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THE BERKELEY REP MAGAZINE
2 008 –09 · I S S U E 5
Sharon Ott &
Berkeley Rep—
a history · 10
A conversation
with adaptors
Marilyn Campbell &
Curt Columbus · 14
Crime and Punishment
program · 23
2008-2009 Season
Director of Drama: Winter Mead
Director of Music Programs: Ahmed El-Gasseir
The Performing Arts
—a rich tradition—
Bentley School’s 11th Anniversary of Performing Arts
METAMORPHOSES
THE FROGS
Mary Zimmerman
October 23–26, 2008; The SPAC
Aristophanes
In a staged reading of a new Musical as part of the Mini-term
Thursday, March 5, 2009; 4pm; The SPAC
BETRAYAL
Harold Pinter
November 6–9, 2008; The Little Theater
U.S. MUSIC NIGHT
PROOF
David Auburn
March 5–8, 2009; The Little Theater
Sunday, December 7, 2008; 6pm; The SPAC
RHINOCEROS
THE WIZ
Eugene Ionesco
April 2–5, 2009; The SPAC
Smalls and Brown
Dual-campus production
January 30 & 31; February 1, 6, 7, & 8, 2009; The SPAC
U.S. MUSIC NIGHT
Sunday, May 3, 2009; 6pm; Location TBA
LUCKY STIFF
Ahrens and Flaherty
May 28–31, 2009; The SPAC
BENTLEY’S Performing Arts Staff brings nearly 75 years of combined experience to their work. They have taught at the Berkeley Jazz
School, Mills College, Cal State University East Bay, Stanford University, ACT’s MFA Program, and UC Berkeley’s Young Musician Program
and have performed or worked at venues as various as the Monterey Jazz Festival, the Negro Ensemble Theater, The New York Public
Theater, The Goodspeed Opera House, The Sante Fe Opera, Berkeley Rep, ACT, Cal Performances, and Yoshi’s.
Bentley School is a leading K-12 college preparatory institution.
Oakland Campus ( K-8) t One Hiller Road t Oakland t CA 94618 t www.bentleyschool.net
Lafayette Campus (9-12) t 1000 Upper Happy Valley Road t Lafayette t CA 94549 t www.bentleyschool.net
IN THIS ISSUE
C ALENDAR
Unless otherwise noted, all events are
associated with Crime and Punishment.
FEBRUARY
7
10
14
27 Teen Night, 6:30pm 27 Previews begin, 8pm
27 Tasting: In the Next Room (ITNR)
Teance, 7pm
28 Tasting: ITNR Peets, 7pm
MARCH
PROLOGUE
REPORT
FEATURES
A letter from the
artistic director
Scenic paint:
More than brushstrokes
PAG E 5
PAG E 7
A conversation with
adaptors Marilyn Campbell
and Curt Columbus
Inside out: Teens take
charge in the Target® Teen
One Acts Festival
PAG E 9
Sharon Ott & Berkeley
Rep —a history
PAG E 10
Supporters in the spotlight:
Jan & Howard Oringer
PAG E 14
Thought in turbulent
times: 19th-century Russia
and Dostoevsky’s Crime
and Punishment
PAG E 18
The life and times of Fyodor
Mikhaylovich Dostoevsky
PAG E 20
PAG E 12
Chutzpah list
PAG E 13
BERKELEY REP PRESENT S
Crime and Punishment
PAG E 2 3
Profiles
PAG E 2 4
1 Family Series, 11am 1 Tasting: ITNR Charles Chocolates, 6pm
3 Pre-show docent talks begin, every Tue
and Thu, 7pm
4 Teen Council meeting, 5pm 4 Opening night dinner, 6pm Ê
4 Opening night, 8pm
5 Post-show discussion, 8pm
6 Tasting: ITNR Fra’ Mani
handcrafted salumi, 7pm
6 Tasting: Sushi Ko, 7pm
6 Cal Night, 8pm
7 Cal Alumni Night, 8pm
7 Tasting: Domaine Carneros, 7pm
8 ymca Night, 6pm
8 Tasting: Laurel Glen, 6pm
13 Post-show discussion, 8pm
14 Tasting: Triple Rock Brewery, 7pm
15 Tasting: ITNR Forth Vineyards, 6pm
15 ITNR final performance
17 Post-show discussion, 8pm
20 Tasting: Teance, 7pm
21 Tasting: Tres Sabores, 7pm
22 Tasting: Charles Chocolates, 6pm
27 Tasting: Fra’ Mani
handcrafted salumi, 7pm
28 Tasting: Raymond Vineyards, 7pm
29 Final performance, 7pm
APRIL
CONTRIBUTORS
ABOUT BERKELEY REP
F YI
Foundation, corporate,
and government sponsors
Staff and affiliations
PAG E 3 0
Board of directors
and sustaining trustees
Everything you need to
know about Berkeley Rep’s
box office, gift shop, seating
policies, and more
PAG E 3 7
PAG E 3 8
Individual donors to the
Annual Fund
PAG E 3 6
PAG E 31
Michael Leibert Society
PAG E 33
40th Anniversary Campaign
PAG E 3 4
THE BERKELE Y REP M AGA ZINE 2008 –09 · I S S U E 5
The Berkeley Rep Magazine is
published seven times per season.
Editor
Megan Wygant
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725
or [email protected].
Art Director
Cheshire Isaacs
Designer
Abby Hanson
Writers
Elissa Dunn
Laura Fichtenberg
Pauline Luppert
Elisabeth Millican
Madeleine Oldham
Alex Rosenthal
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email [email protected]
3 Narsai Toast gourmet gala and
wine auction Ï
4 Target® Teen One Acts, 8pm 5 Family Series, 11am 5 Target® Teen One Acts, 2pm 6 Spring classes begin 8 Teen Council meeting, 5pm 10 Target® Teen One Acts, 8pm 11 Target® Teen One Acts, 8pm 17 The Lieutenant of Inishmore (LI)
Teen Night, 6:30pm 17 LI 30 Below, 7pm
17 LI previews begin, 8pm
Ê
Ï
Donor appreciation event
Fundraiser
School of Theatre event
PROLOGUE
FROM THE ARTIS TIC DIREC TOR
45*.6-"5*/(5)&
&$0/0.:
'035)&1"45:&"34
-0$"when i first read crime and punishment i remember
feeling overwhelmed. I was in high school at the time, and
the sheer length of the novel was enough to elicit horrified
groans from the entire class. How could we possibly
endure the lurid prose of some Russian writer who lived
in the middle of the 19th century? From the summary
on the back of the book, I judged that the plot was
annoyingly simple, and the author, whose grim features
and bedraggled beard stared out me from an old photo,
resembled a corpse more than a living human being. I
resigned myself to idea that reading the book was going to be torture.
In fact, it was torture; but the kind of ecstatic torture one experiences when
encountering pure genius. It was at once engrossing and mysterious, logical and
incomprehensible. The simple plot turned out to be a vehicle to describe the inner
workings of the diseased mind of a murderer, the investigation of the crime an
intricate and surprising portrait of a brilliant detective. But the plot was only a part
of the story. Dostoevsky’s vision of the world was filled with a kind of suffering that
seemed both unbearable and transcendent.
He was after something much larger than a naturalistic presentation of the
world. His prose was torrid, fantastic, and hyperreal. It was as if he was possessed,
like his central character Raskolnikov, by a fevered dream that threatened to consume
him at any moment. At the heart of Crime and Punishment is the author’s own
spiritual quest to understand the world, to find a path that can lead to meaning, to
empathy, and, finally, to redemption.
The adaptation you will be seeing tonight by Curt Columbus and Marilyn
Campbell is an intense distillation of the novel. It tightly compresses the action into
a series of investigatory encounters while trying to capture Dostoevsky’s pursuit of
larger metaphysical questions. Rather than trying to imitate the expansionist prose
of the book, the play carefully selects its dramatic events to reveal the luminous
mind of the author. The result, brought to life by three actors, is swift, vivid, and
astonishingly effective.
This production marks the directorial return of none other than Sharon Ott.
As many of you know, Sharon served as the artistic director of Berkeley Rep for 13
terrific years, during which time she created a national reputation for the theatre.
From personal experience I can tell you that she taught us all to aim higher, to make
bold choices, and to take smart chances. With Crime and Punishment, we continue the
tradition she so bravely established.
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2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 5
March 2009
Volume 41, No. 5
Paul Heppner
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6 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
REPORT
Scenic paint
More than brushstrokes
BY ELISABETH MILLICAN · PHOTOS BY LISA LÁZÁR
the y come ar med with paintbrushes,
rollers, hot knives, stencils, auto-body paint guns,
kitty litter, mops, and cake-decorating tools.
They take designers’ dreams of fantastic worlds
and spin them into tangible realities—adorning
the stage with fireproof, waterproof, actorproof surfaces, all painstakingly painted for your
viewing pleasure. They are the scenic painters.
Lisa Lázár, Berkeley Rep’s scenic artist, runs
a tidy shop where quality and craftsmanship go
hand-in-hand with worker safety and conscientious
environmental practice. She is a talented artisan
who deftly balances wild inspiration with pragmatic
project-management. Behind every set exists an
CO NTIN UED O N NE X T PAGE
Main image and inset
Hand-painted wallpaper
for In the Next Room
(or the vibrator play)
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 7
Scenic paint
CO NTIN UED FROM PRE VIO US PAGE
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Does your investment advisor
talk about performance? We do.
To start a conversation, call us at 510.433.1066.
Bell Investment Advisors, Inc.
1111 Broadway, Suite 1630, Oakland, CA 94607 www.bellinvest.com
excruciatingly detailed construction
process. Think of set-building as piecing together a very large and intricate
puzzle. Lisa works closely with the entire
scenic department to coordinate which
piece goes where and when. Timing
is everything, and the timer counting
down to first preview is always ticking.
“They don’t teach you this in art school,”
she sighs.
“A scenic painter really must be a
jack-of-all-trades,” she explains. “Everything we make is a prototype, and each
set requires a different set of skills—including sculpting, plastering, graffiti, lettering, or transforming a set designer’s
handmade paintings into 40-foot murals
and backdrops.” Not to mention, every
floor you see is handmade and handstained to precise specifications for the
stage. All wallpaper is painted, and fake
concrete surfaces are made by sculpting
and painting pulp from recycled newsprint. Everything you see must also be
strong enough to withstand the abuse
of eight-show weeks, where gestures
must often be larger than life. And, as
many Berkeley Rep productions transfer
to other theatres, the sets are built to be
broken apart and shipped. Lisa and her
department document every step of the
creation process, making a “kit” for each
set that contains photos, paint samples,
and recipes to recreate exactly each
color they’ve used.
“It’s physically hard work,” Lisa
points out, “and there are a lot of
personalities involved, so you have to
find the joy in it.” For example, taking
pleasure in watching a beautiful and
intricate pattern of Victorian wallpaper
emerge after hours of stenciling on
one’s hands and knees. Or getting fired
up as she tries to figure out which surfaces won’t get stained by stage blood,
or how to make fake, flame-proof grass.
“It’s done—wistful pause—until
the designer says it isn’t!” is a phrase
Lisa repeats often. Throughout the
construction process, the scene shop
shares work samples with designers, but
occasionally the alchemy just doesn’t
work when the set finally appears on
stage under the lights with actors in
8 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
K E V I N B ER N E
CO NTIN UED O N PAGE 35
REPORT
l to r: Spencer Fortin, Amalia Mesa-Gustin, and Kim
Fischer perform Joey Buttafuoco Eats a Pastrami
Sandwich in the Target® Teen One Acts Festival.
Inside out
Teens take charge in the the
Target® Teen One Acts Festival
BY ELISSA DUNN
K E V I N B ER N E
“ this is work that come s from
you,” Kendra Vaculin explains to a
gathered group of high school students,
“This isn’t from a playwright you’ve
never heard of, or that’s dead. It’s by
you and for you.” A member of Berkeley
Rep’s Teen Council, Kendra’s talking
about the annual Target® Teen One Acts
Festival —and why it’s important for her
peers to get involved.
The Teen Council is a program for
local teens who love theatre. They meet
regularly to see local shows, attend
workshops with Berkeley Rep’s artists,
and plan special events like Target®
Teen Night. In January, they gathered to
begin preparations for the annual One
Acts Festival. Each year, the Council
chooses two plays from submissions
by local high school students, which
are then directed, performed, and
produced by local teens under the
mentorship of Berkeley Rep staff.
“When I did the Festival last year,
I realized I wasn’t alone with this weird
interest in theatre. I discovered that
there were other kids who shared the
same passion,” says Roxie Perkins, a
senior at Albany High. Roxie wrote
and directed El Soldado for last year’s
festival. This year she’s playing with
abstract storytelling in To All the Ideas
I’ve Loved Before, Pt. 1, where the action
takes place inside her main character’s
body. When asked how last year’s
experience as a writer and director had
influenced her new piece, she answers,
“I wanted to see what it would be like,
instead of having ten characters filling
the stage with noise, to have three
characters who never leave the stage
at all, filling the space with silence and
empty words. By setting the current
play inside the protagonist’s body, I was
hoping to prepare the audience for the
fact that reality is not the truth in this
play. It’s the interior that counts.”
Scott White, a junior at The Branson
School, was an actor in El Soldado. “I
had been in a Berkeley Rep summer
program before and really enjoyed it,
so I figured ‘Why not, let’s try this out,’”
Scott says. “I went to the audition, and
“...I wasn’t alone with this weird
interest in theatre...other kids
shared the same passion.”
about three weeks later I got a call from
Roxie. It was a really spontaneous way
to get involved.” This year he’s turned
writer, providing another one-act,
El Centro Basco. “I never would have
thought that I was capable of writing a
play until I was in the show last year and
saw other kids doing it. I thought, ‘I can
do that, too.’”
El Centro Basco examines 13 years
of friendship between two basketball
players who put their sense of connection above all else, even their dreams of
success. When asked what he wanted to
say with El Centro Basco, Scott explains,
“I really wanted to explore that transition from a comfort zone to the real
world that everyone has to make at
some point. I wanted to stress that
there’s no single way to get to a certain
result. In other words, it’s not really
about where you end up, or who you
end up with, but rather the process of
getting there —adapting during times of
adversity, and being able to make tough
decisions without hesitation.”
My life here
Bonnie Killip, joined in 2005
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experience the service and
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the East Bay’s leading
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Reserve early. Call now
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Target Teen One Acts performances
will take place April 3, 4, 5, 10, and 11.
To get involved, call the Berkeley Rep
School of Theatre at 510 647-2974 or
click berkeleyrep.org/school.
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2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 9
REPORT
Sharon Ott &
Berkeley Rep—a history
1988
In March, Sharon initiates a long and fruitful association
with playwright Philip Kan Gotanda when she directs the
world premiere of Yankee Dawg You Die—“a significant
step in the Rep’s development of a multi-ethnic identity,”
according to the East Bay Express. The show extends its
Berkeley run and transfers to the Los Angeles Theatre
Center, and then to Playwrights Horizons in Manhattan.
1990
Sharon directs the world premiere of
The Woman Warrior, which is based on
the writings of Maxine Hong Kingston.
It becomes the most highly-attended
production in the Theatre’s 26-year
history. The smash hit travels to Boston
and then Los Angeles—and usa Today
declares it “Best Play of the Year”!
BY PAU LI N E LU P P E R T
This production of Crime and Punishment represents a significant reunion for
Berkeley Repertory Theatre and director Sharon Ott—the first time she’s directed
here in 11 years. From 1984 to 1997 Sharon Ott served as Berkeley Rep’s artistic
director, presiding over an extraordinarily rich and fertile chapter of the Theatre’s
history in whichthe Theatre —as the Oakland Tribune put it —evolved from a
competent but predictable regional company to an artistic groundbreaker often
basking in the national spotlight.” Here are some of the highlights of that journey.
