world premiere musical about an arranged marriage
between a modern upper-middle-class Indian family’s only
daughter and an American guy she’s never met.
AN OCTOROON
By Branden Jacobs-Jenkins
Director to be announced
Limited Season · Peet’s Theatre
Playwright Branden Jacobs-Jenkins won the Obie Award for his
radical, incendiary, and subversively funny riff on Dion Boucicault’s
once-popular 1859 mustache-twirling melodrama. A spectacular
collision of the antebellum South and 21st-century cultural politics,
An Octoroon is “This decade’s most eloquent theatrical statement
on race in America today,” says the New York Times.
2 0 1 5 –1 6 · I S S U E 7 · 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
Berkeley Rep’s Company Manager Jean-Paul Gressieux
and Company Management Fellow Emilie Pass
P H OTO BY I T ZEL O R T U Ñ O
Home away from home
Welcoming artists to Berkeley Rep
B Y E M I L I E PA S S
Playwright Sarah Ruhl points out in her essay
“Mothers on Stage” that from Medea to Mama Rose the maternal experience in theatre has “been told from the point of view
of sons, written by sons.” While theatre history has given us
plenty of charming matriarchs, she notes that it has not given us
much of the mother’s perspective on stage.
Why is this the case? The most persuasive explanation
Sarah offers is that theatre “lags behind the other literary arts
in terms of what can be told, because its medium is embodied,
subject to all kinds of material concerns that make it slower
to change.”
Another explanation may be that while writing fiction
might require a room of one’s own, making a play requires being
in the room during rehearsals. For Berkeley Rep to produce
works like For Peter Pan on her 70th birthday, a play inspired by
a mother and artist written by a mother and artist, we must
help theatremakers set aside some of their material concerns to
create magic on our stages.
This is where the company management department
comes in. Once the artistic department selects scripts, assembles creative teams, and casts actors, the company management department tries to make it possible for artists from all
over the world and at various moments in their personal lives
to come to Berkeley Rep and create. As Jean-Paul Gressieux,
Berkeley Rep’s company manager, says, “We tend to hire people
who reflect our values.” Because Berkeley Rep values representing a diversity of experiences for our audiences, the needs of
our artists shift and change from production to production.
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 7
A company manager encompasses the jobs of personal
assistant, medical advisor, landlord, FedEx worker, interior
decorator, party planner, and hotel concierge. That said, the title
A company manager encompasses
the jobs of personal assistant,
medical advisor, landlord, FedEx
worker, interior decorator, party
planner, and hotel concierge.
encapsulates the job description—to help a group of actors and
artists feel at home in our community, to become a part of the
Berkeley Rep company. Enabling artists to reach a place of comfort in their personal lives so that they may be vulnerable and
daring in their artistic work can be as simple as locating a new
blender, recommending a good Thai restaurant, or providing a
ride to a doctor’s appointment. It’s often more complicated, and
quite often the most important duty of a company manager is
listening. Jean-Paul says, “Being a company manager is a people
job. It’s all conversations, all interactions.”
In my time as Berkeley Rep’s company management fellow
I have memorized the aisles of Ikea, learned how to draft Actors’
Equity Association contracts, and successfully operated a fax
CO N TIN U E D O N PAG E 12
CO N TIN U E D FRO M PAG E 10
HOME
machine. But the task that has given
me the most joy has been working with
artists who might have been thwarted by
prejudice and logistics in the past. I have
returned to Sarah’s thoughts on motherhood and theatre frequently this season.
I have had the joy of seeing the mothers
of very young children produce some
of the most powerful art on Berkeley
Rep’s stages, including Jane Cox’s lighting
in Amélie, Nisi Sturgis’ performance
in Disgraced, and Julia Cho’s writing in
Aubergine. Watching these artists and
mothers work feels like the opening of a
new chapter in theatre history.
Working with these artists and their
families presents unique challenges and
rewards. The first time I picked up one of
this season’s artists and her family from
the Oakland Airport, it seemed to take
Our Theatre is made
richer when artists
bring their full,
complex selves to
their work.
G
The GRUBB Co.
R E A L T O R S
GRUBBCO.COM
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 7
an eternity to win the Tetris game of piling suitcases and strollers into Berkeley
Rep’s 2004 Dodge Ram. Patience was
running out for the kids; the stakes were
high. “How can I help? What can I do?” I
asked as I tucked carry-ons into available
corners of the van, unsure if I was helping or hurting the cause. Later, as we sat
on the highway immobilized by traffic,
her daughter sighed, “Are we going in
circles?” You can imagine my surprise
when the next time I met the family at
baggage claim the same girl greeted me
with a hug. “Emilie!” she said. “Let’s go
find the big blue van!” Apparently the
car had made a big impression, and had
stood out as a highlight of her visit to
Berkeley. This time, we loaded everything up with comfort and ease.
Sarah Ruhl writes, “for my sanity,
these two practices, of motherhood and
making things, so primary, need to feel
as though they are compatriots.” Our
Theatre is made richer when artists bring
their full, complex selves to their work.
We strive to help our artists do just that.
Dr. Chang and playwright KJ Sanchez
Dr. Fugaro and wife Jill Fugaro
P H OTO BY J A R ED OAT E S
R E P ORT
The doctors in the house
BY KAREN MCKEVITT
While Berkeley Rep’s company manage-
ment staff helps our out-of-town artists find a home away from
home, our medical consultants Dr. Cindy Chang and Dr. Steve
Fugaro ensure that our actors in particular stay healthy.
“If an actor has a cold or back pain or something like that,
Berkeley Rep will call me,” says Dr. Chang, who completed
specialty training in family medicine and fellowship training in
sports medicine. “If it’s beyond my scope of knowledge, I can
refer them to someone else.”
“I’ve assisted singers who have had laryngitis or
bronchitis,” adds Dr. Fugaro, who has a private practice.
“One actor needed a root canal, and I was able to refer them
to a specialist.”
Anyone who’s fallen ill while traveling knows how disconcerting it is to be hundreds of miles away from their doctor or
dentist. “I think it’s a comfort to the actors to have a resource
and a safety net while they’re here,” notes Dr. Chang.
Dr. Fugaro has a particularly fond spot in his heart for
actors—his son was a professional actor who spent a year in
Oregon Shakespeare Festival’s acting company. “Our son had
an interest in acting in high school,” he explains. “His teacher
encouraged him to see Mary Zimmerman’s Secret in the Wings
at Berkeley Rep, and my family became progressively more
involved with the Theatre since then.” In fact, Dr. Fugaro and
his wife, Jill, signed on as associate sponsors of Mary Zimmerman’s recent production of Treasure Island.
An associate professor at ucsf and a team physician
at UC Berkeley, Dr. Chang’s relationship with Berkeley Rep
deepened last year during the development and production
of KJ Sanchez’s X’s and O’s (A Football Love Story), a docudrama
that explores concussions in football and America’s love of
“I think it’s a comfort to the actors
to have a resource and a safety net
while they’re here.”
—DR . C H A NG
the game. “My husband and I were associate sponsors on the
show, and I was asked to look at the script to ensure that the
medical terminology was accurate,” she says. “It was really fun
to do that, and so important.”
Managing Director Susan Medak says, “We’re so fortunate
to count Dr. Chang and Dr. Fugaro as members of our community. They provide vital services for our artists, and they do so
with compassion and for the love of theatre.”
“It’s an honor to care for the actors,” says Dr. Fugaro. “It’s
my small way of giving back to Berkeley Rep considering how
much it’s given to audiences.”
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3
R E P ORT
Stage kids
then and now
BY BETHANY HERRON
Jennifer Shin, Hanson Tse, and Madison Logan V. Phan in after the quake
P H OTO BY K E V I N B ER N E
Nancy Carlin, Brigette Lundy-Paine, and Howard Swain in The Pillowman
P H OTO BY K E V I N B ER N E
Joy Carlin and Eli Marienthal in Missing Persons
P H OTO BY K E N F R I ED M A N
Devynn Pedell and Aaron Simon Gross in Brundibar
P H OTO BY K E V I N B ER N E
At Berkeley Rep, we know that theatre can transform a child’s life, and that arts education has a tremendous
impact, no matter what field a student may end up in. That’s
why our School of Theatre visits over 100 local schools every
year—but our School is only one avenue through which young
people come to Berkeley Rep.
Over the past 48 years, our stages have hosted some
amazing talent, not the least of which is found in the young
actors who have grown up backstage. Sometimes, especially in
our early years, these youngsters were the sons and daughters
of our company members—Sharon Lockwood’s daughter Rose
in Slavs, or Geoff Hoyle’s daughter Kailey in The First 100 Years
(or even a not-so-young Jorma Taccone in Fuente Ovejuna).
Sometimes they were local students from our own School,
such as much of the cast of Brundibar, and sometimes they
were up-and-coming stars with already strong résumés. However they came to us, these kids have taken off to do some
amazing things. It was great to catch up with a few of them
recently and see the wide range of futures that have unfolded
for them.
BRIGET TE LUNDY- PAINE
then 11 years old in Brundibar
after 12 years old in The Pillowman
now
21 years old, nyu drama student, recently seen in
Woody Allen’s Irrational Man
As the daughter of local actors and theatre-makers Laura
and Robert Lundy-Paine, Brigette already had a long list of
credits when she made her Berkeley Rep debut. After the
summer-camp-like ensemble of Brundibar, Brigette was cast
again at Berkeley Rep in The Pillowman, a play with a decidedly
different tone. We asked her about her memories as she was
taking a break from shooting Wilde Wedding (a movie coming out next year where she’ll be seen playing Glenn Close’s
granddaughter). “I knew the subject matter of Pillowman was
weird—my grandma was mad I was doing it—but it was just a
fun experience for me! I got to be buried alive onstage, sinking
down in a coffin, and then getting led out by a stage manager
holding a ladybug flashlight.” Those years remain some of the
most fun times of her life, and she made lifelong friends: when
not shooting movies, she sings in a band called Subtle Pride in
New York with another Brundibar actor, Misha Brooks.
ELI M ARIENTHAL
then 10 years old in Missing Persons, and 13 years old
in Galileo
after voice of Hogarth Hughes in The Iron Giant,
multiple movie roles, and a first generation Youth
Speaks poet
now
30 years old, in charge of youth programs at Back
to Earth and a PhD candidate in Geography at
UC Berkeley
Acting was an important piece of Eli’s life throughout middle and high school, but upon graduation, when his agent told
him he had to make the choice between a career in LA and life
in the Bay Area, Eli’s path focused. “Today, my academic work
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 7
continues to be about facilitating collaborative art practices—
bringing people together to make art of the fabric of their lives.”
Eli’s focus on human geography at UC Berkeley has led
him to research and participate in a wide variety of civic rituals
of healing, and most recently, the cultural politics of belonging
in Oakland, an area where theatre and the arts can play an
important role. “As we grasp in uncertain ways toward some
better way of being with each other, some more peaceful way
of coexisting in the city, not only is the ability to come together
in appreciation of the arts a powerful avenue for that to happen—but so is the opportunity for people to come and make
art together.”
It’s that connection to other people, more than any single
moment or scene, that Eli remembers from his plays at Berkeley
Rep. “The collective nature of doing live theatre, the way people
rely on each other, the sense of personal responsibility to do
my part and do it well—the whole process was hugely formative for me, a rite of passage in what I would call a high-risk,
high-reward situation. I now run an organization, Back to Earth,
that does leadership development with teenage boys, and I
feel in them this incredible hunger to be taken seriously and to
be offered opportunities to grow into the next, biggest, most
responsive version of themselves.”
M ADISON LOGAN V. PHAN
then 9 years old, in after the quake
now
17 years old, in her final year of high school
The arts still have a strong presence in Madison Logan
Phan’s life and have helped to inspire her academic career. This
spring she’s appearing in her high school’s production of Chicago, and next year she’ll be headed off to college to study biology, but she’s sure that she won’t leave theatre behind entirely.
“Having theatre in my life at such an early age had an impact on
me because I was lucky enough to realize my passions so early
on, and Berkeley Rep helped me with that.”