1984
1984
Sharon Ott
assumes the
artistic helm
at Berkeley
Rep. Previously
based in
Milwaukee, the
young artist
has already
worked in
New York,
Los Angeles,
Chicago, and
Seattle, as well
as in Europe
and Japan.
1985
1986
1985
Sharon and Richard
E.T. White rock the
house with their
jointly-directed
production of Sam
Shepard’s The Tooth
of Crime. The show
is so successful in
its initial incarnation
that it returns over
the summer.
1985
Pushing the Theatre’s commitment
towards greater diversity, Sharon’s first
production—Amlin Gray’s Kingdom
Come—casts actors from a wide variety
of races to portray a community of
Norwegian farmers.
1 0 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
1988
1990
1986
While she is widely recognized as a
champion of new plays, Sharon also
celebrates Shakespeare. Her future
successor, Tony Taccone, insists,
“Her Twelfth Night was one of the
greatest Shakespeare productions
I’ve ever seen: whimsical, effortless,
smart, really exciting.”
1994
1992
Sharon directs
Berkeley Rep’s first
commissioned play,
McTeague: a Tale
of San Francisco.
The show is
quickly followed
by two more
commissioned
world premieres—
The Convict’s Return
by Geoff Hoyle
and Dragonwings
by Laurence Yep.
These three shows
lay the groundwork
for what is today
a rich tradition of
new work from
Berkeley Rep.
Left to right Chiron Alston, Geneva Baskerville, and Marc Hayashi rehearse with Sharon
Ott for Kingdom Come; Howard Swain and Charles Dean in The Tooth of Crime; Lydia
Look, Yunjin Kim, Xi Reng Jiang, and Lisa Lu in The Woman Warrior; Chris Tashima and
Radmar Agana Jao in Dragonwings by Laurence Yep; Ken Ruta and Francesca Faridany in
Heartbreak House; Tony Taccone, Susie Medak, and Sharon Ott at the Tony Awards.
PH OTOS BY K EN FRIED M A N
Awaken
your
1996
The season opener for the 1996–97 season provides a preview
of what will be a spectacular, historic year. Critic Robert Hurwitt
calls Sharon’s Heartbreak House “funny, furious, brutally acute and
suffused with passionate foreboding, this Heartbreak is an awesome
experience. It’s a 3½-hour dramatic symphony, brilliantly performed
by a superb ensemble, conducted—as much as directed —by Ott…it
also serves as a stunning example of how far the company has come
in the 13 years since Ott became its artistic director”
1996
1997
1996
Once again, Sharon collaborates with
playwright Philip Kan Gotanda on
The Ballad of Yachiyo, which moves
from Berkeley Rep to South Coast
Repertory, and then to The Public
Theater in New York. “Visually
exquisite,” declares the LA Times.
“Director Sharon Ott orchestrates
the play’s visual flow with a poet’s
sense of pace and rhythm.”
1996
Sharon directs Anna
Deavere Smith in
Twilight: Los Angeles,
1992, which is based on
the events surrounding
Rodney King trial. The
production’s national
tour plays in Boston,
Houston, New Haven,
and Seattle, culminating
in Washington, DC with a
production attended by
President Bill Clinton and
Vice President Al Gore.
1997
Flanked by
Tony and
Managing
Director
Susie Medak,
Sharon caps
a magical
season and an
extraordinary
tenure by
accepting
a Tony
Award for
“Outstanding
Regional
Theatre” on
behalf of
Berkeley Rep.
Spring classes for all
ages begin April 6.
Dreaming of summer
already? Register
now for Summer
Theatre Intensive
for grades 6 –12.
1997
Sharon accepts the position
of artistic director at Seattle
Repertory Theatre to pursue
new challenges. A national
search ultimately finds the
perfect successor right here
in Berkeley: Tony Taccone,
the Theatre’s associate
artistic director.
Call 510 647-2972 or click
berkeleyrep.org/school
The Mosse
M e Foundation for the Arts and Ed
Education
cation
2 0 0 8– 0 9 · N U M B ER 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 1 1
REPORT
Supporters in the spotlight:
Jan & Howard Oringer
“We believe that theatre
provides a truly personal
experience that can
make an impact in the
lives of young people.”
BY L AUR A FICHTENBERG
j a n a n d h owa r d l i v e i n s a n
Francisco, have been Berkeley Rep
subscribers for 17 years, and support
Berkeley Rep’s 40th-Anniversary Campaign, which helps advance the Theatre’s outreach and education initiatives.
What has been your favorite
Berkeley Rep show?
We’ve attended performances at
Berkeley Rep for over 15 years and have
enjoyed most of them —but we do have
some favorites! We loved Mary Zimmerman’s Metamorphoses: the set and choreography were great. Also The People’s
Temple, about Jim Jones and Jonestown,
was unforgettable. Its large cast and
unique set brought us back in time. We
particularly appreciate Berkeley Rep’s
diversity of plays and the opportunity
for us to see new playwrights.
Tell us about your most memorable
theatre experience.
Seeing Hair in New York in the late
sixties. The show really was an expression of its time. People were trying to
open up a little, and let out their feelings. We had the chance to go on stage
for the finale, and actually getting to be
part of the performance was an incredible experience.
Some of our other favorite memories away from Berkeley Rep are from
shows at Shakespeare Santa Cruz. The
grove provides such a great setting for
those timeless plays.
Why do you give to Berkeley Rep?
One of our primary reasons is to
support the educational programs and
youth outreach initiatives of the School
of Theatre. Theatre is such a powerful
medium. It’s a great vehicle to connect
with young people and at-risk youth.
After we retired, we established the
Omnia Foundation to provide grants to
California nongovernmental organizations in the areas of prisoner re-entry
and immigrant integration. Our mission
CO NTIN UED O N PAGE 35
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Chutzpah list*
If you’d like to donate any of
these items, please contact the
Theatre at 510 647-2900.
Offices & Shops
Computers (working Pentium iii or higher
PC systems)
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lcd monitors
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2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 1 3
Fyodor Dostoevsky
1 4 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
A conversation with
adaptors Marilyn Campbell
and Curt Columbus
Literary & dramaturgy intern Alex Rosenthal chats
with Marilyn and Curt about distilling one very long
novel into a sparse yet rich theatrical experience.
Alex Rosenthal: How did your collaboration come about?
Marilyn: The piece really started with Writers’ Theatre in Glencoe,
Illinois, where I’m a co-founder. We
do a lot of adaptations of classical
literature, and our artistic director,
Michael Halberstam, was very interested in Crime and Punishment and originally asked if I could adapt the novel. He gave
me parameters, which were that he really wanted to center it
around the murder aspect of the story, and center it around
Raskolnikov and Porfiry. So I started researching the novel, and
soon realized that you couldn’t tell the story without Sonia —it
really needed that female voice of redemption
in there —so I insisted that she be added in as a
character and set out again to adapt the novel.
When I finished it about a year, later we had
seven characters and two hours, 45 minutes
worth of material. And then we toyed around with it for another year. We did a reading, but we really wanted to take this
leap and let the narration go, and had come up against a wall
as to how to do that. That’s when Michael decided that Curt,
who speaks Russian, would be a perfect match for us.
Curt: I said, “Well, really I’m not interested in doing a
large-scale production; I’m only interested in working on a
three-character version.” Because for me, Crime and Punishment is one of the greatest novels ever written. It survives
being taken out of its native language and being turned into
other languages, and it’s still one of the greatest novels ever
written across the world. An adaptation in the theatre has to
go whizzing past your head like a bunch of bullets. If you just
want the experience of the novel, read the novel.
How did you know at that point that you wanted to write a threecharacter adaptation?
Curt: Because the only question that I’m interested in
within Dostoevsky’s Crime and Punishment is whether God
exists in man. There’s an old Russian icon painting representing
the idea of the trinity as an iconic number in Christian theology—it’s this beautiful trinity of father, son, and holy ghost.
The idea was always rattling around in my brain that these are
the Crime and Punishment characters. In fact, you can play out
about seven different trinities in Crime and Punishment, it’s all
about triples. And so that was always in my head when thinking of the novel. And Marilyn immediately took to the idea.
Marilyn: When the script came back it was about 45
minutes long, but Curt had captured the essence of what
we wanted to do, and when I read that first line —“Do you
believe in Lazarus rising from the dead?”—I knew we had
something brilliant.
Curt: Marilyn had done the original heavy lifting of the
adaptation. I went back and retranslated certain passages
because I didn’t feel the translation she was working from was
quite vivid enough, and then we continued to refine in response to what the actors said to us. We got into a room with
the three actors who ultimately did the first production, and it
really changed the shape of the play.
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 1 5
“In this country we tend to hide behind this mask of
righteousness, and say if you made a mistake you’re
just nothing. But people do commit wrong acts
and are still good people at heart. People are more
complex than just black and white or good and bad.”
What do you find thrilling about the process of adaptation?
Marilyn: Shining a light on material that has sort of
been lost or passed over—relevant material that speaks to
us today that still echoes from all those years ago. People
are still saying the same things; they’re still asking us the
same questions. It’s also exciting to me to see people
hear these words for the first time. It’s great to let people
just sit and listen and watch them think, “I never would
have come up with that” or “I never would have been
able to read it that way or understand it that way.”
Curt: I always find creating theatre thrilling because
you get in a room with other people and together you
make something ineffable happen—which is not the
easiest thing in the world to do. We’ve all seen flat-footed
people doing theatre, and the experience of that versus the
experience of wonder you can have when “Oh my gosh,
look at all these people in a room together, and look at
what they’re making me feel and what they’re making me
do” is kind of extraordinary. I think the adaptation thrill is
the same as the theatre thrill, which is when you’re taking
something that’s a text and making it alive. I love text
and I love reading, but I also love the live experience.
In what ways does this adaptation
diverge from the novel?
Curt: Well, here’s the simplistic answer:
the novel is novelistic, and hopefully the play
is dramatic. That’s sort of shorthand, but the
novel is 697 pages, and part of its joy is its
texture and its heft—that kind of dense, almost tapestry-like
quality of the little details, such as that Porfiry is wearing his
little slippers and this little robe. That, and the sweep, and the
characters, and St. Petersburg, which is truly a character in the
novel. The play is definitely more concerned with the themes
1 6 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
and with the dramatic interactions. Our adaptation definitely
can and should be performed in a very spare way.
Marilyn: One of the things that made our adaptation
special was that Curt took it out of linear time. My original
adaptation was written like the novel—it started with the murder. So Curt put it in Raskolnikov’s head, and that gave us this
complete freedom to tell the story any way that we wanted.
How does the story get us to empathize with a murderer?
Marilyn: At heart Raskolnikov’s a good guy—he loves his
mother, he loves his sister, he loves his family, they care for
him, and that love enables him to care for Sonia, and her father
and mother. In this country we tend to hide behind this mask
of righteousness, and say if you made a mistake you’re just
nothing. But people do commit wrong acts and are still good
people at heart. People are more complex than just black and
white or good and bad.
Is there anything significant in the character names that we might
miss as non-Russian speakers?
Curt: Well, the name Raskolnikov comes from Raskol
in Russian, meaning schism or break, so he is the man
of the break or the schism—the split, if you will. The
Raskolniks were the people who wanted to split from
the central body of the Orthodox Christian church. Sonia is from Sofia, which means wisdom in Greek.
Is all of the dialogue in the play lifted from the text, or is there
original dialogue?
Curt: There’s a lot of original dialogue. There’s also a lot
that’s lifted straight out—or example the horse dream speech,
which is in the novel, but the way it is in the play is very much
from our play, and only from our play.
Parsing a Russian name
When you write original dialogue do you make attempts
to tie it to the original text or language in any way?
Curt: I try to listen to the rhythms of it. For example,
when I’m translating Chekhov, I try to translate it so that the
music of the original is present in the music of the translation. Which is why when people talk about literal translation
there is no such thing. I get that all the time from people
who say, “When you do your Chekhov plays do you work
from an original translation?” What does that mean, a literal
translation? Nothing literally means anything else, you know,
all words can be used with implication so they don’t literally
mean the thing that you think they mean.
So do you see translation and adaptation as two elements on the
same spectrum?
Curt: Yes, definitely. Because it is always the translator’s
job to translate the setting for her or his audience. Sometimes with translation the main thing that you have to provide is context. Well that immediately is adaptation, because
the context is assumed or implied for the audience in the
original language. A translation is always fluid, and people
think that they’re looking for a translation that’s accurate,
but what they’re looking for is a translation that sings. You’re
not going to want to watch a completely “faithful” translation, and
you’re certainly not going to want
to listen to it. So there’s always
adaptation of some kind.
Curt, you mentioned your work translating Chekhov—what
keeps you coming back to 19th- century Russian literature?
Curt: (Laughs.) Neurosis? Is it just a kind of fatal laziness? I have no idea. I have absolutely no idea. You’re not
the first person to ask me that, and I wish I had a better
answer, except that I do know: I feel like all of the questions
that were being asked at the end of the 19th century are
questions that are just as vivid for us right now, and perhaps
it’s that kind of centennial moment, but the literature really
speaks to me.
russians typically have three names: a given
first name, a patronymic, and a family name.
The given first name is the one given to a child by his
or her parents. Sonia and Porfiry are given first names.
A patronymic is a name derived from a father’s
name. The patronymic is formed by taking a father’s
given first name and adding the suffix -ovich for a male
child and -ovna for a female child. So Raskolnikov’s
father’s first name, Roman, with the suffix -ovich added,
gives Raskolnikov the patronymic Romanovich.
The family name is passed identically from father
to child, with the addition of an “a” ending for female
family members. Sonia’s family name, Marmeladova, is
derived from her father’s family name, Marmeladov.
given name
patronymic
family name
Rodion
Romanovich
Raskolnikov
Sonia
Semyonovna
Marmeladova
Porfiry
Petrovich
(not known)
What would you say is timeless about Crime and Punishment?
Marilyn: I think it relates totally to modern audiences.
Asking for forgiveness is a very hard thing to do, and I think it
definitely echoes with everybody, this idea of redemption and
can we be forgiven for the things that we’ve done. It’s a very
Christian idea.
Curt: Since the dawn of time we’ve all wondered about
whether God exists within us. And Dostoevsky’s basically
just posing the question that whatever you call god—man’s
capacity to be good—whatever it is, do we have that in us?
And when it gets perverted is it forever perverted? Can you
rise again? Anyone who’s struggled with alcohol or drugs, or
any addiction knows what this is; anyone who has committed
a crime and said, “I will reform,” has struggled with this idea.
That’s why it’s universal.
Do you think that Dostoevsky was simply interested in raising
the question of whether God exists in man, or was he positing an
answer?
Curt: Well, he was mad, you know, profoundly mad. I
don’t know, I think he thought he found an answer, because
the end of the book there definitely is a period at the end of a
sentence—Raskolnikov finds Christ, and he becomes the man
with God in him. I think I’m more interested in the question,
because the play ends with a question mark.
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 1 7
Thought in turbulent times
19th-century Russia and Dostoevsky’s
Crime and Punishment
BY MADELEINE OLDHAM
just as the death of a loved one can motivate an
individual to confront his or her own mortality, war and turmoil
can at times elicit a reflective national mood. The second half
of the 19th century saw great unrest in Russia, but with it came
a remarkable period of intellectual discourse. At the same
time that Russia fought with its neighbors and began losing
its foothold as a formidable presence in the global landscape,
philosophical movements flourished, and literary giants
Turgenev, Tolstoy, and Dostoevsky produced their best work.
Russia’s thinkers and writers ensured that their country did not
completely disappear into the background while it began to
topple from its pinnacle of influence.
From 1853 to 1856, the Crimean War pitted the Russian
Empire against Turkey, France, the United Kingdom, and
Sardinia (and included pressure from Austria and Prussia).
Standing alone, Russia did not fare well, and the war dislodged
its status as the dominant power of Southeastern Europe. It
took decades to recover from the human and economic losses
incurred both at home and abroad.
The Emancipation Reform of 1861 abolished serfdom, and
though well-intended and relatively well-planned, fell down
in its execution because many peasants remained unsatisfied
by its terms. Often compared to the United States’ freeing of
slaves, the legislation failed to create an appropriate transition
from servitude to liberation, and left room for long-repressed
anger to bubble over into violence and strife. The Narodnik
movement quickly rose up and gained momentum, calling for
peasants to overthrow the government. (The Narodniks also
embraced the Great Man theory that Dostoevsky made a
pivotal part of Crime and Punishment, which asserted that the
1 8 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
men who affect the course of history are unafraid to challenge
or disregard the same rules that govern other men.)
Between 1863 and 1865, conflict arose in Western Russia
with the January Uprising, where large numbers of young
Polish men refused to be drafted by the Russian army. Though
largely unsuccessful, their guerilla tactics persisted in creating
a distraction for the Russian government and further delaying
the nation’s restrengthening after the devastating losses of the
Crimean War.
During this tumultuous time when the seeds of 1917’s
Russian Revolution were being planted, philosophy began
to rise from the shadows of what is sometimes known
as the philosophical dark age of Russia, from about 1825
to 1860. Tsar Nicholas I, feeling that foreign ideas and
intellectual stimulation led to revolt, placed restrictions
on access to higher education and passed far-reaching
censorship laws with harsh penalties. Unsatisfied, he
outlawed all travel outside the Russian Empire and went
on to eradicate philosophy departments in universities.
Perhaps as a result of government intervention and
suppression, Russian philosophy never attained the exalted
status of its European counterparts. But despite the hostile
atmosphere, the exchange of ideas among men of letters
and intellectuals could not be squelched. Just as the Tsar had
feared, the foreign influence of thinkers like Hegel and later
Nietzsche crept into the Russian conversation, and lively
debates about theological attitudes and what man was meant
to do on this earth buzzed throughout the Empire.
Dostoevsky meanwhile, having spent most of the
tumultuous ’50s in prison and Siberia, and the early ’60s
Some Key Events in
19th Century Russia
1821 Dostoevsky born
1825 Tsar Nicholas I takes the throne
1825 The Decembrist revolt protests
Nicholas’ ascension
1850 All teaching of philosophy banned
in public universities until 1889
1853–56 Crimean War
1855 Tsar Alexander II takes the throne
1861 Emancipation of the serfs
1861 The Narodnik movement calls for peasant
overthrow of the government
1862 The term “nihilism” coined by Turgenev in
his novel Fathers and Sons
1863 January Uprising
1865 Tolstoy’s War and Peace published
1866 Crime and Punishment published
1867 Russia sells Alaska to the US
1869 The Idiot published
1872 The Possessed published
1873–77 Tolstoy’s Anna Karenina published in
installments in The Russian Messenger
1880 The Brothers Karamazov published
1881 Dostoevsky dies
Ornate onion domes of Russian churches
trying to solidify his financial footing and reputation as a
writer, also turned his thoughts toward increasingly expansive ideas. His questions gathered depth, his work grew
in scope, and in 1866 he wrote the first of his four great novels, Crime and Punishment.
Crime and Punishment started out in Dostoevsky’s mind
as a short novella about a theory he’d been pondering:
that people have an innate moral compulsion to seek out
punishment for their sins, and that this compulsion can’t be
mastered or overridden. At the same time he was also writing
a novel he was calling The Drunkards, about the Russian
epidemic of “drunkenness” and the havoc it could wreak on
families and loved ones. He urgently desired to finish and
publish this novel expeditiously in hopes of securing payment
that would help him quell his mounting debts. The first
publisher he approached turned him down, and he swallowed
his pride and wrote to Mikhail Katkov, editor of the hugely
influential journal, The Russian Messenger. The writings of
Turgenev and Tolstoy had already appeared multiple times, but
Dostoevsky and Katkov had a prickly relationship, carrying on
a sustained public exchange of heated ideological dialogue.
Though they vehemently disagreed on many ideas, Katkov
respected Dostoevsky as both a thinker and a writer, and
agreed to furnish him with an advance and publish the story.
Dostoevsky told Katkov that it would be finished in a few
weeks, a month at most. Shortly thereafter, he threw out his
first draft that he completed in November for a December
deadline, and his two story ideas merged into one. The
Drunkards morphed into the Marmeladov storyline inside the
larger novel, and he adjusted his narration from first to third
person. He ended up publishing the substantial and significant
work in monthly installments throughout 1866.
In the second half of his life, Dostoevsky embraced his faith
in Christianity and the Russian Orthodox Church. He spurned
the Western ideas that were infiltrating his country, and with
Crime and Punishment, refuted many of the popular ideological
movements of the time. These included utilitarianism, a
philosophy with socialist leanings that put forth ideas about
the collective good and ends justifying means; rational egoism,
which purported that human beings exist to seek pleasure and
to perpetuate self-interest; and nihilism, which declared human
life meaningless and lacking any kind of purpose.
He instead infused into the novel his beliefs that
God does exist and can be found in human beings, and
that the way to God is through great suffering that will
eventually lead to forgiveness. His focus on man’s part
of the equation earned him a reputation as one of the
forerunners of existentialism—a movement that centered
on questions regarding the nature of human existence. In
his book Twilight of the Idols, the most famous existentialist,
Friedrich Nietzsche, said of Dostoevsky that he was “the
only psychologist from whom I have anything to learn.”
In a recent article in The Guardian newspaper of London,
writer Michael Billington notes of Dostoevsky that “his four
great books pose a troubling question: If God does not
exist, then is everything permissible?” With these kinds of
probing yet sweeping inquiries that dive straight to the nerve
center of human curiosity, Dostoevsky offered his turbulent
country a reminder to pause and reflect, giving a great gift of
introspection to a vulnerable nation.
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 1 9
The life and times of
Fyodor Mikhaylovich Dostoevsky
BY MADELEINE OLDHAM
rarely is it easy to pinpoint the precise places where
a writer’s life and art mingle and diverge. However, there’s little
question that the events of Fyodor Mikhaylovich Dostoevsky’s
life significantly impacted his work. Dostoevsky, a thinking
man with an intense drive to make sense of the world around
him, relentlessly examined his own life in relationship to the
meaning and purpose of human existence. His worldview
shifted and changed in response to what transpired around
him, but his intellectual rigor remained steadfast throughout
the course of his life.
Born in 1821, Dostoevsky grew up in Moscow the second
of seven children. His mother died of tuberculosis when he
was 15, and his father under mysterious circumstances two
years later. His father’s death was recorded as being of natural
causes, but it is commonly believed that he was murdered
by his own serfs in reaction to his violent temper and harsh
treatment of those around him. (If true, this perhaps also signified the burgeoning discontent that eventually resulted in the
Emancipation Reform of 1861 that gave serfs their freedom.)
Dostoevsky’s father also had a well-documented problem with
alcohol abuse.
Shortly before his father’s death Dostoevsky was sent
to military engineering school in St. Petersburg. He received
a commission as a second lieutenant in 1842, but left one
year later to launch a writing career. A small income from his
father’s estate may have allowed him to pursue his literary
leanings. He published his first novel, Poor Folk, in 1846 to a
warm critical reception, gaining early national recognition for
his talents.
Dostoevsky quickly fell in with a group of intellectual
dissidents known as the Petrashevsky Circle (named for its
founder Mikhail Petrashevsky), delighted by their lively discussion of Western ideas and writings like those of French socialist
Fourier and German philosopher Hegel. The Russian government considered this material dangerously provocative and
traitorous, and consequently declared any reading, writing, or
possession of it illegal. The Circle disregarded such mandates
and continued to meet and dream about a complete overhaul
of the current social order.
Dostoevsky did not embrace revolutionary action as much
as revolutionary thought—he was more interested in utopia
than uprising. His mind thrilled to confront big ideas about
what is best for society at large, but he displayed little desire to
act on what he might come up with, other than to write about
it in a theoretical fashion. Though this proved the case for
many members of the Circle and its offshoots, the government
2 0 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
considered their activities hostile and threatening, and eventually arrested and imprisoned them.
Thus began a major turning point in Dostoevsky’s life.
After their arrest in 1849, Tsar Nicholas I sentenced the intellectuals to execution. Semyonovsky Square was prepared, the
firing squad readied, and the prisoners marched out to meet
their doom. A messenger arrived with a reprieve at the eleventh hour, and the event was revealed to be nothing but an
elaborate staging of a lesson the Tsar wanted to teach them.
It’s said that one prisoner’s fragile mental state could not bear
the fear elicited by his perceived imminent demise, and he
went insane. Dostoevsky maintained his sanity, but gained a
new understanding of the meaning of fortitude.
Disillusioned after his traumatic experience, he turned
his thoughts away from surreptitious Western influences and
toward his own people. He gave up his revolutionary leanings
and joined his sympathies with Slavophilia, a pro-Russian intellectual movement that celebrated the roots of its nation and
believed it was every citizen’s duty to contribute to Russia’s
cultural legacy.
Following his reprieve he was sent to finish out the
remaining five years of his sentence in a prison in Siberia, and
upon his release was forced to join the Siberian military. There,
in one bright spot in an otherwise dismal period for Dosteovsky, he met his future wife, whom he married in 1857. He
returned to St. Petersburg in 1859 and floundered somewhat
while trying to establish a writing life that would generate
income. He founded several failed literary journals and wrote a
couple of less well-received novels, barely staying afloat.
Things took a turn for the worse in 1864 when his wife
died, and shortly thereafter his brother Mikhail, with whom he
was very close. Though Dostoevsky had no reliable source of
earnings, he took on the responsibilities of settling his brother’s considerable debts and caring for his family. Dostoevsky
racked up huge debts of his own due to a depression-fueled
gambling addiction, and found himself in a relatively hopeless
financial situation.
Fortunately his writing career began to gather steam. He
committed himself to writing near-impossible quantities of text
in short amounts of time and yet managed to produce some of
his best work under those constricted circumstances. In 1867
he married his second wife, his stenographer Anna Grigorevna
Snitkina. His reputation grew more venerable as the years
went on, and upon his death in 1881 he was already considered
a Russian national treasure and one of the greatest writers and
thinkers the world had ever seen.
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BY MARTIN MCDONAGH
DIRECTED BY LES WATERS
APRIL 17–M AY 17 · RODA THEATRE
CLICK BERKELEYREP.ORG
CALL 510 647-2949 · 888 4-BRT-TIX
Berkeley Repertory Theatre presents
the world premiere of
WRIT TEN BY
FYODOR
DOSTOEVSK Y
ADAPTED BY
MARILYN CAMPBELL
& CURT COLUMBUS
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , ARTIS TIC D IREC TO R
SUS IE M E DAK , M ANAG IN G D IREC TO R
C A ST
(IN ORDER OF APPEARANCE)
Raskolnikov Tyler Pierce
Porfiry, Marmelodov, J.R. Horne
and a Tradesman
Sonia, Alyona, Delia MacDougall
Mother, and Lizaveta
DIREC TED BY
SHARON OT T
PRODUC TION STAFF
Scenic Design Christopher Barreca
FEBRUARY 27– MARCH 29, 2009
THRUST STAGE · LIMITED SEASON
CRIME AND PUNISHMENT
IS PERFOR MED IN ONE AC T
WITH NO INTER MISSION .
Crime and Punishment is possible
thanks to the support of
EXECUTIVE PRODUCERS
John & Helen Meyer
Richard A. Rubin & H. Marcia Smolens
PRODUCER S
Neil & Leah Mac Neil
Michael & Sue Steinberg
Costume Design Lydia Tanji
Lighting Design Stephen Strawbridge
Sound Design Cliff Caruthers
Stage Manager Heath Belden
Casting Amy Potozkin
Elissa Meyers Casing
The actors and stage manager in this production are members of Actors Equity Association,
the Union of Professional Actors and Stage Managers in the United States.
Produced by special arrangement with Dramatic Publishing, Woodstock, Illinois.
A SSOCIATE PRODUCER S
Anonymous
Becky & Jeff Bleich
Mary & Nicholas Graves
Migsy & Jim Hamasaki
Pat Rougeau
The commissioning and development of this
production has been supported in part by
PRODUC TION SPONSOR
SE A SON SPONSOR S
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 3
BERKELEY REP PRESENTS
PROFILES
J.R. Horne
Tyler Pierce
Curt Columbus
P O R F I RY, M A R M E LO D OV &
A TRADESMAN
R A S KO LN I KOV
A DA P T O R
Tyler is proud to make
his Berkeley Rep debut
in Crime and Punishment. He has toured in
Barriers, Legends with
Joan Collins and Linda
Evans, and A Midsummer Night’s Dream. His
regional theatre credits
include A Christmas Carol and Dracula at Actors Theatre of Louisville;
the regional premieres of Fat Pig and The Internationalist at The Studio Theatre in Washington, D.C.; Lorenzaccio, Macbeth, A Midsummer
Night’s Dream, Pericles, and The Tempest with
The Shakespeare Theatre Company; the world
premiere of The Night is a Child by Charles
Randolph Wright at Milwaukee Repertory
Theater; and the Youth Ink Festival at McCarter Theatre Center. His off-Broadway credits
include work at Atlantic Theatre Company,
Atlantic Theatre Studio, Circle Rep East, here
Arts Center, New Dramatists, New Georges
Lark Theatre, New York Classical Theatre,
and Theatre for a New Audience. Tyler has
also been in the films Alchera, Modern Day Arranged Marriage, and The Rub, and the television shows Asteroid, Guiding Light, Kidnapped,
and Third Watch, as well as the pilot of Runner.
Curt currently serves as artistic director of
Trinity Repertory Company. Before that, he
was the associate artistic director of Steppenwolf Theatre Company, artistic director of the
Chicago Park District’s Theater on the Lake, and
an artistic associate at Victory Gardens Theater.
While at Steppenwolf, Curt provided translations for Cherry Orchard and Uncle Vanya;
his recently published volume of translations
entitled Chekhov: The Four Major Plays includes
these scripts as well as The Seagull and Three Sisters, the latter of which won a Joseph Jefferson
Award for Best New Adaptation. Curt’s latest
project, a re-imagining of Sophocles’ Antigone
called The House of Antigone, made its world
premiere at Trinity Rep this past fall.
J.R. was most recently
in Ethan Coen’s Almost
an Evening at Atlantic
Theater Company and
Charles Busch’s Our
Leading Lady at Manhattan Theatre Club.
His Broadway credits
include Abe Lincoln in
Illinois at Lincoln Center
Theater, The Crucible with Liam Neeson and
Laura Linney, Inherit the Wind with George
C. Scott, and The Show-Off at Roundabout
Theatre Company; his many off-Broadway
credits include Tim Blake Nelson’s Anadarko,
Eugene O’Neill’s Hughie, The Joy of Going
Somewhere Definite, The Night Hank Williams
Died, and Rhinoceros. J.R.’s regional credits
include productions at Long Wharf Theatre,
PlayMakers Repertory Company, Studio Arena
Theatre in Buffalo, and Syracuse Stage. His last
Berkeley Rep appearance was in Hydriotaphia.
On TV, J.R. has been a guest star on Ed, Hope
and Faith, Kate and Allie, Law & Order: Criminal
Intent, and Whoopi; he’s also been in the
films Dark Water, Die Hard: With a Vengeance,
Turk 182, and the Coen Brothers’ Burn After
Reading and O Brother, Where Art Thou? J.R.
plays Keanu Reeves’ father in the soon-to-bereleased Pippa Lee. In real life, he is the father
of actor Devin Horne.