In addition to memories of her castmates, Madison fondly
remembers her tutor, Carolyn (and her really good pasta dish).
As fun as it looks to those of us in the audience, a young actor’s
life is packed solid with hard work. In addition to their work
onstage, where they keep pace with their professional adult
counterparts, every young person in a cast is provided with a
tutor who makes sure they are keeping up on their schoolwork
and not falling behind their class. The right tutor can help make
the experience even more powerful for a young person. “It
was honestly such a great experience that taught me so many
things, and I will always be so grateful for the opportunity to be
a part of the Berkeley Rep community!”
Each and every one of the more than 40 young actors who
have studied their math homework between scenes at Berkeley
Rep feels like a member of our family, and we can’t help feeling
a flush of pride whenever we talk about the amazing things
they’re accomplishing, the heights they’re reaching, and the inspiring pathways they are forging for themselves. We’re thrilled
to have this opportunity to brag about them to our community,
and we’ll be sure to let you know when they cure the common
cold after becoming President of the United States. (The way
these kids are going, I give it five years.)
Berkeley Rep’s 2005 production of Brundibar
featured a plethora of children, many of which kept
touch with us over the years
MISHA BROOK S
9 years old, Brundibar
after Appeared in the Teen One Acts
now First year at New York University. In the band Subtle
Pride with Brigette Lundy-Paine
A ARON SIMON GROSS
11 years old, Brundibar
after Played Archie in 13, A New Musical in the original
Broadway production in 2008, appeared in As Seen
Through These Eyes (2008), The Good Wife (2009), and
Made in Jersey (2012)
now 20 years old, drama and musical theatre major
at Northwestern
GIDEON L A Z ARUS
11 years old, Brundibar
after 12 in Pillowman, Teen Council member, attended
the Crowden School
now Junior at the New School in New York, studying dance
and political science
ALEC ROBERT M ATHIESON
12 years old, Brundibar
after Graduated from nyu’s Tisch School of the Arts, where
he studied musical theatre at the New Studio on
Broadway (nsb). Outside of school, Alec has been
seen in Kenneth Branagh and Rob Ashford’s Macbeth
now 22, starting national tour of Ragtime
DEV YNN PEDELL
9 years old, Brundibar
after 10 years old, Mary Poppins on Broadway, Jane Banks
now First year of college at Ithaca, musical theatre major
BRENDAN REILLY
12 years old, Brundibar
after Pillowman the next year; Teen Council and School of
Theatre classes
now 22
ERIN REILLY
10 years old, Brundibar
after Enrolled in Teen Council and School of Theatre classes
now 20. Volunteered in costume shop this past season
M ADELINE SILVER M AN
10 years old, Brundibar
after Pillowman the next year
now 20
GABRIEL VERGEZ
10 years old, Brundibar
after 11 years old in Pillowman, Teen Council member
now In college
2 0 1 5 –1 6 · I S S U E 7 · 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
Teen Night: Where teens and
professional artists meet
BY JA MIE Y UEN-SHORE
When I was 16, I met Mary Zimmerman. It was at
Teen Night: Argonautika for which adaptor/director Mary Zimmerman was to be the guest speaker. My friend and I arrived,
not knowing that that evening we would be eating pizza with a
MacArthur “Genius” Award–winning theatre artist. That night,
a few dozen teens circled around to hear Mary give an engaging interview on adaptation, play creation, and the process of
choosing cast members for her shows. To this day, listening to
her speak while eating pizza with friends at an exclusively teen
event is one of my favorite theatre memories. I can appreciate
now what an incredible and rare experience that was.
The opportunity to meet professional artists is a unique
and special aspect of Berkeley Rep’s Teen Nights. At each of
the seven Teen Nights, 80 to 100 teens get to attend a teen-led
pre-show discussion with an artist or artists involved in that
production, in addition to dinner and a ticket the show. This
season’s Teen Night speakers have included cast members
from Amélie, A New Musical; Berkeley Rep Literary Manager
Sarah Rose Leonard; Disgraced Associate Director Nate Silver
and actor Behzad Dabu, who played Abe; Berkeley Rep Michael
Leibert Artistic Director Tony Taccone; and most recently, Macbeth star Conleth Hill.
For each Teen Night, a member of Berkeley Rep’s teen
leadership group, the Core Council, is selected to interview
our guest speaker. To prep for the interview, the Core Council
member reads the play ahead of time, researches the speaker’s
biography, and comes up with 10 to 15 potential questions. The
1 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 7
teen then discusses these potential questions with School of
Theatre Programs Manager Anthony Jackson and the education
fellow, and talk through what it will be like to moderate
an interview.
Many of the questions for the guests revolve around their
artistic process and career path. Maya Simon, Core Council
member and junior at the Oakland School of the Arts, was our
first teen interviewer of the season for Teen Night: Amélie,
A New Musical. She recalls, “The actors gave a lot of really
“The actors gave a lot of really
important advice about how to find
projects we were interested in, how
to network, and about the creative
process of a new musical.”
—M AYA SI MON
important advice about how to find projects we were
interested in, how to network, and about the creative process
of a new musical.”
Over half of Teen Night attendees are Season Pass holders,
meaning they have bought tickets to all seven shows at the
Amélie: A New Musical Teen Night
P H OTO BY I T ZEL O R T U Ñ O
beginning of the season like a subscriber. For some guest
speakers, it is unusual not only to speak to a group of such
enthusiastic young theatre fans, but also to have so many of
those young fans be well versed in a broad range of theatre
from Molière to Tony Kushner. Many Teen Night attendees
aspire to work in the theatre, thus the Q & A portion of the
discussion offers a great chance to learn more about how to
get there.
After coming up with questions for the guests, many teen
interviewers find moderating a challenge. Maya says, “The
hardest part for me was giving the actors a chance to say all
they wanted to on the question while trying to manage the
time. I learned more than I ever thought I would about public
speaking and facilitation from the interview, in addition to
gaining a lot of valuable life and career advice.”
“It was really cool to interview Conleth Hill,” adds Chloe
Smith, the interviewer at Teen Night: Macbeth. “It was nerve
wracking, but I was really excited. He was very funny and it
was a great learning experience on how to conduct an interview. I learned how to move a conversation and try to gauge
what he seemed interested in and what the audience was
interested in.”
For the teens, the experiences can be especially poignant
when our guests are candid. Tess DeLucchi, who interviewed
Aubergine director Tony Taccone, recalled, “The most memorable part of the interview was when Tony spoke about supporting his friend during their last months; how he essentially had
to watch them slowly die and the effect it had on his percep-
tion of the show’s direction and mortality overall. This moment
of intense honesty was so surprising.”
Over the many years and iterations of Teen Night, the preshow interview with a professional theatre artist has remained
an essential part of the evening. Interviewee Sarah Rose Leonard, who prior to her tenure as Berkeley Rep’s literary manager
was part of the first Teen Council, reflected on the experience
of now being a guest at Teen Night. “It was very surreal to be
interviewed by Teen Council when I remember sitting in their
chairs 14 years ago. We used to have to hustle to fill up a Teen
Night, and now it is sold out every time! Seeing professional
theatre is so important for teenagers because it exposes them
to high-quality, aesthetically rigorous plays that are among the
finest in the world. It gives them a sense of what is possible
and hopefully inspires them to push themselves to create
amazing art.”
I hope each teen that attends Teen Night leaves with a
great theatre memory, hopefully one as good as eating pizza
with Mary Zimmerman.
To learn more about Teen Night,
visit berkeleyrep.org/teennight.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7
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R E P ORT
Swanky, spiffy,
SPEAKEASY!
BY LOREN HISER
P H OTO BY C H E S H I R E I S A AC S
On Saturday, April 2, nearly 350 of the Bay Area’s
top arts supporters gathered at The Ritz Carlton, San Francisco
to celebrate Berkeley Rep at the Theatre’s annual fundraising
event. Berkeley Rep’s SPEAKEASY at the RITZ exemplified
all the glitz, glam, and Gatsby-era grandiosity of the roaring
’20s, and the magnificent attire of our valued supporters was
equaled only by the pleasure of their company.
A gathering of prominent community members, creative
and corporate professionals, and philanthropic leaders, SPEAKEASY brought together theatre lovers from throughout the
Bay Area. We were thrilled to see supporters of the arts get
“all dolled up” and join us for the night in support of Berkeley
Rep’s creative and community efforts.
Stopping to pose in front of Ira and Leonore Gershwin’s
Rolls Royce, guests flooded into the Ritz’s ballroom with
paparazzi at their heels. Featuring a dress made out of wine
glasses (graciously filled by Domaine Carneros, Folie à Deux,
and C.G. Di Arie), swing dancers, and a few flappers for good
measure, the event roared as exuberantly as the decade
it celebrated.
DawnMarie Kotsonis, a.k.a. The Gavel Girl, got the bidding
going fiercely—hot tickets were a New York trip to see Hamilton and An American in Paris, as well as a trip on The World,
the largest private residential ship on earth. The night ended
as guests raised their paddles in support of Berkeley Rep’s
arts education programs. All told, over $750,000 was raised to
support those programs and the work on our stages.
We want to thank this year’s attendees for their unfailing
support, incredible generosity, and dedication to the dramatic—you are the cat’s pajama’s!
P H OTO BY C H E S H I R E I S A AC S
P H OTO BY S A R A ELW EI N & A L E X S M I T H
P H OTO BY LO R E N Z A N G ELO
P H OTO BY LO R E N Z A N G ELO
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9
GET IN ON THE GROUND FLOOR
Stay in the loop about The Ground Floor—Berkeley Rep’s top-notch R&D facility for artists
that consists of year-round events and a jam-packed Summer Residency Lab.
“I’ve come to realize that something extraordinary
is happening in Berkeley. On the smallest
level, they are dedicated to the nurturing of
artists— feeding us, housing us, giving us time to
create. But on the largest level possible, they are
dedicated to nothing less than a wholesale change
in the artistic landscape of our time.”
—JULIA CHO
The Ground Floor Summer Residency Lab brings artists to Berkeley to work on projects in June.
Join the mailing list to hear about public presentations at berkeleyrep.org/groundfloor.
R E P ORT
All’s “Wells” that ends well
BY BERYL BAKER
Karen Fluegge, John Hood, and Hamid Hussain (left to right)
The pun in this article’s title
might’ve been an overreach of artistic
license, apologies to Mr. Shakespeare. I
think we can all agree an important factor of any art medium is the relationship
between the audience and the art itself.
If you’re a performance studies buff,
you’d probably go one step further and
say the act of viewing can be as active
a way to engage with a piece as it is to
perform it—but what about those who
not only come to see our shows but
then go on to sponsor our work? When
it comes to our corporate sponsors, and
particularly our longtime Season Sponsor Wells Fargo, we could not create the
performances at the caliber we do without those relationships. After a recent
event Wells Fargo hosted at the Theatre
during our production of Macbeth, some
of Wells’ folks were kind enough to
talk to us about what our work means
to them.
Hamid Hussain, a member of
Berkeley Rep’s Corporate Council and
a senior vice president and East Bay
region manager at Wells Fargo said,
“One of my favorite plays over the last
few seasons is Party People.” (Party
People was about the history and lives
of the Black Panther Party and Young
Lords, a collaboration between Berkeley
Rep and universes during the 2013–14
season.) Hamid goes on, “Talk about
intense! And a very relevant message
for a civil, peace-loving society—the
right of speech, the fragility of freedom
in the face of injustice! Omar’s rant sent
chills up my spine and made me want
to scream in rage against the prejudices
that still persist.”
John Hood, vice president and senior relationship manager at Wells, after
watching our recent production of Macbeth starring Conleth Hill and Frances
McDormand, says that he particularly
“…loved the stage sets and the audio-visuals,” as well as hearing “…certain lines
(‘out, out damned spot,’ ‘fire burn and
caldron bubble’),” although he had a bit
of a hard time with the Elizabethan language. All in all, he felt the production
was well worth seeing.
Karen Fluegge, regional sales
manager for Wells Fargo, says, “I’ve
had the opportunity to host a number
of corporate events at Berkeley Rep and
consistently receive feedback from
clients and colleagues that it is one
of their favorite events of the year.