Delia MacDougall
S O N I A , A LYO N A ,
M O T H E R & LI Z AV E TA
Delia last appeared at
Berkeley Rep in Tony
Kushner’s Hydriotaphia;
other productions here
include The Beaux’
Stratagem, Mad Forest,
Pentecost, The Rivals,
and Serious Money. Most
recently Delia appeared
in Tom Stoppard’s
Rock ‘n’ Roll at both American Conservatory
Theater and The Huntington Theatre Company. Delia’s other Bay Area credits include
the a.c.t. productions of After The War, The
Government Inspector, and The Learned Ladies; 11
productions for California Shakespeare Theater
including Man and Superman, The Merry Wives
of Windsor, and Nicholas Nickleby Parts 1 and 2,
and work with The Aurora Theatre, The Magic
Theatre, Marin Theatre Company, and San Jose
Repertory Theatre. Her regional credits include
work at the Alley Theatre, Intiman Theatre, La
MaMa Experimental Theatre Club, Pittsburgh
Public Theater, San Diego Repertory Theatre,
and others. Delia is an actor and director for
Campo Santo; and an actor, director, and charter member of Word for Word.
24 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Fyodor Dostoevsky
WRITER
Fyodor Dostoevsky was born in Moscow in
1821 to a lower-middle-class Russian family
and died in 1881. His literary legacy includes
Poor Folk (1846), Netcochka Nezvanova (1849),
The Insulted and the Injured (1861), The House of
the Dead (1862), Notes from the Underground
(1864), Crime and Punishment (1866), The
Gambler (1867), The Idiot (1868), Demons (1872),
The Raw Youth (1875), The Brothers Karamazov
(1880), and a number of novellas and short
stories. His works have been translated into
many languages and have been the subjects of
numerous film and theatrical adaptations.
Marilyn Campbell
A DA P T O R
Marilyn is an actress and playwright, as well
as the co-founder and artistic associate of
Writers’ Theatre in Glencoe, Illinois. She was
the producer of Chicago’s Estrogen Fest 2003
and 2005, and has won several awards for
her acting work. She also received the 2003
Joseph Jefferson Award for this co-adaptation
of Crime and Punishment. In addition to Crime
and Punishment, Marilyn is the author of The
Beats, The Gospel According to Mark Twain, and
My Own Stranger. She is currently working on
a retelling of the Frankenstein tale called The
Monster’s Lullaby and writing the libretto for a
new musical based on the 1928 Mae West play,
The Pleasure Man.
Sharon Ott
DIREC TOR
Sharon has been a leading figure in American
theatre for 25 years—including 13 years as
Berkeley Rep’s artistic director, during which
the company achieved national prestige and a
Tony award for outstanding regional theatre.
Following her tenure in Berkeley, Sharon served
Seattle Repertory Theatre as its artistic director
for nine years. Her New York credits include
work at mtc, Playwrights Horizons, and The
Public Theater; she has worked regionally
at Arena Stage, the Huntington, the Mark
Taper Forum, Opera Colorado, San Diego
Opera, Seattle Opera, South Coast Repertory,
and many others. In these theatres, she has
collaborated with contemporary American
artists including Ricardo Chavira, Willem
Dafoe, and Anna Deavere Smith; directors
Joe Mantello, Stephen Wadsworth, George
C. Wolfe, and Mary Zimmerman; and authors
Nilo Cruz, Amy Freed, Philip Kan Gotanda,
Beth Henley, and August Wilson. She is the
recipient of multiple Bay Area Critics Circle and
Dramalogue Awards, an Elliot Norton Award,
an Obie Award, and the Paine Knickerbocker
Award for Lifetime Achievement. Sharon is
currently a professor at the Savannah College
of Art and Design and serves on the national
executive board of the Society of Stage
Directors and Choreographers.
Heath Belden
S TAG E M A N AG E R
Heath has stage-managed The Full Monty and
Little Shop of Horrors for American Musical
Theatre of San Jose, Once Upon a Mattress
for 42nd Street Moon, The Subject Tonight Is
Love and A Streetcar Named Desire for Marin
Theatre Company, four seasons with Marin
Shakespeare Company, five operas with
Pocket Opera, and seven productions at a.c.t.
Heath has worked on such new plays as Jane
Anderson’s The Quality of Life, John Guare’s
Rich and Famous, Charles L. Mee’s Wintertime,
and Ken Weitzman’s Spin Moves. He has an mfa
degree from UC San Diego.
Christopher Barreca
Cliff Caruthers
SCENIC DESIGN
SOUND DESIGN
Christopher has designed The Birds, The
Caucasian Chalk Circle, The First 100 Years,
The Illusion, Macbeth, Man and Superman,
The Oresteia, Rhinoceros, Skylight, Twilight:
Los Angeles, 1992 for Berkeley Rep. He has
also designed more than 200 productions
internationally, on Broadway, off Broadway,
in regional theatre, opera, dance, and film. He
continues to enjoy the process. Christopher
is currently the head of the scenic design
program at the California Institute of the Arts.
Cliff has created soundscapes and music for
over a hundred Bay Area productions, including
Joe Turner’s Come and Gone and tragedy:
a tragedy for Berkeley Rep, Anna Bella Eema
for Crowded Fire Theater Company, Bone to
Pick for the Cutting Ball Theater, Brainpeople
for a.c.t., Bug for SF Playhouse, and Caroline,
or Change for TheatreWorks. He is an artistic
associate at Cutting Ball, a company member of
Crowded Fire, and the resident sound designer
for TheatreWorks. Outside the theatre world,
Cliff is co-curator of the San Francisco Tape
Music Center and technical director for the San
Francisco Electronic Music Festival (sfemf).
His electronic music has been performed at
964 Natoma, the 2007 Prague Quadrennial,
Deep Wireless, Noise Pancakes, sfemf, sftmf,
and the Society for Electroacoustic Music in the
United States. Upcoming projects include Dead
Man’s Cell Phone for SF Playhouse, Distracted
for TheatreWorks, Drip for Crowded Fire,
and Pelléas and Mélisande for Cutting Ball.
Lydia Tanji
CO S T U M E D E S I G N
Lydia designed the costumes for Ballad of
Yachiyo, The Glass Menagerie, Homebody /
Kabul, Honour, Master Class, Our Town, Slavs,
and many other shows at Berkeley Rep.
At a.c.t. she recently designed costumes
for After the War, Brain People, Curse of
the Starving Class, and The Rainmaker. Her
other regional credits include Golden Child,
Pygmalion, and The Sisters Matsumoto at
Seattle Rep with Sharon Ott; The Merry Wives
of Windsor at Cal Shakes; and The Wind Cries
Mary at San Jose Rep. She has also worked
at Arena Stage, the Aurora, The Children’s
Theatre Company, East West Players, Geva
Theatre Center, the Huntington, Indiana
Repertory Theatre, The Laguna Playhouse, the
Taper, mtc, Portland Center Stage, The Public,
Pan Asian Repertory Theatre, South Coast
Rep, and Syracuse Stage. She has received six
Bay Area Theatre Critics Circle Awards and
two Dramalogue Awards. Lydia’s film credits
include Dim Sum, Hot Summer Winds, The Joy
Luck Club, Life Tastes Good, A Thousand Pieces
of Gold, and The Wash.
Tony Taccone
ARTISTIC DIREC TOR
Tony is in his 12th year as artistic director
of Berkeley Rep, where he has staged more
than 35 shows—including world premieres
by Culture Clash, Rinde Eckert, David Edgar,
Danny Hoch, Geoff Hoyle, Quincy Long, and
Itamar Moses. At present, he has two shows
touring the nation: Danny Hoch’s Taking
Over and Carrie Fisher’s Wishful Drinking.
Tony made his Broadway debut with Bridge
& Tunnel, which was lauded by the critics and
won a Tony Award for its star, Sarah Jones.
He commissioned Tony Kushner’s legendary
Angels in America, co-directed its world premiere at the Taper, and has collaborated with
Kushner on six projects. In 2004, his production of Continental Divide transferred to the
Barbican in London after playing the Oregon
Shakespeare Festival, Berkeley Rep, La Jolla
Playhouse, and England’s Birmingham Rep. His
many regional credits include shows at atl,
Arena Stage, Arizona Repertory Theatre, the
Eureka Theatre, Hartford Stage, the Huntington, the Kirk Douglas Theatre, The Public,
San Jose Rep, Seattle Rep, and Yale Rep.
Susie Medak
M A N AG I N G D I R E C T O R
Susie has served as Berkeley Repertory
Theatre’s managing director since 1990,
leading the administration and operations of
the Theatre. She is president of the League
of Resident Theatres (lort) and has been an
officer on the board of Theatre Communica-
Stephen Strawbridge
LI G H T I N G D E S I G N
Stephen has designed lighting for productions on and off Broadway, at most of the
leading regional theatre and opera companies in the US, and for major premieres
in Bergen, Copenhagen, The Hague, Hong
Kong, Munich, Sao Paulo, Stockholm, and
Vienna. His recent work includes The Glorious
Ones and The House of Bernarda Alba for Lincoln Center, Coming Home at Long Wharf, The
Evildoers and Passion Play at Yale Repertory
Theatre, Prayer for My Enemy at Playwrights
Horizons, Shipwrecked at Primary Stages, and
Souls of Naples at the Mercadante in Naples,
Italy and tfana. He has been nominated
or won awards from the American Theatre
Wing, Bay Area Critics Circle, Dallas Theater
Critics Forum, Helen Hayes, and Lucille Lortel. He is co-chair of the design department
at Yale School of Drama and resident lighting
designer at Yale Rep.
Join the Club
Become a member of the Annual Fund today—
and enjoy behind-the-scenes access and
members-only opportunities to get behind the scenes.
Your membership gift keeps theatre alive
on our stages and in our classrooms.
Your Gift. Your Community. Your Theatre.
Click berkeleyrep.org/give or
call 510 647-2907 to join the club today.
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 5
BERKELEY REP PRESENTS
PROFILES
tions Group. Susie is currently on the faculty
of Yale School of Drama. She has served in an
advisory capacity for the Joyce Foundation,
and has participated extensively on panels for
the National Endowment for the Arts as well
as for the Massachusetts Arts Council. Closer
to home, she is a commissioner of the Downtown Business Improvement District, former
vice president of the Downtown Berkeley
Association, and the founding chair of the
Berkeley Arts in Education Steering Committee for Berkeley Unified School District and
the Berkeley Cultural Trust. Susie is a proud
member of the Mont Blanc Ladies’ Literary
Guild and Trekking Society.
Les Waters
A S S O C I AT E A R T I S T I C D I R E C T O R
The East Bay Specialists
1.800.Hi.Berkeley
www.berkhills.com
Obie Award-winner Les Waters has been the
associate artistic director of Berkeley Rep for
six years. His shows ranked among the Top 10
Plays of 2007 in Time Magazine, 2006 in the
New York Times, and 2005 in TimeOut New
York. Les has a history of collaborating with
prominent playwrights like Caryl Churchill and
Charles Mee, and champions important new
voices such as Will Eno, Jordan Harrison, Sarah
Ruhl, and Anne Washburn. His Berkeley productions include the world premieres of Fêtes
de la Nuit, Finn in the Underworld, In the Next
Room (or the vibrator play) and To the Lighthouse;
the American premiere of tragedy: a tragedy;
the West Coast premiere of Eurydice; and
extended runs of The Glass Menagerie, The Pillowman, and Yellowman. Waters has numerous
credits in New York, his native England, and at
theatres in Boston, Chicago, La Jolla, Louisville,
Los Angeles, Minneapolis, New Haven, San
Francisco, Seattle, and Washington, DC. He led
the mfa directing program at UC San Diego,
serves on the board of tcg, and is an associate
artist of The Civilians, a theatre group based in
New York.
Madeleine Oldham
D R A M AT U R G
Madeleine is Berkeley Rep’s literary manager
and resident dramaturg. As literary manager
and associate dramaturg at Baltimore’s Center
Stage, 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 Seattle’s Intiman
Theatre. Madeleine recently completed four
years of service on the Executive Committee of Literary Managers and Dramaturgs of
the Americas, and has also worked with A
Contemporary Theatre (act/Seattle), Austin
Scriptworks, Crowded Fire, Geva Theatre, the
Kennedy Center the Neo-Futurists, and Portland Center Stage.
26 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Amy Potozkin
C A STING DIREC TOR
Amy is in her 19th season with Berkeley Rep,
where she serves as artistic associate and
casting director. She has also had the pleasure
of casting for act/Seattle, Aurora Theatre
Company, Arizona Theatre Company, B Street
Theatre, The Bay Area Playwrights Festival,
Dallas Theatre Company, Marin Theatre
Company, San Jose Rep, Social Impact Productions Inc, Traveling Jewish Theatre, and Charlie
Varon’s play Ralph Nader is Missing at the
Marsh. Amy cast roles in the films Conceiving
Ada, starring Tilda Swinton, and Josh Kornbluth’s Haiku Tunnel. She has been a coach to
hundreds of Bay Area actors and led organizational team-building workshops for Biotech
Partners and Maxxcomm. She received her
mfa from Brandeis University, where she was
also an artist-in-residence.
John & Helen Meyer
EXECUTIVE PRODUCERS
John and Helen have been Berkeley Rep
subscribers for over 25 years. They own and
operate Meyer Sound, a Berkeley-based
company that designs and manufactures
professional audio equipment and provides
electro-acoustical architectural services.
Meyer Sound employs over 350 people in
their offices in Berkeley, Nashville, Canada,
Germany, Mexico and Australia. Helen
Meyer has served on the Berkeley Rep board
of trustees for the past ten years, She also
serves on the board of the Mark Morris
Dance Group as well as the Alameda County
Workforce Investment Board. John Meyer
is a fellow of the Audio Engineering Society
and was recently awarded the Silver Award
for outstanding technical contributions to
his field. He is also the recipient of an R&D
100 award for measurement technology.
The Meyers are delighted to play a part in
outstanding theatre here at Berkeley Rep.
Richard A. Rubin &
H. Marcia Smolens
EXECUTIVE PRODUCERS
Richard and Marcia are long-time theatre and
musical arts supporters. A lawyer by training, Richard heads a San Francisco public
affairs management firm. He is a member of
the state bar board of governors, a trustee
of Kenyon College, and, though a “conscientious” Democrat, was appointed by Governor
Schwartzenegger to the California Workforce
Investment Board. He is a visiting professor
at usf’s Fromm Institute, where he teaches
a course on presidential and congressional
campaigns and writes a bi-weekly column
on political issues for the Marin Independent
Journal. Marcia heads a government relations
firm which operates in the Bay Area, and is a
baseball and jazz enthusiast. She serves on the
board of directors of both the Exploratorium
and the Metta Fund. The couple resides in
Marin County, and Richard’s five daughters fill
out the supporting cast.
Neil & Leah Mac Neil
PRODUCERS
Neil and Leah take great pleasure in supporting theatre and symphony in the Bay Area.
Neil founded Spiral Binding Company in 1952
and developed the business as a full-service
venue for the graphic arts. Now, he enjoys
limited involvement as his son takes over management. Leah contributes financial expertise
to the business and is active with Mills College
Alumnae Association, where she serves as the
travel chair.
Michael & Sue Steinberg
Lake Park ~
The Right Place ~ The Right Choice
PRODUCERS
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 and ucsf Foundation. Sue serves on
the board of the San Francisco-based Smuin
Ballet. The Steinbergs have always enjoyed
regional theatre, and are delighted to produce
Crime and Punishment.
The Bernard Osher Foundation
CO - S P O N S O R
The Bernard Osher Foundation was founded
in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding nationally
to selected colleges and universities and
funds integrative medicine centers at Harvard
University, the University of California at
San Francisco, and the Karolinska Institute in
Stockholm. It also supports a growing network
of lifelong learning institutes for seasoned
adults located at 122 colleges and universities
from Maine to Hawaii and Alaska. Arts and
humanities grants are made to non-profit
organizations principally in the San Francisco
Bay Area and the state of Maine. The Honorable Barbro Osher, consul general of Sweden
in San Francisco, serves as chairman of the
Foundation’s board of directors.
C
hoose living at Lake Park Retirement Residence and
you’ll find the right place at the right time to answer
the “What-if’s” of the future. Now’s the perfect time to find
the kind of residence that meets
your needs; the kind of diverse
community that provides you with
life-enriching surroundings. And,
you’ll appreciate the benefits of
Continuing Care knowing life’s
challenges can be met right where
you live.
LAKE PARK
RETIREMENT RESIDENCE
A Community of California-Nevada Methodist Homes
1850 Alice Street • Oakland, CA 94612
(510) 835-5511 Toll Free 1 (866) 384-3130
Fax (510) 273-0529
Lic. # 0011400369
COA #080
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Berkeley’s Independent
College Preparatory
High School
"ANCROFT7AY"ERKELEY
WWWMAYBECKHSORG
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 7
Berkeley Montessori
School
www.bmsonline.org
Inspiring
Scholars
Thespians
Poets
Arstists
Musicians
Since 1963
BMS Middle School’s 2008 Production of
“Alice’s Adventures in Wonderland”
BERKELEY REP
PRESENTS
PROFILES
bart
SEASON SPONSOR
Voted America’s number one transit system
in 2005, the Bay Area Rapid Transit District
is a 104-mile, automated rapid-transit system
that serves over three million people. Fortythree bart stations are located in Alameda,
Contra Costa, San Francisco, and San Mateo
Counties. Trains traveling up to 80 mph now
connect San Francisco to sfo, as well as other
San Mateo County destinations. The East Bay
communities that bart serves stretch north to
Richmond, east to Pittsburg/Bay Point, west
to Dublin/Pleasanton, and south to Fremont.
bart’s mission is to provide safe, reliable,
economical, and energy-efficient means of
transportation. Since opening in September
1972, bart has safely carried more than 1.5 billion passengers more than 18 billion passenger-miles. bart stations are fully accessible
to disabled persons. bart’s current weekday
ridership is approximately 320,000.
Wells Fargo
SEASON SPONSOR
contact Paula Farmer, Director of Admission, to schedule a tour
[email protected] or 510-665-8800 x.103
As a top corporate giver to Bay Area
nonprofits for many years, Wells Fargo
recognizes Berkeley Repertory Theatre for its
leadership in supporting the performing arts
and its programs. As the oldest and largest
financial services company headquartered
in California, Wells Fargo has top financial
professionals providing business banking,
investments, brokerage, trust, mortgage,
insurance, commercial and consumer finance,
and much more. Talk to a Wells Fargo banker
today to see how we can help you become
more financially successful.
Additional support
and thanks
Research Assistant
Daniel Troyano
Russian pronounciation
Zara Kamraz
Fight director
Dave Maier
Wardrobe
Alex Zeek
Scenic Carpenters
Russell Facente
Kimberly Jew
Lara Shimasaki
Stage Carpenter
Liza Wakeman
2 8 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Community partner.
Distinguished tradition.
Wells Fargo is proud to continue our tradition of strong
community partnership.
Since 1852 Wells Fargo & Company has helped generations
of families with complex financial needs realize their dreams.
Solutions include:
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Private Banking
Trust and Estate Services
Brokerage Services through Wells Fargo Investments, LLC
Investment Management
Life Insurance
To learn more about how we can partner with you, contact:
Christopher Castro
Regional Private Banker
1 Montgomery Street, 1st Floor
San Francisco, CA 94104
415.222.8996
Then. Now. For generations to come.
Private Client Services provides financial products and services through various banking and brokerage
affiliates of Wells Fargo & Company including Wells Fargo Investments, LLC (member SIPC). Wells Fargo
makes insurance available through Wells Fargo Insurance, Inc. or licensed affiliates. CA license #0831603.
© 2009 Wells Fargo Bank, N.A. Member FDIC
We acknowledge the following Annual Fund donors whose contributions from January 2008
through January 2009 helped to make possible the Theatre’s artistic and community
outreach programs. Supporters noted with Ê made gifts in-kind. Funders whose names are
noted with have used a matching gift to double or triple their initial contribution.
CONTRIBUTORS
FOUNDATION SPONSORS
GIF T S OF $ 100,000 AND ABOVE
GIF T S OF $2 5,000 –49,999
GIF TS OF $5,000 –9,999
Doris Duke Charitable Foundation
The William Randolph Hearst Foundation
The Ira and Leonore Gershwin Philanthropic Fund
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Koret Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
S.D. Bechtel, Jr. Foundation
The Mosse Foundation for the Arts and Education
National Endowment for the Arts
The San Francisco Foundation
Wallis Foundation
Woodlawn Foundation
Berkeley Civic Arts Program and Commission
Ann & Gordon Getty Foundation
David B. Gold Foundation
Oakland Fund for the Arts
Ramsay Family Foundation
The Morris Stulsaft Foundation
van Löben Sels/RembeRock Foundation
GIF TS OF $50,000 –99,999
Edgerton Foundation
The Bernard Osher Foundation
GIF T S OF $10,000 –24,999
GIF TS OF $1,000 –4,999
Anonymous
The Frank H. & Eva B. Buck Foundation
California Arts Council
Crescent Porter Hale Foundation
The Green Foundation
J.M. Long Foundation
The Thomas J. Long Foundation
UC Berkeley Chancellor’s Community
Partnership Fund
Alameda County Arts Commission
Joyce & William Brantman Foundation
Civic Foundation
Dramatists Guild Fund
Kazan, McClain, Abrams, Fernandez, Lyons, Farrise,
and Greenwood Foundation
Martin Sosin Stratton-Petit Foundation
Bernard E. & Alba Witkin Charitable Foundation
GIF T S OF $10,000 –24,999
GIF TS OF $1,000 –4,999
Bank of the West
BluesCruise.com
Citi Foundation
The Morrison & Foerster Foundation
Peet’s Coffee & Tea
Pixar Animation Studios
Seagate Properties Inc.
Wealth Management at The Mechanics Bank
Bell Investment Advisors, Inc.
Bingham McCutchen LLP
Constitution Square
The Men’s Wearhouse
Reed Smith LLP
Sybase Inc.
CORPOR ATE SPONSOR S
SEA SON SPONSORS
GIF TS OF $25,000 AND ABOVE
GIF T S OF $5,000 –9,999
Armanino McKenna LLP
Bayer USA Foundation
Clif Bar Inc.
Deloitte Financial Advisory Services LLP
Foley & Lardner LLP
Genstar Capital LLC
MBV Law LLP
Meyer Sound
Panoramic Interests
Ruegg & Ellsworth
Sonnenschein Nath & Rosenthal LLP
STG Asset Management, Inc.
UBS Financial Services Inc.
IN - KIND SPONSOR S
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 or
call Daria Hepps at 510 647-2904.
M ATCHING GIF TS
The following companies have matched their employees’ contributions to
Berkeley Rep. Please call the development department at 510 647-2907 to
find out if your company matches gifts.
Bobby G’s Pizzeria
Bowzer’s Pizza
Bogatin, Corman & Gold
Café Clem
Darling Flower Shop
downtown restaurant
Etc Catering
Grace Street Catering
Kevin Berne Images
La Note Restaurant Provençal
Oliveto Restaurant
Post Meridian
Ricola USA
The Ritz-Carlton, San Francisco
Rivoli Restaurant
RM Production Firm, Inc.
Semifreddi’s
Scharffen Berger Chocolate Maker
Shorenstein Hays—Nederlander
Theatres LLC
Solstice Press
Trattoria Corso
Tomatina
Venus Restaurant
Raymond Vineyards is the official wine
purveyor of Berkeley Repertory Theatre.
3 0 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
A&B Foundation · Adobe Systems Inc. · American Express · Argonaut
Group, Inc. · Bank of America Matching Gift Program · Charles Schwab
Corporation Foundation · Chevron Matching Grants Program · Clorox
Company Foundation · Federated Department Stores, Inc. · First Quadrant ·
Franklin Templeton · Fremont Group Foundation · GlaxoSmithKline
Foundation · Hewlett Packard Employee Charitable Giving Program · IBM
Corp. Matching Grants Program · John Wiley & Sons, Inc. · Johnson &
Johnson · Lawrence Livermore National Security · Levi Strauss Foundation ·
Macy’s West · Merrill Lynch & Co. Foundation, Inc. · Microsoft Matching
Gifts Program · Oracle Corporation · PG&E · SBC Foundation · Sun
Microsystems Foundation · Union Bank of California Foundation · VISA
USA, Inc. · Washington Mutual Foundation
CONTRIBUTORS
LEG END
Êin-kind gift
matching gift
INDIVIDUAL ANNUAL FUND DONOR S
DONOR CIRCLE
SEA SON PRODUCERS
$5 0,0 0 0 & U P
Anonymous
EXECUTIVE PRODUCERS
$2 5,0 0 0 – 49,9 9 9
Rena Bransten
Bill Falik & Diana Cohen
Wayne Jordan & Quinn Delaney
John & Helen Meyer
Rita Moreno & Leonard Gordon Ê
Eddie & Amy Orton
A SSOCIATE PRODUCER S
$ 6,0 0 0 – 11,9 9 9
Anonymous
Anonymous, on behalf of Karen Grove
Carole B. Berg
Becky & Jeff Bleich
Stephen K. Cassidy & Rebecca L. Powlan
Robert Council & Ann Parks-Council
Narsai & Venus DavidÊ
Robin & Rich Edwards
William Espey & Margaret Hart Edwards John & Carol Field
David & Vicki Fleishhacker
Virginia & Timothy Foo
Kerry Francis & John Jimerson
Mary & Nicholas Graves
Scott & Sherry Haber
Migsy & Jim Hamasaki Bob & Linda Harris
The Hellman Family Foundation
Ms. Wendy E. Jordan
Julie Matlof Kennedy & Patrick Kennedy,
Panoramic Interests
Jean & Jack Knox
Wanda Kownacki
Ted & Carole Krumland
Suzanne Lafetra
Zandra Faye LeDuff
Dale & Don Marshall
Sandra & Ross McCandless
Martin & Janis McNair
Stephanie Mendel
Laura Onopchenko & Martin Dragomirecky
Virginia Patterson
Kaye & Randy Rosso
Pat Rougeau
Jodi Schiller & Ben Douglas
Douglas Tilden
Wendy Williams
Sheila Wishek
Steven & Linda Wolan
Martin & Margaret Zankel
PRESIDENT S
$ 3,0 0 0 – 5,9 9 9
Anonymous (3)
Anonymous, through the JEC Foundation
Neil & Gene Barth
Tracy Brown & Greg Holland
Drs. Don & Carol Anne Brown
Bill Byrne Jr. Lois M. De Domenico
Delia Fleishhacker Ehrlich Nancy & Jerry Falk
Steven, Jill, & Kevin Fugaro
Gifts of Tamsin
Lynn & Don Glaser
Howard Grothe & Robert James Donor Advised Fund of
Horizons Foundation
Earl & Bonnie Hamlin
Doug Herst
Barbara E. Jones
in memory of William E. Jones
Kanbar Charitable Trust,
Jewish Community Endowment Fund
Peter Pervere & Georgia Cassel Ê
Marjorie Randolph
Richard A. Rubin & H. Marcia Smolens
Betty & Jack Schafer
Dr. & Mrs. Philip D. Schild
The Strauch Kulhanjian Family
Jean & Michael Strunsky
Felicia Woytak & Steve Rasmussen
PRODUCERS
$ 12 ,0 0 0 – 2 4,9 9 9
David & Vicki Cox
Thalia Dorwick
Rick Hoskins & Lynne Frame
Robert Kelling
Leonard Merrill Kurz
John & Karen Levy
Jennifer S. Lindsay
Dixon Long
Michelle Mercer & Bruce Golden
Steven & Patrece Mills
Ronald MorrisonÊ
Sandi & Dick Pantages
Norman & Janet Pease
David & Marilyn Pratt
Ivy & Leigh Robinson
David S. H. Rosenthal
Ms. Riva Rubnitz
Isabella Salaverry & Spreck Rosekrans
Beth & David Sawi
Liliane & Ed Schneider Family Foundation
Joyce & Jim Schnobrich
Dr. & Mrs. Stephen Schoen
Laura Wais
Saul Zaentz
DIREC TOR S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (6)
Pat Angell in memory of Gene Angell
Ross E. Armstrong
Nina Auerbach
Ken & Joni Avery
Bryan Balazs
Jane & Bill Bardin
Edith Barschi
Stephen Belford
Linden & Carl Berry
Caroline Booth
Broitman-Basri Family
Thomas & Tecoah Bruce
Kimo Campbell
Lynne Carmichael
Jennifer Chaiken & Sam Hamilton
Susan Chamberlin
Mel & Hella Cheitlin
Earl T. Cohen & Heidi M. ShaleÊ
Barbara Comer
Ed Cullen & Ann O’Connor
John & Stephanie Dains
Andrew Daly & Jody Taylor
Ilana Debare & Sam Schuchat
Corinne & Mike Doyle
Iwona & J. Keith Dunne
Margareta & Staffan Encrantz
Merle & Michael Fajans
Cynthia Farner
Don & Sylvia Fillman
Kristina Flanagan
Mort & Frannie Fleishhacker
Herb & Marianne Friedman
James Gala
Karl & Kathleen Geier
Dennis & Susan Johann Gilardi
Marjorie Ginsburg & Howard Slyter
Lauren Golden Daniel & Hilary B. Goldstine
Garrett Gruener & Amy Slater
David & Vera Hartford
Neil & Leah Mac Neil
Dugan Moore
Mary Ann & Lou Peoples
Len & Barbara Rand
Deborah & Leo Ruth
Patricia Sakai & Richard Shapiro
Joan Sarnat & David Hoffman
Sally Smith & Don Burns
Stephen & Cindy Snow
Michael & Sue Steinberg
Guy Tiphane
Gail & Arne Wagner
Ann & Shawn Fischer Hecht
Dr. Christina Herdell
Gail & Bob Hetler
Mr. & Mrs. Harlan Heydon
Jennifer Heyneman &
Christophe Schuhmann
Richard N. Hill & Nancy Lundeen
Michael & Marites HornÊ
Leslie & George Hume
Helmut H. Kapczynski & Colleen Neff
John Kouns & Anne Baele Kouns
Helen E. Land
Louise Laufersweiler & Warren Sharp
Nancy & George Leitmann
Ellen & Barry Levine Tom Lockard & Alix Marduel
Lois & Gary Marcus
Sumner & Hermine Marshall
Charlotte & Adolph Martinelli
Jill Matichak
Judith & Kim Maxwell
Miles & Mary Ellen McKey
Susie Medak & Greg Murphy
Suzanne Mellard & Lon O’Neil
Toby Mickelson & Donald Brody
Roger Miles
Marlene & Stephen MillerÊ
John & Katrina Miottel
Mr. David Mish
Andy & June Monach
Scott Montgomery & Marc Rand
Eleanor Moore
Margo Murray
Pamela & Mitchell Nichter
Jan & Howard Oringer
Nancy T. Park
Tom & Kathy Pendleton
Wil & Joyce Pinney
Bonnie Raitt
Jonathan & Hillary ReinisÊ
Bill Reuter & Ruth Major
John & Jody Roberts
Enid & Alan Rubin
Mitzi Sales & John Argue
Lisa Salomon & Scott Forrest
Monica Salusky & John K. Sutherland
Jeane & Roger Samuelsen
Stephen C. Schaefer
Jackie & Paul Schaeffer
Linda & Nathan Schultz
Barbara & Irving Schwartz
Edie Silber & Steve Bomse
Nat Simons & Laura Baxter-Simons
Kae Skeels
Sherry & David Smith
Susan & David Terris
Ama Torrance & David Davies
Marco A. Vidal Fund,
in memory of Jean K. Jones
John & Pamela Walker
J. Weinstein
Robert & Sheila Weisblatt
Wendy Willrich
Laura & Ernest Winslow
Steven Winkel & Barbara Sahm
Charles & Nancy Wolfram
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 3 1
PL AY WRIGHT S
$ 1,0 0 0 –1, 49 9
Anonymous (5)
Denise Abrams & David Harrington
Shirley & Lew Albright
Bruce & Martha Atwater
Helen C. Barber
Sandra Barkdull & Richard Cleveland
Valerie Barth & Peter Wiley Jan Onne Bodenstab,
in memory of Bernard Petrie
Marilyn Bray
Ed & Lisa Chilton
Florence Cohen, in honor of Dugan Moore
Constance Crawford
Barbara & Tim Daniels Richard & Anita Davis
David & Monika Eisenbud
Martin & Barbara Fishman
Linda Jo Fitz
Rick Fitzgerald & Marilyn MacGregor
Kirk & Suanne Flatow
Sara Fousekis
Patricia Fraher
Nancy Francis
Don & Janie Friend
Paul T. Friedman
Frank & Sarah Fuller
Deborah & Howard Goodman
Phyllis & Eugene Gottfried
Robert & Helga Grabske
Dick & Lois Halliday
Gregg Hauser & Judy O’Young, MD
Hilary & Tom Hoynes
Eric, Justin & Gavin Hughes &
Priscilla Wanerus
Paula Hughmanick & Steven Berger
Harold & Lyn Isbell
Robert T. Jones Jr. & Claiborne S. Jones
Beth & Fred Karren
Pearl T. Kimura
Angelos Kottas & Phyra McCandless
Randy LaRoche & David Loudon
Susan B. Levine
David Lincoln King & Timothy Stevenson
Marsyas Fund at the Tides Foundation
Bennett & Wendy Markel
Match Vineyards
Karen & John McGuinn
Pamela Mead & Wolf Larson
Jerry Mosher
Jim Newman & Jane Ivory
Robert S. Newton
Richard & Lenore Niles
Judith & Richard Oken
Bernard & Barbro Osher, in honor of Mr. &
Mrs. Martin Zankel’s 150th Birthday
Gerane Wharton Park
Brian D. Parsons
Bob & MaryJane Pauley
Paul & Suzanne Peterson
Chris & Karen Pohl
We gratefully recognize the
following members of the Annual
Fund whose contributions were
received in January 2009.