Attendees appreciate the unique venue,
creative productions, insightful and
humorous presentations by staff…thank
you Berkeley Rep for creating so many
memorable moments and we look
forward to many more!”
We’re thrilled that these representatives of our longtime Season Sponsor
see value in these conversations having
a home here in the Bay Area just as
much as we do. As Hamid says, “Bravo
Berkeley Rep for continuing to challenge
all of our perceptions while entrancing
our senses!”
“Bravo Berkeley Rep
for continuing to
challenge all of our
perceptions while
entrancing our senses!”
—H A M ID H U S S A IN
At Berkeley Rep we strive to be a
mainstay of artistic innovation here on
the West Coast, and Wells Fargo has
invested in that innovation for years
now. Our work fosters and forges
dialogue, which is part of Wells Fargo’s
relationship mission to the communities
it serves. And just like the bond between art and audience, our relationship
continues to flourish and build upon
itself. Here’s looking forward to future
seasons of partnership.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1
Brand new classes
for all ages and levels
begin July 5.
YOUR
AWAITS
Register today!
berkeleyrep.org/classes
2 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 7
fin a ncia l aid avail a ble for you th a nd teen cl a sse s
R E P ORT
Tim Kang and Joseph Steven Yang in Aubergine
James Carpenter and Adam Farabee in The Lieutenant of Inishmore
P H OTO BY K E V I N B ER N E
P H OTO BY K E V I N B ER N E
Really live theatre:
Animals onstage at Berkeley Rep
B Y K AT I E C R A DD O C K
“Oh my God.” “No-no-no-no-no.”
“Please don’t do it!” “That poor turtle.”
These were just a few of the (often full-voiced) comments
Tim Kang could hear from the audience as he acted the scene
in Julia Cho’s Aubergine in which his character, Ray, prepares to
slaughter a turtle to make a special soup for his ailing father. For
the actors, it’s almost baffling—do they really think the theatre
would ever harm an animal onstage, much less slaughter eight
turtles a week? Yet somehow we get lost in the moment; we see
the turtle crane her neck to look around, waving her limbs, and
are immediately concerned for her welfare in a way we’re not
when we watch, say, Banquo’s murder in Macbeth.
A few weeks into rehearsal for Aubergine, Properties Supervisor Jill Green brought in a live turtle to audition. In the words
of director Tony Taccone, that turtle “knocked it out of the park.”
He was active yet relaxed, totally unfazed by Tim-as-Ray’s gentle
machinations. Unfortunately, that turtle was unavailable for the
actual run of the show, so during tech, Jill brought in another turtle. The backstage crew straightforwardly called him Soup; Tony
called him Herman. Hapless Herman was young and nervous.
Every time Tim lifted him out of a box to hold him, he would pee
all over poor Tim. Jill traded him in for another turtle, quickly
dubbed Stew. Stew is a larger, older turtle, and didn’t mind
being handled in the least. During the run, she lived backstage
in a spacious aquarium in her own private temperature- and
light-regulated room; once Aubergine closed, she was adopted by
Production Electrician Kenneth Coté, who already had turtles of
his own.
Actor James Carpenter, who played Duncan, the Porter, and
the Doctor in this season’s Macbeth, recalled his experiences
with the cat in Les Waters’ production of Martin McDonagh’s
notoriously violent black comedy The Lieutenant of Inishmore at
Berkeley Rep in 2009.
“It wasn’t like it was a normal situation,” James remembers.
“The cat had to come out at the end of the play and get embraced by two guys covered in blood from head to foot. She was
a really sweet cat, and pretty mellow, but to stay in touch with
her, I would go and play with her before the show. We’d play
with string and toys, and I’d pet her. I’m kind of the cat whisperer. I heard that she used to hiss and complain before she came
onstage. Once she was onstage, she would kind of sit there and
look around. Then I’d get her down very carefully and we’d walk
her over to a footstool and threaten her with guns—all of which
she was basically good with! By the time we were finished handling her, she was covered in blood, too, and she had to have a
bath every night because she was a sticky mess. She never tried
to get away during the vital moments of the play, even with a
gun to her head. I have a black cat at home, too, and she was the
understudy in case anything happened; she let me know that she
could probably do a better job.”
“I’m kind of the cat whisperer.”
—JA M E S C A R PE N T E R
Despite the logistical challenges and unpredictability of
using live animals onstage, sometimes it’s critical to the storytelling. In the case of Inishmore, a play about a man who loves his
cat more than anyone or anything in the world, as James notes,
“You’ve got to have a real cat. It’s vital to the ending of the play.”
The volatility of animals can be disruptive—a corgi, for
instance, was ultimately fired after failing to obey Helen Mirren
(playing Queen Elizabeth) in The Audience. Yet this liveness can
also be uniquely appealing. In Sarah Ruhl’s For Peter Pan on her
70th birthday, a dog appears. Sarah muses, “A dog doesn’t work;
a dog plays… Is that why I find it refreshing to see dogs and
horses and small children on stage? Because they are what they
are and they are automatically in a state of play rather than in a
state of work?”
Animals are fun to watch in the theatre because they are
always fully present and entirely themselves; it’s exciting for the
audience, if occasionally difficult for the actors, to never know
exactly what will happen.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3
P H OTO CO U R T E S Y T H E J O H N D. A N D C AT H ER I N E T. M AC A R T H U R F O U N DAT I O N
Plays as gifts:
In conversation with Sarah Ruhl
BY SARAH ROSE LEONARD
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For Peter Pan on her 70th birthday
marks Sarah Ruhl’s fifth new play at
Berkeley Rep. Her first was
Eurydice in 2004, which quickly
defined her as one of the finest, most
imaginative writers in contemporary
theatre. Her plays are known for
being beautifully surreal and poetic,
and they celebrate what she calls
“the pleasure of heightened things.”
Literary Manager Sarah Rose Leonard
asked Ruhl a handful of questions as
she prepared for the opening of For
Peter Pan on her 70th birthday
at Actors Theatre of Louisville
in March.
Sarah Rose Leonard: What inspired
you to write this play?
Sarah Ruhl: I grew up surrounded
by photographs of my mother playing
Peter Pan as a teenager in Davenport,
Iowa. The iconography stayed with
me. When my mother (who is still an
actress) turned 70 I wanted to write a
play for her as a gift, and because I was
thinking of aging, the concept of Peter
Pan seemed a natural fit.
What was it like to write a play
as a gift?
It was strange and interesting. I
like to think of the theatre as a vast
gift culture. I think that on a primitive
level, we write plays as gifts anyway, we
just don’t necessarily make ourselves
conscious of it—and the culture might
not perceive it that way. I read Lewis
Hyde’s The Gift maybe five years ago
and it utterly changed my ideas about
the economy of art. Now when I teach
at Yale I start the semester by having
my graduate students write short gift
plays to each other, to remind them that
plays can be thought of as gifts, rather
than as solipsistic endeavors.
Like J.M. Barrie in his dedication to
Peter Pan, you refer to your characters as Numbers in the script; your
numbers correspond to their birth
order. Why is birth order important in
this play?
I’m fascinated by birth order, in
families both big and small. Because I
was interested in writing dialogue for
a big family as a kind of hive mind—it
actually helped to work with numbers
rather than names at first. It gave me
the sense of a group mind rather
than individuated characters as I was
starting out.
the experience of sleeping in their own
children’s bed after their father died
would compel this family to go back to
Neverland for a while…
You say that not knowing is a guiding force for you as you write. Was
it strange to follow the voice of your
mother, who you know well, into the
world of not knowing?
I suppose with this play, I knew
some things I don’t usually know when I
set out to write a play (like things about
my mother), but I didn’t know the usual
things as I wrote—like how in the world
would I formally pull off a transition
from a hospital room to Neverland.
There are always things I don’t want
to know while I write, so that I can continue to discover while I’m writing,
and not bore myself with an overdetermined plan.
Some people feel this is a sister piece
to Eurydice. Do you feel that way?
Yes, in a way. Both are about death
and memory and family. Both contain
real artifacts from people who I love.
What role did community theatre
have in your life growing up?
I went to community theatre all the
time as a child. My mom acted in and
directed community theatre. I saw her
in The Prime of Miss Jean Brodie, Romeo
and Juliet—funnily enough my sister
and I were both in a production with my
mother of I Remember Mama. I think
we stroked a cat. There’s something
very democratic and wonderful to me
about plays being an occasion for small
communities to come together and
make something.
How did you determine the structure
of the piece?
I knew that it began with a hospital
scene when the family patriarch is dying, and I knew that it would end in Neverland. I think there is something about
the loss of both parents that forces
people to confront their own mortality,
their own growing up. I also thought
When did you feel like a grown-up?
I will tell you a recent moment
when I felt like a grown-up. I was
taking two playwriting students (one
current, one former) out for dinner at
the Humana Festival. I was celebrating
with them the fact that their plays were
about to go up. I bought the table a
bottle of wine. Weirdly enough I’d never
done that before— ordered a whole
bottle of wine—what an extravagance…
(I am so Midwestern, ultimately.) But
what felt grown-up was the reason
for the celebration — it was watching
other writers whom I loved growing up.
Usually it would be Paula Vogel buying
the wine—she was my teacher. I figure
if my students are growing up, I must be
growing up…so I suppose to me being a
grown-up has to do with that generative
state. A rite of passage—watching other
people come up.
What are the best and worst parts of
growing up?
The best part is having children.
The worst part is planning playdates
for them and remembering things like
vaccinations and dentist appointments.
Have your children had a chance to
see the show?
I’m hoping to bring them to closing
weekend in Berkeley…I think I’ll sneak
them into the third part...
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5
I won’t
grow up!
BY SARAH ROSE LEONARD
We work hard to resist growing older—whether
it’s through exercise, eating well, or following popular
trends. Many believe that our resistance to aging is driven
by our valid fear of death. The doctor and writer Atul
Gawande asserts in his book Being Mortal, “Death may
be the enemy, but it is also the natural order of things….
There’s no escaping the tragedy of life, which is that we
are all aging from the day we are born.” Eh…let’s talk about
something else, right? Those facts are hard to face for
most of us—which is why we do our best to exercise control over the aging process. The universal desire for control
over death drove J.M. Barrie, the creator of Peter Pan, to
create a character that defied time itself.
Perhaps no one better embodies our resistance to
growing up than the ageless Peter Pan. He is horribly
afraid of anything that has to do with adulthood, and
magically has the ability to choose whether he will grow or
not. At the end of J.M. Barrie’s Peter and Wendy, the Lost
Boys, who “fell out of their carriages” and were unclaimed
by their parents, leave Neverland and are adopted by the
Darlings (Wendy, John, and Michael’s parents). Peter toys
with staying with them. He enjoyed having Wendy as a
pretend mother in Neverland, and maybe it would be nice
to have a permanent mother. Barrie writes,
“Would you send me to school?” Peter inquired craftily.
“Yes.”
“I don’t want to go to school and learn solemn things,” he
told her passionately.
Mrs. Darling stretched out her arms to him, but he
repulsed her.
“Keep back, lady, no one is going to catch me and make
me a man.”
For Peter, growing older is thrust upon us by other
people, notably parents. In contrast, growing up comes
naturally to Wendy. She is perhaps is a typical older sibling
in that she becomes the default parent for her younger
siblings when the parents aren’t around. She has a sewing
kit ready when Peter’s shadow comes unattached, and she
knows all of the good stories to tell the Lost Boys. To her,
parenthood is inevitable and even wonderful.
In psychology, a term for people who don’t want to
grow up is puer aeternus, Latin for “eternal boy.” Puer aeternus was popularized by Dr. Dan Kiley in his 1983 bestselling
book The Peter Pan Syndrome: Men Who Have Never Grown
Up, in which he describes older men whose lives are frozen
in adolescence, and who often remain excessively dependent on their mothers. Marie-Louise von Franz, a Swiss
Jungian psychologist and scholar, said of the puer aeternus:
26 · 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 7
“There is a terrific fear of being pinned down, of entering
space and time completely, and of being the singular human
being that one is. At the same time, there is a highly symbolic
fascination for dangerous sports—particularly flying and
mountaineering—so as to get as high as possible, the symbolism being to get away from reality…”
No wonder Peter likes to fly! When we skydive, for
example, we feel a heightened awareness of our mortality—we could die at any second—but we also have control
over it. We decide when to pull the parachute.