SUPPORTER S
$ 2 5 0 –49 9
Anonymous (7) · Terry Pink Alexander ·
Robert Z. & Evelyn L. Apte · Barbara &
Jeff Beck · Elizabeth Brady · Michael &
Sheila Cooper · Lawrence Crapo & Desiree
Gillingham · James Cuthbertson · David
Eimerl · Bill & Susan Epstein · Jacqueline &
Christian Erdman · Nancy Ferguson · Jane
Gottesman & Geoffrey Biddle · Peter &
Florence Hart, in honor of John L. Field ·
Teresa Hickey · Ken & Karen Keller ·
Robert McDowell · Joanne M. Medak ·
Charles Pollack & Joanna Cooper · Beth
Polland · Phyllis Pottish-Lewis & Adam
Lewis · Mary & Matthew Powell · Kent
Rasmussen · Geri Rossen · Marc Scruggs ·
Emily D. Sexton · Carol Shen · Elizabeth
Short · Paul Silva · Helen Vurek · Neil &
Madeline Weinstein · The Wellsfry-Porat
Family · Marilyn & Ted Westphal · George &
Kathleen Wolf
Susan & Eric Poncelet
Pugh Family Foundation
Donald D. Roberts,
in memory of Donna Roberts
Boyard & Anne Rowe
Mr. & Mrs. Robert Schiller Georgia P. Swanson
Julia Sze
Steven & Heidi Tanner
Alison Teeman & Michael Yovino-Young
Pate & Judy Thomson
Len Weiler & Alice Collins
Beth Weissman
Mary Ann Wight
Greg Willenborg
Grace Williams & Bernice Strube
Sally Woolsey
Sam & Joyce Zanze
AC TOR S
$5 0 0 – 9 9 9
Anonymous (22)
Geraldine & Marcus Alexis
Laurence Anderson
Marcia & George Argyris
Susan Babuka
Mary Bailey
Barbara Jones Bambara &
Massey J. Bambara Elizabeth Balderston
Susan & Barry Baskin
Richard & Katherine K. Berman
Robert Berman & Jane Ginsburg
Howard & Estelle Bern
The Blackman Family
Laura Blair & Mitchell Zeemont
Dr. & Mrs. Gerald Block
Mr. & Mrs. Darl E. Bowers
Linda Brandenburger
Melody Burns Bruce Carlton & Richard McCall
Carolle Carter & Jess Kitchens Ê
Jan ChambersÊ
Earl T. Cohen & Heidi M. Shale Ê
Sue Cook & Mark Solle
Karen & David Crommie
Drs. Michael Darby & Toni Martin
Pat & Steve Davis
Jennifer DeGolia
Harry & Susan Dennis
Francine & Beppe Di Palma
Noah & Sandra Doyle
Nancy Ebbert
Roger & Jane Emanuel
Gini Erck & David Petta
Don Erickson
Kathleen Evans & Bruce Bagnell
Betty I. Feinstein
Brigitte & Louis Fisher
Mr. Michael Flora
Stephen Follansbee & Richard Wolitz
Georgina Franco
Dorothy & Chuck Garber Marilee Gardner
Susan Berger & John Gertz
Gregory Giska
Judith & Alex Glass
Stuart Gold
Marcia Goodman & Hank Levy
Drs. Lloyd & Rochelle Gordon
John & Diane Gossard
Gilbert & Sally Gradinger
Bonnie & Sy Grossman
Lawrence & Helen Grossman
Karen Grove & Julian Cortella
Hatti Hamlin
Glenn Hammonds
Alan Harper & Carol Baird
Joe Hartzog
Richard L. Hay
Drs. Gareth & Ruth Hill
Elaine Hitchcock
Ms. Joy Hoge
Rebecca Hull & Joe Raabe
Lynda & Dr. J. Pearce Hurley, in honor
of the teaching of Michael Navarra
Leonard & Flora Isaacson
Mr.& Mrs. Harold S. Johnston
Richard & Shirley Jones
Pat & Chris Kenber
Christopher Killian & Carole Ungvarsky
Rosalind & Sung-Hou Kim
Jack Klingelhofer
Carole & Henry Klyce
John Kruse & Gary Beuschel
Henry & Natalie Lagorio
Winston & Elaine Lambert
Wayne & Dena Lamprey
William & Adair Langston
Mr. & Mrs. S.J. Lapporte
Maribelle &
Stephen Leavitt
Bonnie Levinson &
Dr. Donald Kay
Nashormeh &
Delroy Lindo
Mary A. Mackey
Vonnie Madigan
Joan & Roger Mann
Emily & Larry Mannion
John E. Matthews
Doug & Jill McCoy
C. Alison McLean
Winton & Margaret
D. McKibben
Don & Mara Melandry
Caryl & Peter Mezey
Julie Montanari
Patricia Motzkin & Richard Feldman
Ron Nakayama
Markus Niebanck
Claire Noonan &
Peter Landsberger
Barbara & Pier Oddone
CONTRIBUTOR S
FRIENDS
$ 15 0 –2 49
$ 75 –149
Anonymous (4) · Robert & Gertrude Allen ·
Mr. & Mrs. Charles Bataille · Stephen
Bicknese · Stephen J. Bischoff · Bertel
Borowsky · Esta Brand · Caitlin Cain ·
Annabelle Cloner · Joyce S. Cross · Jackie &
Charles Desoer · Bridget Dobbins · Thomas
W. Edwards & Rebecca Parlette-Edwards ·
Meredith & Harry Endsley · Mary Fishman ·
Mr. & Mrs. Steven Fredman · Arlene Getz ·
Joyce Hawkins & Jack Sweitzer · John Heller
& Emily Payne · Belle Huang · Margaret
Kendall · Mary Tolman Kent · Lindy Khan
& Amiram Givon · Doris Kinsley · Jeff
Klingman · Harvey & Margaret Kokka ·
Susan J. Lane · Thomas LaQueur · Howard
& Siesel Maibach · Avalon B. Master ·
The Medress Family Fund of the Jewish
Community Foundation · Mr. & Mrs.
Joseph L. Neumiller · Charles Olson & Yoko
Watanabe · Felicia Oldfather · Michael &
Davida Rabbino · Daniel & Barbara Radin ·
Marie Radke · Marc A. Rieffel · Bruce &
Marie Rosenblatt · L. M. Rubinoff · Paul
E. Russell · Dana & Peggy Shultz · Martha
Sirgo · Teresa & Patrick Sullivan · Rosalinda
Taymor · Susan & Bradford Wait · David
Walsh · John & Janet Williams
Anonymous (6) · Wilhelmina Abraham ·
Daniel & Nancy Altman · Deanne Amaden ·
Susan Andrews · Howard & Selma
Aslin · Celia Bakke · Sarah Ballard · Alice
Bartholomew · Jan Bass & David Wallace ·
Richard & Carol Bee · David Beery · Charles
Benedict · Ruth Ann Binder · Mary Ellen &
George Boyet · James Bradshaw · Barbara
A. Brenner & Suzanne Lampert · Sandra
Briggs · Alice Brown · Donald Brown · Lisa
Burkett · Betsy Collins · Tracu Creer · Colleen
Crook · Monica & Gary David · Debra
Davis · Anita C. Eblé · Burton Peek Edwards
& Lynne Dal Poggetto · Ervin & Sally Ann
Epstein · Caroline Everts · Miranda & John
Ewell · David Firestone & Julia Partridge ·
Giles C. Floyd · Leonore & Carl Foorman ·
Michael & Sabina Frank · Daniel Friedland
& Azlynda Alim Ê · Susan Bettelheim
Garfin · Jessica Gary · Phillip Gary · Lorraine
& Ronald Gazzano · Ellen Geringer & Chris
Tarp · Diane Gerstler & John Rosenberg ·
Maureen Goettlick · Robert Goldstein
& Anna Mantell · Hugh & Aletha Silcox ·
Mr. James Graham · Chris & William
Green · Mr. & Mrs. George Greenwood ·
Pat & Plato Grivas · Elizabeth Haag &
3 2 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Mr. & Mrs. Clyde W. Ostler
Robyn & David Owen Steve Palmer
Beth Parker & Ken Taymor
Lewis B. Perry, Jr.
Regina Phelps
Edward Pike
Leta RamosÊ
Katherine Randolph
Jim & Ruth Reynolds
Wesley Richert
Paul & Phyllis Robbins
Dodie Rosekrans
Susan Rosin & Brian Bock
Michael & Virginia Ross
Marc Roth
Dr. Jirayr Roubinian
Gaile B. Russ
Paul Sack
Dorothy & George Saxe
Mark Schoenrock
Teddy & Bruce Schwab
Randee & Joseph Seiger
Karen Sermersheim &
Jean-Pierre Deshayes Mr. & Mrs. John Serwa Steve & Susan Shortell
Jill & Richard Sideman
Dave & Lori Simpson
Jerry & Dick Smallwood
Louis & Bonnie Spiesberger
Judy & Elmer Squier
Robert & Naomi Stamper
Ms. Joelle Steefel
Annie Stenzel
Rocky & Gretchen Stone
Carl & Joan Strand
Monroe W. Strickberger
Suzanne & Svend Svendsen
Clyde & Ruthann Taylor
Fred & Nancy Teichert
Karen Tiedemann & Geoff Piller
Bill & Margi Van Dyk
Mr. & Mrs. Robert Van Nest
Louise & Larry Walker
Kimberly WareÊ
Buddy & Jodi Warner
Dave Wedding Dress
Jonathan & Kiyo Weiss
Sallie Weissinger
Dana A. Welch
Dr. & Mrs. Ben Werner
Ms. Dora D. Williams
Anita Wornick
Margaret L. Wu
Mrs. Glea G. Wylie
Rona Yang Ê
May Yasui
Lee Yearley & Sally Gressens
Joan Zawaski
Michael Di Pretoro · Tim & Mary Haifley ·
Heike Hambley · Alberta Hankenson ·
Cynthia Harris · Irene Hegarty · Margaret
E. Hegg · Dorothy & Michael Herman ·
Elyce Heut-Mikkelsen · Thomas Hird ·
Barbara Hirschler · Dennis Hock · Ralph
Holt · Victor & Lorraine Honig · Charles
Howard · Susan Hughes Collins & David
Collins · Neal & Charlotte Huntley · Kevin
& Janet Hurley · Melanie Jones · Glenda
Josselson · Harlan & Pearl Kann · Susan
Kellerman · Eon King · Richard & Phyllis
Kluger · Cheryl Kojina · Yvonne Koshland ·
Denise Lai · Judith A. Lamberti, M.D. · J. C.
& Carmen Leighton · David C. P. Leland Ê ·
David Lesnini · Jean & Harry Levin · Shirlee
Loret · Julia Lovin · Mr. & Mrs. Robert J.
Mack · Janet & Marcos Maestre · Bella J.
May · Laura McCrea & Robert Ragucci ·
Rick McFarland · Kathleen McLeen · Linda
Mehren & Roger Lambert · Dorothy Meyer ·
Harvey Miller · Stephanie Mooers · Peggy
& John Mooney · Julie Murphy · Howard
& Nancy Mel · Christina Nelson · Risa &
Bruce Nye · Ron Nyren & Sarah Stone · Dr.
& Mrs. Myron Pollycove · Stephen & Wilma
Rader · Charleen Raines · Donald & Lore
May Rasmussen · Christopher Ratcliffe · Mr.
& Mrs. Donald Rathjen · Bettina Rosenberg ·
Dr. David Rovno · Kate Rowland · Dawn
Sagorski · Carolyn Sanders & Diane Wilson ·
Ms. Roberta P. Saxon · Carol H. Shivel ·
Lawrence Shore & Sandy Yuen · Elizabeth T.
Shun · John Sims · James Smith · Dr. Bruce
M. Smith & Paul L. Castellano · Darin Smith ·
Debbie Smith · Audrey & Bob Sockolov ·
Anthony & Carol Somkin · Steve Spellman ·
Herbert Steierman · Anne & Douglas
Stewart · Sylvie & MIchael Sullivan · David
Sunding · Ms. Belinda Taylor · Natasha &
Gregory Terk · Adriene Thorne · Janice &
Stephen Toben · Diane Tokugawa & Alan
Gould · Kathy Traynor · Barbara & William
Vaughan · Alison Vidal · John & Helene
Vilett · Ward & Elizabeth Wallau · Cliff
Weingus · Ilene Weinreb · Harvy & Rhona
Weinstein · Marsha Weintraub & Stuart
Hellman · Dick & Beany Wezelman · Richard
White · Maurice Willis · Faye Wilson
PATRONS
Anonymous (6) · Linda Abe · Marites Abueg ·
Susan J. Adler · Mary Alexander · Terri
Almeida · Charles Altieri · Vernon R.