...whether to look death in
the face and accept it, or
avoid thinking about it.
The desire to avoid death is inherent in Peter Pan’s
very creation. J.M. Barrie modeled Peter after his brother
David, who died in an ice-skating accident when he was
13 and Barrie was 6. Barrie’s mother never recovered from
the shock, and various sources say that Barrie always
longed to recapture the happy years before his mother became depressed. In 1894, Margaret Henley, the daughter
of Barrie’s friend William Ernest Henley, died at age 5 from
cerebral meningitis. (William Henley was also the model
for Robert Louis Stevenson’s character Long John Silver
in Treasure Island.) Margaret used to call Barrie “fwendy”
(i.e., “friendly”), which inspired him to create a character called Wendy. But the characters Peter and Wendy
weren’t truly invented until around 1897, when Barrie
became friends with Sylvia Llewelyn Davies, whom he met
at a dinner party, and her five sons. To amuse the boys
Barrie, or “Uncle Jim” to the boys, invented stories about
a place called Neverland and a pack of Lost Boys. Two of
the Llewelyn Davies boys were named Michael and Peter,
and Barrie eventually attached their names to characters
in the stories. In 1910, Sylvia died of cancer at age 43, three
years after her husband Arthur also passed away due to
cancer, and Barrie became a guardian of the children. In
the preface to Peter and Wendy Barrie dedicated the book
“To the Five” and says, “I always knew that I made Peter by
rubbing the five of you violently together…that is all he is,
the spark I got from you.” Sadly, he outlived some of the
children to whom he was so devoted. One of the children,
George Llewelyn Davies, died fighting in World War I.
Michael drowned while swimming with a friend. Peter
Llewelyn Davies outlived Barrie, but committed suicide by
jumping in front of a train in 1960, a few weeks before the
100th anniversary of Barrie’s birth.
In addition to the creation of Peter Pan, a wildly imaginative place came out of Barrie’s personal loss: Neverland.
This fantasy world where one can stay a child forever
resonates strongly with today’s millennial generation, who
is often accused of resisting adulthood. A 2010 New York
Times Magazine article examines “emerging adulthood”
and why so many people in their 20s are taking longer
than their parents to build independent lives. Popular
TV shows like Master of None and Girls revolve around
20-somethings plagued by indecision about their life
choices. They do everything they can to avoid growing
up, even as time marches forward. “The traditional cycle
seems to have gone off course,” the Times piece posits, “as
young people remain un-tethered to romantic partners
or to permanent homes, going back to school for lack of
better options, traveling, avoiding commitments, competing ferociously for unpaid internships or temporary (and
often grueling) Teach for America jobs, forestalling the
This fantasy world where
one can stay a child
forever resonates
strongly with today’s
millennial generation.
beginning of adult life.” But in some ways holding off on
becoming an adult can be a good thing. Studies show that
once we reach adulthood, our brains become less plastic
and brain circuits can be tweaked, but not overhauled. We
can foster a longer period of cerebral plasticity by having
new experiences and by engaging in challenging work. In
For Peter Pan on her 70th birthday, the character Ann got
her Ph.D. relatively late in life. Her long-lasting pursuit of
knowledge kept her young in the best way possible: she is
still curious.
The appeal of Neverland is that the possibility of
growing older is always within reach, but only if you want
it. In reality, as Peter suspects when he is toying with the
idea of being adopted by the Darlings, adulthood often
comes to find us. A death of a parent forces us to grow up,
a child is born and suddenly you are a parent, or a political
situation drives us to act in new ways. For some of us,
the realization that we will grow up arrives when we are
still young. For example, Barrie says this of Wendy at the
beginning of Peter Pan:
The appeal of Neverland
is that the possibility of
growing older is always
within reach , but only if
you want it.
“One day when Wendy was two years old she was
playing in a garden, and she plucked another flower and ran
with it to her mother. I suppose she must have looked rather
delightful, for Mrs Darling put her hand to her heart and
cried, ‘Oh, why can’t you remain like this for ever!’ This was
all that passed between them on the subject, but henceforth
Wendy knew that she must grow up.”
We may remember the moment we felt adulthood
coming toward us. The only choice we do have in the
face of growing older is whether to look death in the
face and accept it, or avoid thinking about it. Those who
age consciously, with awareness of their responsibilities
and fears, perhaps understand their own existence most
clearly. They can tell the difference between truth and
foolishness faster than most. They don’t waste their time.
Their accumulated knowledge is often a source of wisdom
for people in their lives. Some find peace of mind easier to
come by. It is magical to possess the ability to watch the
world as is spins and possess the awareness that we each
have a necessarily ephemeral place in it, which is something Peter Pan can never do.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
Director Les Waters
P H OTO BY Z AC H D E ZO N
Gravity:
an interview with
Director Les Waters
BY SARAH ROSE LEONARD
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 7
Les Waters’ singular productions
are often marked by vividly controlled chaos, great
articulation of emotion, and by least one moment of wild
self-abandonment. When he was the associate artistic
director at Berkeley Rep he championed plays by cutting-edge writers such as Naomi Iizuka, Will Eno, and
Jordan Harrison and gave audiences a new perspective on
classics such as Shaw’s Heartbreak House and Tennessee
Williams’ The Glass Menagerie. He is known for his long
and fruitful working relationships with three giants of the
theatre world: Caryl Churchill, Charles Mee, and Sarah
Ruhl. In 2012, after eight years at Berkeley Rep, Waters
became the artistic director at Actors Theatre of Louisville.
His love of new plays has a dedicated home at Actors Theatre’s Humana Festival of New American Plays, a globally
renowned festival that celebrates contemporary American
playwrights. Literary Manager Sarah Rose Leonard caught
up with Waters between Humana events to discuss his
latest collaboration with Sarah Ruhl.
Sarah Rose Leonard: What drew you to this play originally?
Les Waters: Sarah and I are very close collaborators; I’ve
loved all my working experiences with her, and I wanted to
further that collaboration, so this play was one of the first commissions I put into place when I became the artistic director at
Actors Theatre.
You grew up in England, lived in California for many years,
and now you’ve been in Kentucky since 2012. What constitutes home for you?
I probably have many versions of home. I was born and
brought up in the north of England. I had a home in London.
Home in many ways for me is southern California, Solana
Beach, because that’s where my wife Annie and I moved to
when our children were young. I think one redefines it all the
time. I think if somebody asked me where am I from, I would
say England, although I’ve lived 20 years of my life here in
the U.S.…it’s fluid. I’ll see pictures of the English countryside,
particularly where I’m from, and I’m instantly drawn to it and
intensely nostalgic. But I don’t know if I think that’s home.
Home is now Louisville, where I live and work.
I haven’t been back to England for over 14 years. Part of
me wants to go back because it is one of my homes, and I have
a deep longing to see the house in the north of England, 30
Lincoln Gardens, where I was brought up. I think I would like
to see it, and I’m totally convinced that I would be in floods of
tears because I can’t enter that house again. Even if I persuaded the owners to let me in, it would not be the house of
my memory.
Has your experience as a parent shaped your understanding of the play? As a son?
Yeah, as a parent, very strongly. As a son, I’m an only child,
so the family dynamics in the play are in some sense foreign
to me. I’m not the oldest of five; I’m not the middle kid; all
that is very fresh and new to me and constantly fascinating to
observe in rehearsal.
What do you make of the way the play addresses death
in each movement? Each section seems to have a distinct
treatment of death.
I think that’s correct. It’s witnessed in the first Movement;
for those of us who’ve witnessed the death of a parent, it’s
very accurate in many ways to that. The second Movement is a
discussion of adulthood and if one ever thinks one’s a grownup, what it means to be a grown-up, and the impossibility of
really looking at your own passing—what does it mean to not
exist in this form? It’s probably incomprehensible. And in the
third Movement, it’s a celebration of not growing up. Well, the
third Movement is many things—it’s a reenactment of the
play Peter Pan, but also a celebration of theatre—you can die
onstage in the theatre, but you’re not dead; you resurrect. It’s
being somehow able to imagine beyond this kind of consciousness, and a celebration of being young. I’m rapidly approaching
64, but I think inside I probably think I’m in my 30s.
What appeals to you about the power of “believing” in
the play?
What appeals to me is that people really want it to
happen. You really want to see Peter Pan fly! We did a workshop here in January, because the flying company we use, zfx
Flying Effects, is based in Louisville. I’m not particularly fond of
heights, but I got in the harness and flew. The delight of defying gravity, and gravity’s pull on you, is just extraordinary.
When did you first feel like a grown-up?
There was a moment in Solana Beach when I was teaching at ucsd, and I came home late from work, and Annie was
asleep and our three children were asleep, and I sat in our
living room and thought, “This is my life. This is what it is—this
is my life,” and I felt more like a grown-up. But I think I’m in a
continual process of becoming one.
I wonder if anyone ever 100% feels like a grown-up.
I think in lots of ways it’s enormously overrated. It’s tiring.
In the play, the notion that childhood is being parented, yet
Peter wants to be free from parents—it’s this interesting push
and pull. And there’s a point where Ann is the only one who
stays in Neverland, and they all say, “I have to go back to my
life.” One’s life is a series of practicalities and responsibilities
which is something that hopefully we embrace, but on the
other hand one wants to deny all the time.
Given that there’s no real growing up, what do you think
are the best and worst parts of the process?
The best bit is having knowledge of it, or having been
through things and knowing what they’re like when they come
up again. The worst part of getting older is gravity, and knowing it’s finite. I don’t have religious beliefs, so it’s a tough thing
to look at. I think that’s when you become a Buddhist.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9
I don’t want ever to be a man:
Performing gender in Peter Pan
B Y K AT I E C R A DD O C K
Gender is not a fixed, static category;
rather, we perform gender each day as we move through the
world and interact with each other. The theatre has a richly
complex relationship to the performance of gender. When
Kathleen Chalfant dons the legendary green tights and jaunty
feathered cap of Peter Pan in Sarah Ruhl’s new play, she joins
a rich tradition of women playing the boy who wouldn’t grow
up. Indeed, the very first Peter Pan was a woman—37-year-old
Nina Boucicault played Peter in the original 1904 stage production at the Duke of York’s Theatre in London. Producer Charles
Frohman convinced author J.M. Barrie that Peter should be
played by a woman. He reasoned that a deep-voiced adult man
would be unconvincing as the young character, and casting
A tile image of an ancient theatre scene
In ancient Greek theatre, men
played the female characters
because it was considered
unseemly for women to act.
a boy to play Peter would necessitate casting even younger
children to play the Lost Boys, which was impractical since an
English law prevented child actors from performing past 9:00
p.m. Frohman was also managing the American actress Maude
Adams at the time, and knew she’d make a perfect Peter once
the show came to New York in 1905. Adams played Peter to
great acclaim on Broadway during the following decade; women have continued to play Peter Pan ever since.
Cross-gender casting dates back to the beginning of
theatre itself. In ancient Greek theatre, men played the female
characters because it was considered unseemly for women to
act; this was also standard practice in English Renaissance and
Japanese kabuki theatre. In Britain, the Puritan Oliver Cromwell had banned acting for nearly 20 years until King Charles
II returned to England and reopened the theatres in 1660,
allowing the first professional women actors to grace London’s
stages. Women played women, but also, in many instances,
men; about a quarter of the roles played by women between
1660 and 1700 were “breeches roles.” These breeches roles
are considered progressive by some because they subverted
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 7
Mary Martin as Peter Pan
Maude Adams as Peter Pan
gender roles, but widely criticized by others for objectifying
women, whose legs were often on display in figure-hugging
pants primarily to titillate the audience. In opera, hundreds of
male characters—sometimes young boys, but often a hero or
central love interest in the piece—were written to be sung by
women in the mezzo-soprano range. In English pantomimes,
the leading male juvenile character is traditionally played by a
woman in tight-fitting men’s clothes, opposite another woman
as the female ingénue. With the advent of animated films,
women began voicing many young male characters, such as
Nancy Cartwright as Bart Simpson in The Simpsons.
While productions have occasionally opted to cast a boy
as Peter Pan, Peter has almost always been played by a woman. At the Duke of York’s Theatre, Pauline Chase played Peter
from 1906 to 1913; she was a favorite of Barrie’s, who made her
his goddaughter and enjoyed her “lovable tomboy” iteration of
Peter. The first film adaptation of Peter Pan, made in 1924, was
silent and featured 17-year-old Betty Bronson. Then in 1928,
Eva Le Gallienne directed and played the title role in another
popular Broadway production—the first in which Peter flew
out over the audience, sailing into the balcony on an invisible
wire. Interestingly, it seems the youth of the actress playing
Peter mattered far less to producers than her gender, for middle-aged women have played Peter through the decades. Jean
Arthur played Peter on Broadway when she was nearly 50. The
famous 1954 musical, starring the inimitable 41-year-old Mary
Martin, premiered at the Curran Theatre in San Francisco before moving to Broadway, where Martin won the Tony Award
for Best Actress. In 1955, nbc presented Peter Pan live as the
first full-length Broadway show on color television, drawing
a record-breaking audience of 65 million and earning Martin
an Emmy.
While Mary Martin’s Peter is perhaps the best known,
many prominent actresses played Peter after her, including
Hayley Mills on the West End and Mia Farrow in another musical adaptation. Sandy Duncan holds the title of longest-running Peter Pan on Broadway for her work in the 1979-1981
revival. Reviewer Marilyn Stasio admired Duncan’s boyishness;
her Peter was “all boy…an adorable boy, to be sure, with her
grin-cracked face and graceful bounds in mid-air; but a boy, for
all that, with ants in his pants and a nose that runs and a downright willful disdain for authority…she avoids even the most
tempting moments to be cute, or to signal a flash of grown-up
femininity.” Olympic gymnast Cathy Rigby embodied Peter
in productions over the course of three decades; she played
Peter in 2013 at the age of 60.
Most recently, Allison Williams played Peter in nbc’s 2014
live television special, spurring a fresh wave of critical thought
about Peter Pan and gender. In her Atlantic piece “Peter Pan,
Queer Icon,” Shannon Keating notes the power of the casting
custom, remarking that it gives us a mainstream representation of female-bodied boyishness—an image that’s still relatively rare in our culture: “Peter Pan as both a character and a
cultural touchstone evades the reductive gender categorization that pervades children’s media. Seeing a female-bodied
character embodying the sort of roughness, recklessness, and
confident swagger socially afforded to boys is a rarity and thus,
a sort of treasure—particularly for queer women, and queer
or questioning girls, so often denied popular representations
of their own likeness.” The story of Peter Pan rehearses
problematic and dated notions of femininity, from Wendy’s
spring cleaning to Mrs. Darling’s lullabies to Tiger Lily and
Tinkerbell’s jealous vying for Peter’s affections. If Peter is
played by a boy, the only women we see onstage are enacting
tediously traditional gender roles. Watching a woman play
Peter is usefully unsettling because she offers an alternative
to these stereotypes.
Director and theatre theorist Richard Schechner advocates for a 21st-century “renaissance of open casting,” which
we can already see sparks of in the work of artists like Anna
Deavere Smith, who embodies men and women in her per-
“Peter Pan as both a character and
a cultural touchstone evades the
reductive gender categorization
that pervades children’s media.”
— SH A N NON K E AT ING
formances; Julie Taymor, who cast Helen Mirren as Prospero;
and Fiona Shaw, who played Richard II. Rather than reserving
open casting for more androgynous characters like Peter Pan
and Hamlet, Schechner calls for entirely open casting, envisioning theatre that, in confronting its audience by casting
against type, asks “audiences to wonder what such casting
means—and to wonder about their own place in various social
hierarchies and circumstances; maybe even to inquire into
their own personal situations…performers and spectators alike
would be more able to see gender, race, age and body type not
as ‘biological destinies’ but as flexible, historically conditioned
performative circumstances.” At its most exciting, at its most
revolutionary, theatre liberates us from constrictive preconceptions, freeing us to examine our world, each other, and
ourselves with fresh eyes. As the father in Sarah Ruhl’s
For Peter Pan on her 70th birthday marvels, “How bout my little
girl flying?”
Sarah Ruhl’s mother as Peter Pan
P H OTO CO U R T E S Y O F M A RY K AT E ZI H A R
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 1
ER
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PR
JUL 1–AUG 14 · PEET ’S THEATRE
PHOTO BY TIMOTHY GREENFIELD-SANDERS
Written and performed by John Leguizamo
Directed by Tony Taccone
Co-production with the Public Theater
World Premiere
SEASON SPONSORS
Berkeley Repertory Theatre
presents the West Coast premiere of
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
by
Sarah Ruhl
CAST
I N O R D ER O F S PE A K I N G
Ann Kathleen Chalfant
direc ted by
John Charles Shaw Robinson
Les Waters
Michael Keith Reddin
Jim David Chandler
M AY 20 –JULY 3, 2016
RODA THE ATRE · M AIN SE A SON
Wendy Ellen McLaughlin
George Ron Crawford
For Peter Pan on her 70th birthday is made possible thanks to
the generous support of
SEASON SPONSORS
Jack & Betty Schafer
Michael & Sue Steinberg
The Strauch Kulhanjian Family
E XECU TIV E S P O N S O R S
Jean & Michael Strunsky
Gail & Arne Wagner
A dog Yodel
PRODUC TION S TAFF
Scenic Design
Costume Design
Lighting Design
Sound Design
Dramaturg
Fight Director
Production Stage Manager
Assistant Stage Manager
Annie Smart
Kristopher Castle
Matt Frey
Bray Poor
Amy Wegener
Drew Fracher
Michael Suenkel
Karen Szpaller
SPONSORS
Paul Friedman & Diane Manley
Scott & Sherry Haber
Marjorie Randolph
Liliane & Ed Schneider
A S S O CIAT E S P O N S O R S
Edie Barschi
Valerie Barth & Peter Wiley
Lynne Carmichael
Robert Council & Ann Parks-Council
William Espey & Margaret Hart Edwards
Tracy & Mark Ferron
Mary & Nicholas Graves
Dale & Don Marshall
Peter Pervere & Georgia Cassel
The actors and stage managers are members of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
For Peter Pan on her 70th birthday was commissioned by and premiered at Actors Theatre
of Louisville in the 2016 Humana Festival of New American Plays. This play was developed
with support of a generous gift from Emily Bingham and Stephen Reily and an Edgerton
Foundation New Play Award.
Flying Effects provided by zfx, Inc.
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 7 · 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
profiles
Kathleen Chalfant
Ron Crawford
Keith Reddin
Kathleen was last seen
at Berkeley Rep in Honour. She has appeared
on Broadway in Angels
in America (Tony Award
and Drama Desk Award
nominations), Racing
Demon, Dance with Me,
and M. Butterfly. Her
off-Broadway credits
include Wit (Drama Desk, Obie, Lortel, Outer
Critics Circle Awards), Rose, Dear Elizabeth, A
Walk in the Woods (Drama Desk nomination),
Red Dog Howls, Dead Man’s Cell Phone, and
Nine Armenians (Drama Desk nomination). She
has also appeared at many regional theatres,
including Actors Theatre of Louisville, McCarter Theatre Center, the Guthrie Theater, Arena
Stage, Yale Repertory Theatre, Long Wharf
Theatre, Hartford Stage, the Mark Taper Forum, and others. Her film appearances include
The Bath, Isn’t It Delicious, Duplicity, A Price
above Rubies, and Kinsey. She has been seen
on TV in The Affair, Law & Order: svu, Madam
Secretary, Forever, The Strain, Elementary, House
of Cards, Mercy, Rescue Me, The Guardian, The
Laramie Project, Benjamin Franklin, and Law &
Order: Criminal Intent. Kathleen has also
received the Drama League and Sidney
Kingsley Awards.
Ron has appeared on
Broadway in The Grapes
of Wrath at Steppenwolf Theatre Company
and as an understudy
in Outside Mullingar
at Manhattan Theatre
Club. His off-Broadway
credits include The
Invisible Hand at Here
Arts Center and White Woman Street at Irish
Repertory Theatre. He has also appeared in
For Peter Pan on her 70th birthday at Actors
Theatre of Louisville; The Crucible at Hartford
Stage; A Raisin in the Sun at Geva Theatre
Center; Eventide at the Denver Center for the
Performing Arts; To Kill a Mockingbird, Of Mice
and Men, and Ragtime at Weston Playhouse;
The Night of the Iguana and Valley Song at Dorset Theatre Festival; Outside Mullingar at New
Harmony Theatre; Ghost on Fire at Goodman
Theatre; Schmucks (Groucho Marx) at the Wilma Theater; The Last Romance at Seven Angels
Theatre; and A Christmas Carol (Scrooge) at
River Union Stage. He has also performed in
Travels with Mark Twain, an original one-man
show performed in theatres, campuses, libraries, and living rooms. Ron’s film credits include
Arthur and the Invisibles, 1, 2, and 3 (Luc Besson), Blood Ties, Sweet Little Lies, and My Man’s
A Loser, and he has appeared in the television
shows Deadbeat, The Jack and Triumph Show,
Law & Order, Spin City, and All My Children.
Keith appeared in
Berkeley Rep’s production of Sarah Ruhl’s
adaptation of Chekhov’s
Three Sisters, directed
by Les Waters. He has
also appeared in Sarah
Ruhl’s Passion Play (Yale
Repertory Theatre and
Epic Theatre, New York).
His other credits include productions in New
York at Lincoln Center Theater, Manhattan
Theatre Club, Playwrights Horizons, Vineyard
Theatre, as well as regionally at Goodman
Theatre, La Jolla Playhouse, Alley Theatre, Yale
Rep, Cleveland Playhouse, and Actors Theatre
of Louisville.
ANN
David Chandler
JIM
David was last seen
at Berkeley Rep as
Mark Rothko in Red,
and he also appeared
in Heartbreak House.
His Broadway credits
include Lost in Yonkers,
Death of a Salesman, and
American Clock. He has
appeared off Broadway
at Soho Playhouse, New York Shakespeare
Festival, New York Theatre Workshop,
Playwrights Horizons, Second Stage Theatre,
mcc Theatre, La MaMa, and Vineyard Theatre,
among others. He has appeared at London’s
Bush Theatre in A Question of Mercy and at
Carnegie’s Zankel Hall as Luciano Berio in
Alarm Will Sound’s production of 1969. His
regional theatre credits include Actors Theatre
of Louisville, the Guthrie Theater, Long Wharf
Theatre, McCarter Theatre Center, Yale
Repertory Theatre, the Wilma Theater, and
Williamstown Theatre Festival, among others.
David’s film and television credits include The
Grey Zone, Hide and Seek, Death of a Salesman,
Upheaval, The Portrait, Her Alibi, Seinfeld, Third
Rock from the Sun, Arliss, The Undeserved, and
Law & Order.
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 7
GEORGE
Ellen McLaughlin
W E N DY
Ellen has appeared at
Berkeley Rep in Hedda
Gabler, In Perpetuity
Throughout the Universe,
and Ghosts. She originated the part of the
Angel in Angels in America, playing the role in
workshops and regional
productions through its
Broadway run in 1993–94. Other favorite work
includes the Homebody in Bartlett Sher’s production of Homebody/Kabul (Intiman Theatre,
Seattle), Pirate Jenny in A Threepenny Opera
(Trinity Repertory Theatre, Elliot Norton
Award), Claire in Albee’s A Delicate Balance
(Arena Stage, Yale Repertory Theatre), Margie
in Good People (George Street Playhouse, Seattle Rep), and Rosemary in Outside Mullingar
(George Street Playhouse). Her New York
credits include String of Pearls (Primary Stages), Blue Window (Manhattan Theatre Club), A
Bright Room Called Day (the Public Theater),
and Dear Elizabeth (the Women’s Project.) Her
television work includes several appearances
on Law & Order. Ellen is also a playwright.