Ambrose · Tanir & Betsy Ami · Kaye
Anderson · Roger Anderson · Winifred
Andrews · Carley Angell · Kevin Ankoviak ·
Helen Argyres & Richard McIntosh · Steven
Z. Athanases · Margaret Atkinson · Pamelah
Atkinson · Paula Avanzino · Nicole Avril ·
Barbara Bach · Deborah & Prabin Badhia ·
Patt Bagdon · Ruby Barcklay · Richard
Barringer · Donald Beeson · Helen Behr ·
Laura Belfiglio-Gold · Ayoka Bell · Thomas
Bell · Susan Beneville · Martha Bergmann ·
Holly Bern · Ilona Berta · Ann Bertucci · John
Bidwell · George Bikle · Laura Billings · Elaine
& Herman Binger · Brooke Bird · Virginia
Birdsall · Dennis Black · Chela Blitt · Kevin
Bobrowsky · Sandra Bolds · Sheryl
Bomberry · Arnold Borley · Mr. & Mrs. Bob
Borton · Phyllis Boyson · Diane Breivis · John
Briggs · Peter Brock · Jaklyn Brookman ·
Brenda Ann Brosnahan · Lienard &
Constance Brown · Mike Brown · Dupsi
Brown-Kuria · Abe & June Brumer · Ms.
Carol Brummerstedt · Robert Brush · Lisa
Bruzzone · William Buell · Sydney Buice ·
Amy Butcher · Katharine Byerle · Jim &
Margaret B. Callahan · Eldoris Cameron ·
Don Campbell & Sandra Lee · Nancy
Carlson · Tony & Nancy Catena · Mr. & Mrs.
Scott Cauchois · Pamella Cavanna · Sean
Cavenaugh · Jennie Cecka · Vasiliki Chatzi ·
Andrew Chen · Yu-Tai Ray Chen · Cindy
Chew · Yvonne Chong · Robert Chuck · Pat
Chum-Spielberg · Madeline Chun · Mr. &
Mrs. William Claus · Emily Clemons · Ann
Coffey · Debra S. Coggins · Jim Cohee ·
Andrew Cohen · Jeremy Cole · David & Nairy
Colello · Douglas Coleman · Taffy Coleman ·
Marcelline Combs · Jean Comer · Jon
Comstock · Joe & Leonardo Connell · Max &
Bonnie Cooperstein · Carolyn Corbelli ·
Suzanna Cortes · Patrick Costello · Pamela
Coville · Stephen & Maria Crane · Nora
Cregan · Irene Croft · Janet Davalle · Martin
& Virgina Davis · Naomi & Robert Davis ·
Roberta Davis · Emmanuel Dean · Ina & John
Dearman · Art DeNio · Cecilia Denmark ·
Gary Depp · Beverly Derish · Sharon
Dickson · O’Neil & Marcia S. Dillon · Barbara
Doe · Linda Dolphin · Jeff Donais · Judith
Duffy · Patricia & Robert Dunn · Harry &
Isobel Dvorsky · Jo Ann Eastep · Sharon
Eberhardt & Perrin Meyer · Joan Edelstein ·
Percy & Doris Edwards · Allan Enemark · Lisa
Norris · Marjorie Esquivil · Nancy Evans ·
Marna & Phil Eyring · Phyllis Faber · Drazen
Fabris · Beverly Farr · Julian Field · Shelly
Fields Tejeda · Howard Fields · Roberta
Fischer · Truman & Margot Fisher · Doug
Fontaine · Melissa Ford Cox & Christopher
Cox · Mark Fornos · Susan Forsythe ·
MarySue Foster · Kim Fowler · John Fox ·
Robert Frangenberg · Do Freeman · Daniell
French · Judy French & Peter Byrne · Miriam
& Gerald Friedkin · Barbara Friedman ·
Thomas Fryer · Dorothy Fullerton · Garia
Gant · Susan Garell · Shirley George · Ann
GIlbert · Arthur & Velta Gill · Kay Gjeltema ·
Sidney & Eleanor Glass · Emily Glines · Annie
Goldsmith · Karl Goldstein · William & Carol
Goodell · Rob & Susie Goodin · Margaret
Goodnough · Dawn Gordon · Howard & Julie
Graves · Harold Green · Sandra Green ·
Marjorie Greene · Tom & Emily Griswold ·
Hugh Groman · Dolores Gruenewald · Larry
Gurley · Ernest Haberken · Jim & Jacquie
Hale · Tova Halpern · Katherine Hamel ·
Frede S. Hammes · Jeff Haney · Lona Hardy ·
Mae Harms · Signe Harnett · Anne Haskel ·
Julie Hayes · Sharon Hayes-Watts · Kathleen
Heath · Linda Helman · Susan Helmrich · Ms.
Ruth Henrich · Karla Herndon · Robert
Herreshoff · Jocelynn Herrick Stone & Rick
Stone · Ms. Ellen J. Hershey · Jerry Oyarzo
Hickey · Bette Hirsch, in honor of the work
of Thalia Dorwick · Sara & Allen Hirsch ·
Kristina Holland · Christopher Hoover ·
Frederika Horton · Timothy Howe · Hector
Huang · Estie Sid Hudes · John Hulls · Carol
Hum · Geralyn Hurney · Joanne Jacobs ·
Carla Javits · Kristen Jensen · Edward &
Shirley Jochim · Leonard Johnson · Ray
Johnson · Ronald Johnson · Doris Johnston ·
Nathan Johnston · Robert Jolda · Mark &
Cynthia Jordan · Deborah Joseph · Vivian
Kane · Warren Kaplan · Mary Ann Kassier ·
MICHAEL LEIBERT
SOCIETY
Members of this society, which is named in honor
of Founding Director Michael W. Leibert, have
designated Berkeley Rep in their estate plans.
Planned gifts sustain Berkeley Rep’s Endowment
Fund unless the donor specifies otherwise. The
Endowment Fund provides 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.
For more information on becoming a member,
visit our website at berkeleyrep.org or contact
Lynn Eve Komaromi, Director of Development,
at 510 647-2903 or [email protected].
Michael Katz · Martha Jane Kaufman · Ms.
Elizabeth Kavaler · James Keller · Lee Kempf ·
Patricia Kernighan & Paul Gordon · June
Kim · Lisa King · Kathleen Kirby · Christopher
Klein · Kimiko Klein · Mr. & Mrs. Robert J.
Knecht · Craig Knudsen · Dale Koistinen ·
Linda Kory · Dorothy Kuczaj · Barbara
Kuklewicz · Patricia La Salle · Louise
Laemmlen · Sally Lappen · Carol Larsen · Jill
Hart Larsen · Marilyn Leavitt · David
Leblanc · Elisa Lee · Wilson Lee & May Ng
Lee · Leimkuhler & Wilk Family · Rob
Lenicheck · Donald Leonard · Trudy Lesem ·
Ruth Levin · Sara Levine · Leslie Levy ·
Adrienne Lewis · Keith Lichten · Frances
Liefert · Benjamin Lindahl · Shirley Lipman ·
Penelope Lockhart · Linda-Marie Loeb &
John Koza · Evaly Long · Joan Long · Jaime &
Laura Lopez · Ms. Alice Lucas · Joan Ludlam
& Daniel Leighton · Linda Lustig · Lea Lyon ·
Charles Macfarlane · Elaine Macht · Carla
Mae · Sushma Magnuson · John Magruder ·
Aaron Mandel · Jeanne Margen · Anne
Marszalek · Jill Martin · Phyllis Maslan ·
Margalit Mathan · Jane Mauldon · Yvonne
McAllister · Suzanne McCombs · Dorothy
McDermott · Bill McDonough · Jeta P.
McKillip · Jeanne McKinney · Ray McKnight ·
Jacqueline McLaughlin · Suzy Mead · Rachel
Michaelsen · Sharon Michel · Jeb
Middlebrook · Aaron Miller · Bernie & Susan
Miller · Joye Miller · Louise Milota · Nikki &
Naghmen Mirghafori · Joanie Misrack ·
Alyson Mitchell · Tom & Elizabeth Moffet ·
Christopher Molineaux · Raymond
Montoya · Thomas Morlini · Robert Morris &
Carole Lowenberg · Dixie & John Morse ·
Pauli & Sandy Muir · Sean Mullin · Anna
Mungle · Dr. & Mrs. Paul Mussen · Chris
Naff · Catherine Naghdi · Ronald & Irene
Nakasone · David Nefouse · James & Anicia
Nelson · Ann Nelson · Hallie Ness · Elizabeth
Nixon & Frank Szerdy · Carolyn Noble ·
Angela Noel · Hela Norman · Jennifer
Normoyle · Melissa Ober · Barbara & Philip
O’Hay · John & Barbara Ohlmann · Jim
Oliver · Harry Oppenheimer · William
Opsahl · Louise Oram · Anne Ording ·
Olympia Ortega Gregory · Kristina Osborn ·
Michael & Betty Osborn · Carli Paine ·
Pamela Palitz · Herman D. Papa · Katherine
Papoe · Laura Buzzo Paratore · Rachel
Payne · Danette Peltier · Jagoda PerichAnderson · Kari Peterson · Nick Peterson ·
Ross Peterson · John R. Petrovsky · Linda
Phillips · Joan Piaget · Michael & Judith
Piazza · Judith Piper · Tora Poeter · George &
Pamela Pogojeff · Daniel Polikoff · Paul &
Christine Prusiner · Senta Pugh
Chamberlain · Pam Qualley · George
Queeley · Carolyn Queener · Darlene
Quinn · Salvador Ramirez · Mark Rampton ·
Danny Rand · Reenie Raschke · Valerie
Raymor · Patricia & John Rea · Guadalupe
Reardon · Douglas Reeves · Kevin Reidy ·
Marie Rhein · Nora Richardson · Dr. Michael
Rizzo · Laura K. Roberts & Aaron Loeb · Ms.
Zona L. Roberts · Cayen & Tom Robertson ·
Will Rockafellow · Patricia Rockeman · Karla
Rodriguez · Walter Roos · Karen Rosenak ·
Scott Rosenberg · Hugh Ross · Catherine
Roth · Stephanie Roth · Roberta Rothman ·
Jerry Rowe · Kathy Rowland · Juanita Ruff ·
Steven Russell · Terry Saltz · Hadley Salz ·
Bonnie Sanders · John & Melanie Sandler ·
Ardena Sandmeyer · Marie Sanner ·
Herminia S. Sayre · Ron Schloss · Sarah &
Wayne Schneider · Betty Schrohe · Erin
Schultz · Roger Schwab · Roberta Sears · Jon
Seidel · Joanell Sera · Ms. Diane Sharken ·
Bonnie Shaw · Jennifer L. Shaw · Jonathan
Shaw · Marlene Shigekawa · David Shipp ·
Richard Shipps · Frederica Shockley · Jeff &
Mardi Sicular-Mertens · Mr. & Mrs. Adam
Seigman · Kevin Simmons · Judy Simons ·
Andres Sinohui · Ms. Nancy M. Skinner ·
Sandra Slater · Barbara Slemmons · Brian
Smith · Elaine Smith · Dr. Cherrill Spencer ·
William Statsky · Lousie Stevens · Anne
Stiles-Heller · Allison Stone · Paula Street ·
Anne Struck · Robert & Jane Sullwold · Sue
Hee Sung · Howard & Nelda Sussman ·
Renee Swayne · Erin Sweeney · Karen
Swezey · Virginia Sykes · Rosalee Szabo ·
Ellen Tarby · Ryan Tasker · Ranzo Taylor ·
Frankie Taylor · Michael Tedesco · Stephanie
Thomas · David Thompson · Keith
Thompson · Kim Todd · Kelli Frostad Toledo ·
Ed & Barbara Tonningsen · Rebecca
Trachtenberg · Hoanganh Tran · Ruby
Trauner · Harriet Tucker · James Tucker ·
Cindy Valentine · John Vallerga · Molly Van
Etten · Hiromi Vardy · Henry Velasco · Mary
Visher · Helen Wallis · Andrea Walt · Lisa
Ward · Sarah Ward · Jennifer Warila · Mr. &
Mrs. Ralph Warner · Joan Strawder Webster
& Bill Webster · Phyllis Weinstock · Stan
Weisner · Edith Wells · Richard West · Kathi
Whalin · Kathy White · Vivian Wiitala · Gail
Wilkinson · Michael & Karen Willcox ·
Anthony Williams & Anne Brodzky · Barbara
Williamson · Mr. & Mrs. Wilson · Olly &
Elouise Wilson · Thomas Wilson · David
Winn · Molly Wintroub · Victoria Wong ·
Patricia Wood · Scott Worthge · Pam Woy ·
Sylvia Wu · Gen Yaduda · Dara Yazdani · Bob
& Judi Yeager · Donna & Clifford Yokomizo ·
Elizabeth Zarlengo · Marilyn Zatz · Mary E.
Zehr · Morris Zeldtich · Donald Zimmerman
The following individuals
have generously provided
for Berkeley Rep in
their estate plans:
Zandra Faye LeDuff
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez & Peter Sloss
Suzanne & Charles McCulloch
Susie Medak & Greg Murphy
Amy Pearl Parodi
Margaret Phillips
The Estate of Margaret Purvine
Marjorie Randolph
Betty & Jack Schafer
Stephen & Cindy Snow
Michael & Sue Steinberg
Dr. Douglas & Anne Stewart
Jean Strunsky
Phillip & Melody Trapp
Dorothy Walker
Grace Williams
Karen & Henry Work
Anonymous
Ken & Joni Avery
Nancy Axelrod
Carole B. Berg
The Estate of Nelly Berteaux
Bruce Carlton & Richard G. McCall
Stephen K. Cassidy
The Estate of Nancy Croley
Andrew Daly & Jody Taylor
William Espey & Margaret Hart Edwards
Carol & John Field
Mary & Nicholas Graves
Fred Hartwick
Hoskins/Frame Family Trust
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 3 3
Named funds
Dale Elliot Fund
Bret C. Harte Young Directors Fund
Mosse Foundation Artistic Development Fund
Jan & Howard Oringer Outreach Coordinator Position
The Bernard Osher Foundation New Play Development Program
The Strauch Kulhanjian Artistic Innovation Fund
We acknowledge the following donors for their
generous support of the 40th Anniversary Campaign:
INVESTORS CIRCLE
Anonymous*
Wayne Jordan & Quinn Delaney*
The Bernard Osher Foundation
The Strauch Kulhanjian Family*
The Harold & Mimi Steinberg Charitable Trust
Guy Tiphane*
Wayne & Gladys Valley Foundation
SEASON PRODUCERS CIRCLE
Doris Duke Charitable Foundation
Ira & Leonore Gershwin Philanthropic Fund
Jean & Michael Strunsky*
PRODUCERS CIRCLE
Anonymous*
S.D. Bechtel, Jr. Foundation
David & Vicki Cox*
Walter & Elise Haas Fund
Rick Hoskins & Lynne Frame*
The James Irvine Foundation
John & Helen Meyer*
Jan & Howard Oringer*
Marjorie Randolph*
Joan Sarnat & David Hoffman*
Betty & Jack Schafer*
Felicia Woytak & Steve Rasmussen*
Martin & Margaret Zankel*
ASSOCIATE PRODUCERS CIRCLE
Shelley & Jonathan Bagg
Becky & Jeff Bleich
Thalia Dorwick
Robin & Rich Edwards
Bill Falik & Diana Cohen*
Kerry Francis & John Jimerson
Mary & Nicholas Graves
The Hearst Foundation, Inc.