MICHAEL
Charles Shaw Robinson
JOHN
Charles’ work for Berkeley Rep includes the role
of the Father in Sarah
Ruhl’s Eurydice. He just
appeared in the world
premiere of Swimmers
by Rachel Bonds and
in Howard Brenton’s
Anne Boleyn — both at
Marin Theatre Company. Other favorite roles include Sorn in Stupid
F**king Bird and Leonard in Seminar (both for
San Francisco Playhouse), Milton in Tony Kushner’s Homebody/Kabul (Berkeley Rep), Iago in
Othello (California Shakespeare Theater), and
Henri in Magic Fire, directed by Jack O’Brien
(Berkeley Rep/the Old Globe). His regional
theatre credits include the title roles in Hamlet
(Cincinnati Playhouse in the Park), Pericles
(Center Stage, Baltimore), and Scaramouche
(the Empty Space Theatre, Seattle). He was
last seen in New York in the American premiere of Frank McGuinness’ Gates of Gold at
59E59 Theaters.
Sarah Ruhl
P L AY W R I G H T
For Peter Pan on her 70th birthday marks
Sarah’s fifth production at Berkeley Rep
and her fifth collaboration with Les Waters;
previous productions at Berkeley Rep include
the West Coast premiere of Eurydice; the
world premiere of In the Next Room, or the
vibrator play; an adaptation of Chekhov’s Three
Sisters; and the West Coast premiere of Dear
Elizabeth. In the Next Room went on to Broadway, playing at Lyceum Theatre. Sarah’s other
plays include The Oldest Boy, The Clean House,
Passion Play, Dead Man’s Cell Phone, Melancholy
Play, Orlando, Late: a cowboy song, and Stage
Kiss. Her plays have been seen off Broadway
at Women’s Project Theater, Playwrights
Horizons, Second Stage Theatre, and Lincoln
Center’s Mitzi E. Newhouse Theater. Her
select regional credits include Yale Repertory
Theatre and Goodman Theatre. Sarah received
the Susan Smith Blackburn Prize, the Whiting
Award, the Lilly Award, a pen Award, and the
MacArthur Foundation “Genius” Award. She
has been a two-time Pulitzer Prize finalist and
a Tony Award nominee. Her book of essays,
100 Essays I Don’t Have Time to Write, was published by Faber and Faber in the fall of 2014.
KATHIE LONGINOTTI
REALTOR® and Berkeley Rep Subscriber
Les Waters
DIREC TOR
From 2003 to 2011, Les served as associate
artistic director at Berkeley Rep, where he
directed Sarah Ruhl’s Eurydice; In the Next
Room, or the vibrator play; Three Sisters; and
Dear Elizabeth. He also directed 15 other
plays for Berkeley Rep, including the world
premieres of Charles Mee’s Fêtes de la Nuit,
Jordan Harrison’s Finn in the Underworld,
Adele Edling Shank’s adaptation of Virginia
Woolf’s To the Lighthouse, Naomi Iizuka’s
Concerning Strange Devices from the Distant
West, and Todd Almond and Matthew Sweet’s
Girlfriend. As current artistic director of Actors
Theatre of Louisville, Obie Award winner Les
has directed Charles Mee’s The Glory of the
World, Rebecca Gilman’s Luna Gale, Naomi
Iizuka’s At the Vanishing Point, Lucas Hnath’s
The Christians, Thornton Wilder’s Our Town,
Will Eno’s Gnit, Todd Almond’s Girlfriend, and
Eugene O’Neill’s Long Day’s Journey into Night
for the company. Les also previously directed
Big Love by Charles Mee at the Humana Festival in 2000, and the site-specific production
of Naomi Iizuka’s At the Vanishing Point at the
2004 Humana Festival. In the last 10 years,
his shows have ranked among the year’s best
in the New Yorker, the New York Times, Time
Out New York, Time Magazine, and usa Today.
His productions have been seen in New York
at Playwrights Horizons, Signature Theatre
Company, the Public Theater, Second Stage
Theatre, Manhattan Theatre Club, Connelly
Theater, Clubbed Thumb, and Soho Rep,
and regionally at theatres such as the Mark
Taper Forum, Steppenwolf Theatre Company,
Goodman Theatre, Yale Repertory Theatre,
American Conservatory Theater, La Jolla Playhouse, and American Repertory Theater. In
2009, he made his Broadway debut with In the
Next Room, or the vibrator play. He led the mfa
directing program at University of California,
San Diego from 1995 to 2003.
510.981.3032
www.AtHomeEastBay.com
Annie Smart
Coldwell Banker Berkeley
Annie’s previous Berkeley Rep credits include
Big Love; Concerning Strange Devices from
the Distant West; Fêtes de la Nuit; Heartbreak
House; In the Next Room, or the vibrator play;
The Mystery of Irma Vep; Passing Strange; Rita
Moreno: Life Without Makeup; Suddenly Last
Summer; Taking Over; Three Sisters; Tiny Kushner; and To the Lighthouse. Annie is originally
from London, where she designed sets and
costumes for Joint Stock Theatre Group, the
National Theatre, and the Royal Court, among
many others. She recently designed At the
Vanishing Point for Actors Theatre of Louisville. In the U.S., Annie has designed for many
Locally Grown, Globally Known
SCENIC DESIGNER
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BE R K E L E Y R E P P R E S E N T S
major theatres, including the Public Theater,
Arena Stage, bam, Steppenwolf Theatre Company, the Guthrie Theater, La Jolla Playhouse,
and Long Wharf Theatre, among others. Now
based in the Bay Area, her show designs
include Blithe Spirit, Candida, Othello, The
Tempest, Man and Superman, An Ideal Husband,
Private Lives, John Steinbeck’s The Pastures of
Heaven, Pygmalion, and Lady Windermere’s Fan
at California Shakespeare Theater; and A Doll’s
House, Night and Day, and The Threepenny
Opera for American Conservatory Theater. She
currently teaches costume and set design at
the University of California, Berkeley.
Kristopher Castle
COSTUME DESIGNER
Kristopher’s credits include Luna Gale, At the
Vanishing Point, A Christmas Carol, Remix 38,
The Ten-Minute Plays (2013 and 2014 Humana
Festivals), Noises Off, Sleep Rock Thy Brain,
True West, Death Tax, The Veri**on Play, and
The Edge of Our Bodies at Actors Theatre of
Louisville; [title of show] at Signature Theatre;
Passing Strange and Jerry Springer: The Opera
at Studio Theatre; My Way Little Girl at the
Kennedy Center Millennium Stage; Cinderella
at North Shore Music Theatre; La Bohème and
Die Fledermaus at Catholic University of America; The Shape of Things, Once Upon a Mattress,
Castro’s Beard, Little Shop of Horrors, and
Eleemosynary at Barrington Stage Company;
and The Secret Garden, Oklahoma!, and Forever
Plaid at Paper Mill Playhouse.
Isabella Byrd
A S S O C I AT E L I G H T I N G D E S I G N E R
Isabella is a Brooklyn–based lighting designer
working in theatre, opera, and experimental
installation. Her recent credits include The Flick
(the National Theatre), okay by Taylor Mac,
Pirates of Penzance (Amarillo Opera), Returning
to Albert Joseph (the Satori Group), Gilded Girls
(Williams College Theatre Lab), Queen for a
Day (Theatre at St. Clements), Bareknuckle
(Vertigo Theatre), Remix 38 (Actors Theatre of
Louisville, Humana Festival), and The Seagull
(with John Gould Rubin). Her upcoming credits
include associate design for Othello at New
York Theatre Workshop. Isabella is associated
with Playwrights Horizons, Monica Bill Barnes
& Company, Prague Quadrennial 2015, Pig Iron
Theatre Company, Lincoln Center, Spoleto
Festival usa, Williamstown Theatre Festival,
Dallas Theatre Center, and PigPen Theatre Co.
She is the creative producer of 13Playwright’s
implosion archive, 13p.org, and a design editor
at Chance Magazine.
Bray Poor
SOUND DESIGNER
Bray’s Berkeley Rep credits include Eurydice; In
the Next Room, or the vibrator play; Concerning
Strange Devices from the Distant West; Red; and
Dear Elizabeth. His recent work includes The
Glass Menagerie at Toneelgroep Amsterdam,
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 7
profiles
The Last Match at the Old Globe, and 10 out of
12 at Soho Rep (directed by Les Waters). His
Broadway credits include The Real Thing; In the
Next Room, or the vibrator play; and American
Plan. His sound design and music have been
heard in New York at Playwrights Horizons,
Second Stage Theatre, the Public Theater,
Signature Theatre Company, New York Theatre Workshop, PS 122, and Clubbed Thumb,
and regionally at Trinity Repertory Company,
Arena Stage, Yale Repertory Theatre, Long
Wharf Theatre, and South Coast Repertory,
among others. He has also created multimedia
art installations, as well as original music and
sound for various media sites dedicated to
social change. Upcoming: Branden Jacobs-Jenkins’ War at Lincoln Center Theater.
Michael Suenkel
Amy Wegener
Karen Szpaller
Amy is the literary director at Actors Theatre
of Louisville, where she heads the literary
department and coordinates the reading and
selection process for the Humana Festival.
In 15 seasons with Actors Theatre and four as
literary manager at the Guthrie Theater, she
has worked as a dramaturg on more than 100
productions and workshops of new plays and
classics. Recent Actors Theatre credits include
Long Day’s Journey into Night, Tom Jones, and
Luna Gale, as well as the Humana Festival
premieres of The Glory of the World (also at
bam in New York), I Will Be Gone, The GrownUp, Maple and Vine, Appropriate, Gnit, Eat Your
Heart Out, The Veri**on Play, and Elemeno Pea.
She has co-edited 16 published anthologies
and holds degrees from Princeton and Northwestern University.
Karen is thrilled to be back for her 12th season
at Berkeley Rep. Her favorite past Berkeley
Rep productions include Tribes, The Wild Bride,
The Lieutenant of Inishmore, Eurydice, Fêtes de la
Nuit, Comedy on the Bridge/Brundibar, Compulsion, and Concerning Strange Devices from the
Distant West. Her favorites elsewhere include
The Unfortunates, A Christmas Carol (2006–15),
Armistead Maupin’s Tales of the City, 1776, Stuck
Elevator, Blackbird, Curse of the Starving Class,
and The Tosca Project at American Conservatory Theater; Anne Patterson’s art and theatrical
installation Seeing the Voice: State of Grace
and Anna Deavere Smith’s On Grace, both at
Grace Cathedral; the national tour of Spamalot
in San Francisco; Wild with Happy, Striking 12,
and Wheelhouse at TheatreWorks; Ragtime
and She Loves Me at Foothill Music Theatre;
The 25th Annual Putnam County Spelling Bee at
San Jose Repertory Theatre; Salomé at Aurora
Theatre Company; and Urinetown: The Musical
at San Jose Stage Company. Karen is the production coordinator at TheatreWorks.
D R A M AT U R G
Drew Fracher
FIGHT DIREC TOR
Drew is a fight master and past president of
the Society of American Fight Directors. His
work as a fight director has been seen at theatres throughout the United States, including
staging fights for the Tony Award–winning
Best Revival of Company at the Ethel Barrymore in New York, NY. Other theatres include
Actors Theatre of Louisville, Cincinnati Playhouse in the Park, the Repertory Theatre of St.
Louis, Cincinnati and Atlanta Operas, Missouri
Repertory Theatre, the American Shakespeare
Center, and the Alabama, Georgia, and Cincinnati Shakespeare Festivals.
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F LY I N G E F F E C T S
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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.
A S S I S TA N T S TAG E M A N AG E R
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 Association (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
“Seeing my kids watch
the show today, their
faces lit up…..it reminds
me of the real job of art:
it's to make us feel alive,
not just that we exist.”
—Jordan Winer, Drama Teacher at Berkeley High School,
after the student matinee of Berkeley Rep’s Macbeth
Help inspire the next
generation. Give today.
berkeleyrep.org/give · 510 647-2906
2 0 1 5 –1 6 · I S S U E 7 · 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 P R E S E N T S
profiles
Relations and Human Resources Management
from Baruch College.
Amy Potozkin, csa
Peter Dean
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.
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.
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.
DIREC TOR OF
C A S T I N G/A R T I S T I C A S S O C I AT E
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 Opportunity (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
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
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 7
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.
The Ira and Leonore S. Gershwin
Philanthropic Fund/
Jean & Michael Strunsky
EXECUTIVE SPONSORS
Michael and Jean Strunsky have a long history
with the arts. Mike manages the estate of his
late uncle, Ira Gershwin, and promotes Gershwin music worldwide. He helped facilitate
the Gershwin Room in Washington, DC, the
Ira Gershwin Gallery at the Disney Concert
Hall in LA, and the annual Gershwin Prize for
Popular Song. Mike is a sustaining advisor to
Berkeley Rep and serves on the board of the
Michael Feinstein Foundation. He is a past
member of the boards of the Goodspeed Opera House, the Jewish Home of San Francisco,
and the San Francisco Symphony. Jean and
Mike co-manage the Ira and Leonore S. Gershwin Philanthropic Fund and a Trust for the Music Division of the Library of Congress. They
are members of the Library of Congress’ James
Madison Council. Jean is an active Berkeley
Rep trustee and has served as co-chair of the
annual gala multiple times. She serves on
Theatre Communications Group’s National
Council and is a former board member of jvs,
where she continues to co-chair the Employee
of the Year Awards to select winners for the
annual jvs Strictly Business Lunch.
Gail & Arne Wagner
EXECUTIVE SPONSORS
Arne Wagner retired from the law firm of
Calvo Fisher & Jacob in San Francisco. In his
retirement, he teaches high school math parttime and serves as treasurer for Tiba Foundation. Gail Wagner recently retired from Kaiser
in San Leandro where she was their hematologist and oncologist. She is the founder of Tiba
Foundation (tibafoundation.org), an organization investing in community healthcare in an
underprivileged district of western Kenya, in
partnership with Matibabu Foundation. She is
also on the board of Africa Cancer Foundation
usa. Gail has been a Berkeley Rep trustee for
SPONSORS
Scott and Sherry are thrilled to sponsor For
Peter Pan on her 70th birthday. Scott and
Sherry have been interested in the arts as long
as they can remember, including choral and
instrumental music, dance, and live theatre.
Scott, who is a corporate law partner at
Latham and Watkins llp, served on Berkeley
Rep’s board of trustees from 2005 through
2014 and is currently a sustaining advisor to
the board. Sherry teaches LaBlast dance classes, serves as president of the Burlingame High
School Music Boosters and volunteers with
Pinewood High School parent group. It is with
great pleasure that the Habers are able
to support Berkeley Rep and exceptional
regional theatre.
Marjorie Randolph
SPONSOR
Marjorie is a past president of Berkeley Rep’s
board of trustees and a longtime supporter of
the Theatre. She was the head of worldwide
human resources for Walt Disney Studios.
During her tenure at Berkeley Rep, she has
sponsored more than 30 plays. A member
of the California Bar and a former president
of California Women Lawyers, she serves as
a community board member and treasurer
of the Psychoanalytic Institute of Northern
California, a member of the Chabot Space &
Science Center Foundation Leadership Council, and a member of the National Leadership
Council for Futures Without Violence. She
also serves on the boards of UC Press and
Kronos Quartet.
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
Proud to
Support
Berkeley Rep
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
Personal attention
thoughtful litigation
final resolution
Our goal is to preserve our
client’s dignity and humanity.
L A W
Scott & Sherry Haber
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.
F A M I LY
four years and, together, Gail and Arne have
been attending the Theatre since they were
students in 1972.
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
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
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Additional staff
Band
Anna McGahey—trombone, Michael Taylor—trumpet, Liam Robertson—clarinet
Canine services
Bow Wow Productions
Deck crew
Gabriel Holman, Matt Reynolds, Thomas Weaver
Electrics
Melina Cohen-Bramwell, Gabriel Holman, Brad
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
Props
Amelia Burke-Holt, Noah Kramer, Rebecca Willis
Scene shop
Ross Copeland, Noah Lange, Carl Martin,
Read Tuddenham
Wardrobe
Barbara Blair, Christina Weiland
Did you know that you
can purchase
GUARANTEED
PARKING
for your next performance?
Find out more at
BERKELEYREP.ORG/PARKING
or ask at the box office!
Medical consultation for Berkeley Rep provided by
Cindy J. Chang MD, ucsf Assoc. Clinical Professor
and Steven Fugaro, MD.
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9
Our goal is to
change the way
you feel about
wealth
management.
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Investment and Advisory Products and Services are Not FDIC Insured, Not Guaranteed and May Lose Value.
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 February 2015 and March 2016.
G IF T S O F $ 10 0,0 0 0 A N D A B OV E
Edgerton Foundation
The California Endowment
The William & Flora Hewlett Foundation
The Shubert Foundation
G IF T S O F $50,0 0 0 –9 9,9 9 9
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
The Ira and Leonore S. Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn 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
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
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LE A D S P O N S O R
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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
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
brk
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 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1
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 February 2015 and March 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
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 (6)
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
Seymour Kaufman & Kerstin
Edgerton
Duke & Daisy Kiehn
Rosalind & Sung-Hou Kim
Louise Laufersweiler &
Warren Sharp
Christopher & Clare Lee
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
Deborah Taylor
Pamela Gay Walker/
Ghost Ranch Productions
Patricia & Jeffrey Williams
Sheila Wishek
Sally Woolsey
B E N E FAC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (8)
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
Betsey & Ken Cheitlin, in honor of
Melvin & Hella Cheitlin
Terin Christensen
Ed Cullen & Ann O'Connor
James Cuthbertson
Barbara & Tim Daniels K 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
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 7
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
Anne & Peter Griffes
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
Charlotte & Adolph Martinelli
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
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
Stephen Stublarec &
Debra S. Belaga
Amrita Singhal & Michael Tubach
Cherida Collins Smith
Ed & Ellen Smith
Sherry & David Smith
David G. Steele
Andrew & Jody Taylor
Alison Teeman &
Michael Yovino-Young
Susan Terris
Samuel Test
William van Dyk & Margi Sullivan
Jonathan & Kiyo Weiss
Beth Weissman
Wendy Willrich
Steven Winkel & Barbara Sahm
Charles & Nancy Wolfram
Ron & Anita Wornick
Sam & Joyce Zanze
Mark Zitter & Jessica Nutik Zitter
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 (7) · 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 · Ms. Sidne S. Long · 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 · Maxine Risley,
in memory of James Risley · Richard Rouse M ·
Deborah Dashow Ruth, in memory of Leo P.
Ruth · Mitzi Sales & John Argue · Teddy &
Bruce Schwab · Seiger Family Foundation ·
Brenda Buckhold Shank, M.D., Ph.D. · Joshua
& Ruth Simon · Alice & Scott So · 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 (23) · 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 · The
Blackman Family · 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 · Dr. & Mrs. John Damron · 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
We gratefully recognize
the following members
of the Annual Fund whose
contributions were
received in February and
March 2016:
Gloria J.A. Guth · Suzanne Pierce, in honor of
Carol D. Soc · Fred & Judy Porta · Sara
Rahimian · Susan Robertson · Nancy Saldich ·
Barbara & Steve Segal · Renee Simi · Camilla
Soghikian · Julie Stahl · Susan Tulis, in honor of
John & Gina Hook · Dorothy Walker · Emily &
Bob Warden · Ms. H. Leabah Winter, in
memory of Barry Dorfman, MD · Susan &
Harvey Wittenberg
S U PP O R T E R S
$ 15 0 –2 49
$ 2 5 0 –49 9
Anonymous (9) · Mark & Bonnie Andersen ·
Laurence Anderson · Dorothy & Ervin Behrin ·
Gail Berger · Beverly Blatt & David Filipek ·
James & Elizabeth Branson · John H.
Buckman · Fran Burgess · Sophia & Virginia
Cafaro-Mirviss · Lawrence & Marilyn
Capitelli · Catherine Corison · Jane & Tom
Coulter · Philip & Carolyn Cowan · Jeff & Laura
Critchfield · Dennis T. De Domenico & Sandra
Brod · David Drubin · Kathy & Leonard Duffy ·
Michael Ehrenzweig & Josh Bettenhausen ·
Caryll Farrer · Stephen Follansbee & Richard
Wolitz · Beverlee French & Craig L. Rice ·
Arlene Getz · Dr. & Mrs. Arnold Goldschlager ·
Mr. & Mrs. Ervin Hafter · Carol & Don
Hardesty · Dr. & Mrs. Alan Harley · Dee
Hartzog · Paula Hawthorn & Michael Ubell ·
Laurin Herr & Trisha Gorman-Herr · Robert
Jacob & Diane Penn · Marty & Ellen Jaffe ·
Katharine Jennings · Karen Johanson · Ann L.
Johnson · Marcia Kadanoff · Lisa & David
Kaplan · Kenneth Kulander · Sally A. Lewis ·
Marcia C. Linn · Jeffrey Livingston, in honor of
John & Gina Hook · Martha & Arthur
Luehrmann · Jane & Bob Lurie · Paul Mariano ·
Paul McCabe · Robert McDowell · John G.
McGehee · Steven McGlocklin · Yael &
Gavriel Moses · Barbara Mowry · Teresa &
Mike Olson · David Pasta, in memory of
CO N T RIB U TO R S
Anonymous (14) · Claire Allphin · David Arpi &
Natalie Gubb · Susan Avila · Karlotta
Bartholomew & Aubrey Cramer · Mary Ann &
Len Benson · Thomas G. Bertken · Constance
Boulay · Pat & Mary Boyle · Aida Brenneis ·
Monroe & Kate Bridges · Howard Brownstein
& Janna Ullrey · June & Michael Cohen · Mick &
Kay Cooke · Harley Cooper · Jeanne M. Cox ·
Faith & Bob Cushman · Marc Davis and Nancy
Turak · Allan Defraga · Sue & Peter Elkind ·
David & Denise English · Barry & Cheri Feiner ·
Matthew Finch · Mrs. Robert Force · Jean M.
Furgerson · Keith Goldstein & Donna
Warrington · Barbara & Barry Gross, in
memory of Norma Louise Combs · Christina
Halsey · Lori Hanninen & Jeff Wheaton · Kathy
Hasten · Austin & Lynne Henderson · Dr. &
Mrs. Charles E. Jackson · Margaret E. Jones ·
Kimberley Kahler · Cynthia Koenigsberg &
Harry Patsch · John Kruse & Gary Beuschel ·
Nancy Lumer · Steve & Linda Lustig · Gail
MacGowan · Mike & Linda Madden · Lisa
Manning · Chris & Sarah Martiniak · Judith
Maurier · Ben McClinton & Karen Rosenbaum ·
Judeth McGann · Beatrice McIntosh · Steve
Merlo · Karin Meyer & John Woodfill · Sandra
Miyahara · Mary & Dennis Montali · Robert &
Mia Morrill · Lisa Nestore · Dr. & Mrs. Ernest
Newbrun · Wendy Niles · Karl Francis Nygren ·
Howard & Charlene Okamoto · Ruy Pereira &
memory of Carole S. Pfeffer · Midge Fox K ·
Nancy H. Francis · Harvey & Deana
Freedman · Paul & Marilyn Gardner · David
Gaskin & Phillip McPherson · 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 · Sue
Fisher King · 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 · Caroline McCall
& Eric Martin · Marie S. McEnnis · Sean
McKenna · Christopher McKenzie & Manuela
Albuquerque · Brian McRee · Ruth Medak ·
Jamie Miller, in memory of Helene Sabin · 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 ·
Kyle Peacock · 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 · Cynthia
Sears · John & Lucille Serwa · Lyman Shaffer ·
Margaret Sheehy · Steve & Susan Shortell ·
Margaret Skornia · William & Martha Slavin ·
Carra Sleight · Suzanne Slyman · Jerry & Dick
Smallwood · Sigrid Snider · 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 · Sharon Ulrich & Marlowe Ng · Mark
Valentine & Stacy Leier-Valentine · 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
Linda Zweig · Barbara Peterson · Meshulam
Plaves · Danilo Purlia & Catherine Kuss ·
Danielle Rebischung · Karen & Jeff Richardson ·
Margaret Riley & Kevin Depew · Craig F.
Robieson · Kim Rohrer · Robert & Winnie
Sayre · Peter Schmitz · Richard J. Schoofs ·
Dana & Peggy Shultz · Sandy Shin · Christine
Silver · Gail Smith-Pratt & Jeff Pratt · Patricia
Sparkman · Alan & Charlene Steen · Ingrid
Stephen · Cecilia Storr & Mark Chaitkin ·
Christy Story · Suzanne & Svend Svendsen ·
Dana Swisher · Margaret Takahashi · Marion
Taylor · Jason Thomas & Marco Aurelio · Rick
Trautner · Grace Ulp · Mary Wadsworth M ·
Patricia Walsh · Karen & Stephen Wiel · G.
Geoffrey Wood
Gex · Steven Goldberg · Gayle & Steve
Goldman · Ian M. Goldstein · Bill & Chris
Green · Nancy J. Greenberg · Sheldon & Judy
Greene · Marjorie Hamm & Angela Bottum ·
Neil Handelman & Karyn O'Mohundro ·
Anthea Hartig · Henry L. Hecht · Carolyn
Hedgecock · Derek & Christina Heins · Mary
Kay Henderson · Kristi Hernandez · Dr. Robert
R. Herrick & Ms. Willma Zinser · Donald E.
Hershman, DPM · Nancy Higham · Susan L.
Hill · Dolores Hiskes · Patsy Hom · Frances
Hopson · Marcia Huberman · Sandra
Iwamoto · Jane Kadner · Gerald Kaminski · Ray
Kaplan · Marlene & Ilan Keret · Bonnie
McPherson Killip · Susan Kinloch · Joel H.
Kreisberg · Gloria Kwei · Nancy Larson · Ragna
A. Larusdottir · Joyce Lashof · Paula Lavine ·
William Leach · Lannon Leiman & Frederick
Seil · David Leinbach · Donald Leonard · Diane
Levy · Ken & Judy Linhares · Trudy Lionel ·
Lawrence Litt · Lorena Liu Lee · Kerri & Mark
Lubin · Gerry Mack · Gordon & Carol
Manashil · Patrick McCleskey · Kathryn
McGeorge · David & Wendy McGrath · Debra
& David McMahon · Alrie Middlebrook · Ms.
Peggy Mihm · Patrick & Jane Miller · Robert
Moench · Gerald T. Moran · Brad Mulvey ·
Linda Nakell & Robert Dawson · Haggai Niv ·
Donna Norquist, in memory of Carl Norquist ·
Bruce Nunley · Peter Nussbaum & Aleta
Wallace · Linda & Gregory Orr · Joan & Allen
Perlof · Mr. & Mrs. William Plageman · Steven
Potter · Sheila & Myron Puckett, in memory of
Jean Murphy · Marilyn Radisch · Mahendra
Ranchod· Dave Richanbach · Katie Riemann K ·
The Rev. Dr. Bonnie Ring · Geraldine Riordan ·
Mary Rooney-Zarri & Philip Zarri · John G.
Rosenberg & Diane Gerstler · Kathy Rosselle ·
Tracie E. Rowson · Priscilla Royal · Daniel &
Gail Rubinfeld · Larry E. Ruff · Eleanor Rush &
Jim Puskar · John & Melanie Sandler · Roland &
Aase Schoen · Steven Schultz & Nancy Ulmer ·
FRIE N D S
$ 75 –149
Anonymous (22) · Michael Alef · Elinor Armer ·
Esther Arnold · Julie Baeder · Catherine Bailey
& Jack Telian · Barbara Barer · Cathryn W.
Barrett · Carol & Michael Bartlett · Gale
Bataille · Joan Baylie & James Mullins · Jim &
Donna Beasley · Lucy Bernholz & Paula
Fleisher · Jennifer & Frank Block · Jennifer
Boehler & Mark Anderson · William C Bourke ·
Craig Broscow M · Marc Beam & Paul Burwick ·
Katherine Byrne · Laura Call · W. Bradford
Carson · Helene & Norman Cavior · Jean
Comer · Doug & Rosemary Corbin · Susan &
Don Couch · Thomas & Suellen Cox · Rich
Craig · Catherine Crystal & Eric Crystal · Erin E.
Cullnan · Dr. General Scott Davie · Hardy &
Judi Dawainis · Richard A. Denton · Char
Devich & Alana Devich · Helen Edelman · Anne
& Hal Eisenberg · Linda Esquivel · Peter Ewell
& Helga Recke · Mimi Felson · Maureen
Fitzgerald & Douglas Dohrer · Carolyn Foland ·
Marvin Freid · Christine Frick · Carol Gadas ·
Jeannette A. Gape · Janice & Chuck Gebhardt ·
George Gemignani · Sandra Gerstel · Marian
2 0 1 5 –1 6 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 43
BE R K E L E Y R E P T H A N K S
Donors to the Annual Fund
Margaret Scott & Kathleen Slobin · James L.
Seeman · Boris Shekhter · Carol Shen and
Larry Dodge · Lillian Shiiba · Wendy Silvani ·
Neil Sitzman · Tim & Lucy Smallsreed · Fred
Sperber · Alice Steiner · Alan Stern · Marc
Sternberger · Jay Streets · Renee Swayne ·
Charlene Tung · Harvey Tureck & Susan Tait ·
Wilbur Tusler · Sayre Van Young & Diane
Davenport · Maureen Vavra · Stanyan
Vukovich · Edwin A. Waite · Phyllis Weber ·
Peter Weiser & John Hudson · Thomas
Weston · Susan Whitman & Mark Gergen ·
Alice Wilkins · Barbara Williams · Wilma Wool ·
Dr. & Mrs. Mark J. Yanover · Marjorie Yasueda
& Dale Knutsen · Al Zemsky
PAT RO N S
$ 1 –74
Anonymous (18) · Roberta Abel · Noliwe
Alexander · Aurelia Alston · Miriam Amado ·
Kathy Armstrong · Norman Bailiff & Fran
Cooper · Blythe Baldwin · Helen Barbato · Cris
Bautista · Jennifer Bell · Linda J Benton ·
Laurence J. Berger · Maryanne Berry · Kyle
Biehle · Millard Billings · Elaine Binger · Diana
Black-Kennedy · Mary & Frederick Blume ·
Lauren Boas Hayes · Joan Bodway · Amy Boyd ·
Nancy Broderick · Marilee Brooks · Susan
Browne · Julie & Stan Burford · Judith Burns ·
Donna Calame · Sharon Calkin Family ·
Heather D. Cann · Hector Cardenas · Samantha
Cardenas · Jennifer & Dan Cavenaugh · Leslie
Chalmers · Darlene Chan · Christy Chung · Eurie
Chung · R. Arlene Coleman · Judith Collier ·
Jeanne Cooper · Kimberly Cress · Catherine
Dahlstrom · Darby's Dad · Vincent DeNave ·
Irene Desonie · Maria Drake · Mari-lynne Earls ·
Chandra Easton · Roberta Fanning · David
Faulkner · Nicole C. Fee · Richard K. Feldman ·
Michelle Ferguson · Michael Fink · Ann
Finlayson · Nancy Fitzmaurice · Sabrina
Folsom · Elton Fong · Shira Freehling · Nancy
M. Friedman & Terry Hill · Kelli M. Frostad ·
Charles Goetzl & Eric Fine · Barry & Erica
Goode · Lauren M. Goodrich · Tracy Green ·
Zachary & Carolyn Griffith · Dr. & Mrs. Robert
& Margaret Grosse · Judy Grossman · Jody
Hahn · Elna Hall · Garrison Hall · Patricia A.
Hare · Peter Hobe & Christina Crowley ·
Elizabeth Hodder · Kay Hogan · Lena Hwang ·
Sustaining members
as of March 2016:
The Society welcomes the
following new members:
Kevin Shoemaker
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
Ruth Ichinaga · Allison Janoch · Mark Jarrett ·
Josephine Jarvis · Susan Jergesen · Dale F
Johnson · Nick Kazaglis · Vera Kerekes · Hong Jik
Kim · Jang Ock Kim · Sophia Kim & Dominic
Wang · Mr. & Mrs. Troy Kitchens · Ruth & Jay
Koch · Michael Kohane · Michele Koning ·
Martin Kosina · Al Kwak · Katherine Land ·
Amelia Langston · Laura Larkin · Pauline Layer ·
Jenny Lee · Maria & Jan Leeman · Catherine
Lewis · Joyce Liu-Countryman · Dr. Bruce R.
Locke · Robert S. Lord · Nicholas D. Manfredi ·
Jose Martinez · Paul & Claire Maxwell · David
May · Don Mayou · Brandon McDonnell ·
Jacqueline C. McMahan · Grace McMahon ·
Harry J. Mersmann · Michele Mont-Eton ·
Claudia Moore · Mary Jean Moore · Penelope
More · Doryanna M. Moreno · Cindy Morris ·
Deirdre Moy · Katherine K. Murphy · Joyce
Murray · Haruko Nagaishi · Gloria O'Dell ·
Richard Page & Susan Audep-Page · Milton
Palmer · John R. Petrovsky · Ken Pinhero · John
& Carol Pitts · Tony Politopoulos · Randall
Pollard · Christy Ponte · Carol Possin · Becky
Potter · Linda Quaintance · Katherine
Randolph · Eun Rhee · Helen Rosen · David
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
Ross · Laurie Rucker · Darius I. Rudominer ·
Peter Rudy · Fred Runner · Kathleen Russell ·
Linda Russell · M. Ryce · Karen Schiller · Melissa
Schoen · Judith & Peter Schumacher, in honor
of Jessica Broitman · Karen Schwartz · Ellen &
Mike Shaler, in memory of Mrs. Bernice
Rothberg · Sophie Shang · Irwin & Annette
Shapiro · Ruth Shapiro · Michael Sherman ·
Deborah Sherwood & Davis Ja · Candice
Shibata · Ms. Michelle W Shieh · Shirley & Ron
Shiromoto · Marian Shostrom · Alan Silverman ·
Janice Sinclaire · Bridget Smith · Susan
Sniderman · Andrea Sohn · Howard Sohn · Mark
& Etai Sondag · Phyllis Sorensen · Joan
Sperans, in honor of Steve Flint · Anitra
Squires · Lydia Stack · Larue Stephens · Mary
Steward · Dorian Stull · Douglas Styles · Matyas
Sustik · Kai-Yao To · Shirley R. Trimble · Nancy
Vandell · Irina Vaysberg · Edward Vine · Virginia
Warnes · Wendy Watling · Janice Wenning ·
Nessa & Robert Wilk · Gail Wilkinson · Lewis M.
Williams · Travis Winfrey · Susana Winkel · Zee
Wong · Hildred Yost · Donald Zimmerman ·
Pamela D. Zucker
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 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 7
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 · Nina Gorham ·
Daron Jennings · Sarah Mosby ·
Benjamin 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 · Alex Maciel · Carlos
Mendoza · Oliver Sweibel · Jesus
Rodriguez · LeRoy Thomas
BERKELEY REP
S C HO OL OF T H E AT R E
Director of the School of Theatre
Rachel Hull
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 Caramagno · 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
For Peter Pan on her 70th
birthday Docents
Michelle Barbour, Lead Docent · Matty
Bloom · Ellen Kaufman · Dale Marshall ·
Joan Sullivan · Rebecca Woolis
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 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 45
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.
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 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
RO DA
stage
stage
PE E T ’ S
stage
stage
stage
••
•• ••
seating
sections: premium
premium a a b b
seating
sections:
OSHER
STUDIO
stage
seating sections:
4 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 7
• premium • a • b
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