Sarah McArthur & Michael LeValley
Sandra & Ross McCandless
Dugan Moore
Mary Ann & Lou Peoples*
Peter Pervere & Georgia Cassel
Richard A. Rubin & H. Marcia Smolens
Cynthia & William Schaff
Michael & Sue Steinberg*
PRESIDENTS CIRCLE
Ken & Joni Avery
Kimo Campbell
Jennifer Chaiken & Sam Hamilton
William Espey & Margaret Hart Edwards
David & Vicki Fleishhacker in memory of Peter Sloss
Scott & Sherry Haber
Julie Matlof Kennedy & Patrick Kennedy
Wanda Kownacki
Carole & Ted Krumland
Dixon Long
David & Connie Lowe
Dale & Don Marshall
Eddie & Amy Orton
Beth & David Sawi
DIRECTORS CIRCLE
Rena Bransten
John & Carol Field
Susie Medak & Greg Murphy
Len & Barbara Rand
Stephen & Cindy Snow
The Tournesol Project
Arne & Gail Wagner
Woodlawn Foundation
PLAYWRIGHTS CIRCLE
Anonymwous (2)
Stephen K. Cassidy
Mel & Hella Cheitlin
East Bay Community Foundation
Kristina Flanagan
Tom Hanks & Rita Wilson
Roger & Silvija Hoag
Patrick & Holly O’Dea
Patricia Sakai & Richard Shapiro
Dr. & Mrs. Phillip D. Schild
Kae Skeels
Wells Fargo Foundation
The following contributors made gifts to
the 40th Anniversary Campaign between
January 2008 and January 2009.
Anonymous (3)
Pat Angell in memory of Gene Angell
Susan & Barry Baskin
Harry & Suzie Blount
Charles & Kristine Cardall
Kristin Carpenter
Susan Chamberlin
Constance Crawford
Harry & Susan Dennis
Adam Edlavitch, Seth Edlavitch, Helen Siegel &
Sherry Smith in honor of David Smith
Alex Edwards
Entrekin Foundation
Cynthia Farner
Harvey & Deana Freedman
Steven, Jill & Kevin Fugaro
Diana Graham & Jack Zimmermann
Helen Goldsmith
Amanda & Raymond Haas
Mary Hamilton
Earl & Bonnie Hamlin
Bob & Linda Harris
Mr. & Mrs. Harlan Heydon
Bruce Koch
Woof Kurtzman & Elizabeth Hertz
Clara Lai
Zandra Faye LeDuff
Nancy & George Leitmann
Ellen & Barry Levine
Nashormeh & Delroy Lindo
Thomas J. & Gail W. Lowry
Neil & Leah Mac Neil
Miles & Mary Ellen McKey
Ron Nakayama
Hua & Nga Ngo
Barbara & Pier Oddone
Judith & Richard Oken
James & Susan Penrod
Regina Phelps
Richard & Barbara Rosenberg
Hans Schoepflin
Douglas Tilden
Wendy Williams
David Williamson & Helen Marcus
Supporters denoted with an asterisk are members of the Artistic Innovators
Club40. Club40 is a new donor program of 40 investors who make a combined
commitment to the Annual Fund and 40th Anniversary Campaign of $250,000
or more over five years. Club40 has a maximum membership of 40 donors.
Only 23 spaces remain.
To learn more about the 40th Anniversary Campaign or Club40, contact Lynn Eve
Komaromi, Director of Development, at 510 647-2903 or [email protected].
3 4 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Jan & Howard Oringer
CO NTIN U ED FROM PAGE 12
is to help politically, economically, and
socially disadvantaged people become
more self-sufficient and productive in
their lives and communities. We also
work with children of the incarcerated,
empowering them and offering them
opportunities to change their lives. We
believe that theatre provides a truly
personal experience that can make an
impact in the lives of young people.
We also want to support Berkeley
Rep’s excellent programs for new plays
from new playwrights, allowing us to
stretch ourselves intellectually and emotionally. Lastly, we give because of Tony
Taccone and his great leadership.
KATHIE LONGINOTTI
REALTOR® & GRAMMY NOMINEE
510.981.3032
www.AtHomeEastBay.com
bistro
Visit berkeleyrep.org to learn more about
the 40th Anniversary Campaign and the artistic and educational programs it supports.
French food for the soul
Scenic paint
Walking distance to Berkeley Rep.
Full bar, weekend brunch.
CO NTIN U ED FROM PAGE 8
costume. Problems must quickly be
solved, and sometimes elements that
have been slaved over must be cut. Like
a great Zen master, Lisa finds a way to
enjoy the transience of her work. “It
can be liberating that the set is temporary,” she says. “It isn’t destined for a
museum, it’s not going to be chalked up
as my legacy. It exists in memory and
nowhere else.”
Scenic painters must be ready to
make giant leaps into the unknown and
think quickly on their feet. They have to
be incredibly organized and extremely
flexible. As she eyes her hard-working
crew from across the shop, Lisa explains,
“Experience helps, but it takes a long
time to build these skills, which is why
it’s really important that the Bay Area
continue to provide enough work for
artisans. We want them to stick around.”
Berkeley Rep employs over 85 local theatre
artisans each season. Your patronage and
support of the Theatre directly ensures that
high-quality artistic work, such as scenic
painting, remains vibrant and alive in our
community. To help ensure this work continues, click berkeleyrep.org/give.
Join Chef Todd on a culinary adventure in southwest France
to explore the rich history, breathtaking countryside, and local
cuisine. For more information, visit liaisonbistro.com
1849 Shattuck Avenue (corner of Hearst & Shattuck)
Berkeley, CA 94709 · 510 849-2155
There are great artists in every
field. We invite you to
call one of ours!
1495 Shattuck Avenue, CA • 510.486.1495
www.CaliforniaMoves.com
RESIDENTIAL BROKERAGE
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 35
ABOUT BERKELEY REP
S TAFF AND AFFILIATIONS
Artistic Director
Tony Taccone
Managing Director
Susie Medak
General Manager
Karen Racanelli
ARTIS TIC
Associate Artistic Director
Les Waters
Artistic Associate
& Casting Director
Amy Potozkin
Literary Manager/Dramaturg
Madeleine Oldham
SCE N E SH O P
Technical Director
Jim Smith
Associate Technical Director
Ryan O’Steen
Shop Foreman
Sam McKnight
Master Carpenter
Colin Babcock
Carpenters
E.T. Hazzard
Stephanie Shipman
Shop Intern
Christopher Chauvet
Database Manager
Diana Amezquita
Receptionist
Barbra Ritchison
Managing Director Fellow
Shin Hyoung Sohn
Bret C. Harte Directing Intern
Mina Morita
Literary/Dramaturgy Intern
Alex Rosenthal
Artists under Commission
David Adjmi
Glen Berger
Marcus Gardley
Rinne Groff
Jordan Harrison
Naomi Iizuka
Dan LeFranc
Tarell McCraney
Rita Moreno
Carlos Murillo
Sharon Ott
Sarah Ruhl
Stew/Heidi Rodewald
SCE NIC ART
Charge Scenic Artist
Lisa Lázár
Scenic Art Intern
Michael Fink
PRO D U C TIO N
Production Manager
Tom Aberger
Associate Production Manager
Amanda Williams O’Steen
Production Management Intern
Octavia Driscoll
Company Manager
Christopher Jenkins
Company & General
Management Intern
Jamie Caplan
COS TUM ES
Costume Shop Manager
Maggi Yule
Assistant Costume Designer
Maggie Whitaker
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Costume Intern
Lauren Fischer
S TAG E M ANAG E M E NT
Production Stage Manager
Michael Suenkel
Stage Manager
Heath Belden
Production Assistants
Megan McClintock
Leslie M. Radin
ELEC TRIC S
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Zoltan DeWitt
Electrics Intern
Masha Tsimring
Stage Management Interns
Lee Helms
Ryuji Suzkida
S TAG E O PE R ATIO N S
Stage Supervisor
Julia Englehorn
PRO PE RTIE S
Properties Manager
Ashley Dawn
Assistant Properties Managers
Gretta Grazier
Jillian A. Green
Properties Artisan
Sarah Lowe
Properties Intern
Lisa Mei Ling Fong
SOUND
Sound Supervisor
Heather Bradley
Sound Engineers
James Ballen
Robyn Bykofsky
Sound Intern
Jocelyn Thompson
ADMINIS TR ATIO N
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Executive Assistant
Andrew Susskind
Human Resources Manager
Eric Ipsen
Bookkeeper
Kristin Cato
Human Resources Consultant
Laurel Leichter
3 6 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
DE V E LO PM E NT
Director of Development
Lynn Eve Komaromi
Corporate & Leadership
Gifts Director
Daria Hepps
Special Events Manager
Margo B. Chilless
Individual Giving Manager
Laura Fichtenberg
Institutional Grants Manager
Elisabeth Millican
Development Assistant
Catrina Kaupat
Development Database
Coordinator
Jane Voytek
Gifts Entry Associate
Siobhan Doherty
Development Intern
Angèle Rodgers
PATRON SERVICES
Patron Services Manager
John Gay
House Manager
Katrena S. Jackson
Sub House Managers
Cayley Carroll
Octavia Driscoll
Aleta George
Ellen G. Maloney
Kiki Poe
Concessionaires
Joan Anderson
Michelle R. Baron
Christopher Fan
Lauren Fischer
Abby Hanson
Zoe Kalionzes
Sydney Katz
Devon LaBelle
Angèle Rodgers
Alex Rosenthal
Jocelyn Thompson
Usher Coordinators
Nelson & Marilyn Goodman
BOX OFFICE
Ticket Services Director
Christine Bond
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
D. Mark Blank
Christina Cone
Leah Kaplan
Elana McKernan
Michael Woo
M ARKE TING &
COM MU NIC ATIO N S
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations /
Associate Director of
Marketing & Communications
Terence Keane
Art Director
Cheshire Isaacs
Audience Development &
Events Manager
Elissa Dunn
Marketing & Multimedia Manager
Pauline Luppert
Communications Manager
Megan Wygant
Webmaster
Christina Cone
Graphic Design Intern
Abigail Hanson
Marketing & Box Office Intern
Joan Anderson
Program Advertising
Ellen Felker
O PE R ATIO N S
Director of Operations
Alex Edwards
Facilities Manager
Christopher Dawe
Maintance Technician
Johnny Van Chang
Facilities Assistants
Kevin Barry
Greg Hall
Lemun Lawson
B E RKE LE Y RE P
SCH O OL O F TH E ATRE
Associate General Manager &
Director of the School of Theatre
Rachel L. Fink
Associate Director
MaryBeth Cavanaugh
Jan & Howard Oringer
Outreach Coordinator
Dave Maier
Education Associate
Gendell Hernández
Administrator
Amelia Bird
Education Intern
Devon LaBelle
Teen Council Co-Directors
Christina Novakov-Ritchey
Elizabeth DeLuna
Teen Council Chairs
Roxie Perkins
Kendra Vaculin
Marnina Wirtschafter
Affiliations
The director and choreographer are
members 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.
SCH O OL O F THE ATRE
FACULT Y
Mothering on the Edge of Art
Witches and Wizards (grades K-1)
Erica Blue
Performance Ensemble
Jon Burnett
Gendell Hernández
Theatre of Sweat
Ron Campbell
Musical Theatre: Swing, Song,
and Shakespeare (grades 6–9)
Rebecca Castelli
Improvisation (grades 6–9)
Laura Derry
Acting Techniques for
Confidence and Persuasive
Communication in Corporate
and Courtroom Worlds
Lura Dolas
Creating Original
Physical Theatre
James Donlon
Teen Performance Lab:
Tennessee Williams
(grades 9–12)
Voice for Emerging and
Working Actors
Deborah Eubanks
Acting Up: Showtime!
(grades 2–4)
Nancy Gold
Playwriting
Gary Graves
Acting, intermediate
Marvin Greene
Acting, beginning
Brian Herndon
Acting Violence: Broadsword
(age 16 and up)
Acting Violence: Unarmed
(age 16 and up)
Dave Maier
Performance Workshop
(grades 4–5)
Marilet Martinez
Acting Shakespeare Today
Shakespeare Lab: Romeo and
Juliet (grades 9–12)
Andy Murray
Dialects and IPA
Lisa Anne Porter
Audition
Amy Potozkin
Improvisation Performance Lab
Improvisation, intermediate
Diane Rachel
Improvisation, beginning
Rebecca Stockley
Acting: Imagination and
Specificity, advanced
Stephen Barker Turner
BOARD OF TRUSTEES
BOARD MEMBERS
Richard A. Rubin
PRESIDENT
Marjorie Randolph
E XECUTIVE VICE PRESIDENT
Patricia Sakai
VICE PRESIDENT
Felicia Woytak
VICE PRESIDENT
Phillip Trapp
TRE A SURER
Scott R. Haber
SECRETARY
Dale Rogers Marshall
CHAIR , TRUS TEES COM MIT TEE
Rick Hoskins
PRESIDENT EMERITUS
PA S T PRESIDENT S
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Rick Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
Becky Bleich
David Cox
Thalia Dorwick
Oz Erickson
William T. Espey
William Falik
John Field
David Fleishhacker
Kerry L. Francis
Robert G. Harris
David Hoffman
Rick Hoskins
Wayne Jordan
Julie Matlof Kennedy
Carole S. Krumland
Sandra McCandless
Susie Medak
Helen Meyer
Dugan Moore
Laura Onopchenko
Mary Ann Peoples
Peter Pervere
Len Rand
Jack Schafer
Stephen Snow
Tony Taccone
SUS TAINING TRUS TEES
Ken Avery
Carole B. Berg
Rena Bransten
Stephen Cassidy
Diana Cohen
Nicholas Graves
Pat Rougeau
Richard Shapiro
Michael Steinberg
Roger A. Strauch
Jean Z. Strunsky
Michael Strunsky
Martin Zankel
Founding Director Michael W. Leibert
2 0 0 8– 0 9 · N U M B E R 5 · T H E B E R K E LE Y R E P M AG A Z I N E · 3 7
F YI
Latecomers
Latecomers will be seated at the discretion of the house manager.
Visit our website!
Theatre info
Click berkeleyrep.org—you can buy tickets
and plan your visit, read our blog, 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.
Accessibility
Both theatres offer wheelchair seating and special
services for those with vision- or hearing-impairment. Infrared listening devices are available at no
charge in both theatre lobbies. Audio descriptions
are available in the box office; please request these
materials at least two days in advance.
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
Hotmail, Yahoo, or other online mail
accounts, please authorize berkeleyrep@
berkeleyrep.pmail.us.
Tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949, toll free: 888 4-brt-tix
Click berkeleyrep.org anytime
Fax: 510 647-2975
Groups (10+) call 510 647-2918
DATE/ TIM E
PRE VIE WS
TUE 8 PM , WED 7PM ,
THU 2PM*, SAT 2PM
THU 8 PM , SU N 2 & 7PM
FRI 8 PM
SAT 8 PM
PRE M
A
$39 $34
52 45
57
63
71
51
57
63
B
$27
33
37
45
51
Ticket exchange
Only subscribers may exchange their tickets
for another performance of the same show.
Exchanges can be made online until midnight
(or 7pm by phone) the day preceding
the scheduled performance. Exchanges
are made on a seat-available basis.
Educators
Call 510 647-2972 for information about $10
student matinee tickets, classroom visits and
teaching artist residencies, teacher training
workshops, post-show discussions, teacher
study guides, backstage tours, and more. Call
510 647-2949 for information on discount
subscriptions for preschool and k-12 educators.
*No Thursday matinees for Limited Engagement shows
Special discount tickets
Under 30 discount
Half-price advance tickets for anyone under
the age of 30 for all shows, based on availability. Proof of age required.
Student matinee
Tickets are just $10 each. Call the Berkeley
Rep School of Theatre at 510 647-2972.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before show time. Proof of eligibility
required. Subject to availability.
Sorry, we can’t give refunds or offer
retroactive discounts.
Theatre maps
3 8 · T H E B E R K E LE Y R E P M AG A Z I N E · 2 0 0 8– 0 9 · N U M B ER 5
Theatre store
Show-related books and Berkeley Rep merchandise
are available in the Hoag Theatre Store in the Roda
Theatre or our kiosk in the Thrust Stage lobby.
Considerations
Please keep perfume to a minimum
Many patrons are sensitive to the use of perfumes
and other scents.
Recycle and compost your waste
Help us be more green by using the recycling and
compost containers found throughout the Theatre.
Beepers / phones / recordings
Please make sure your pager, cell phone, or watch
alarm will not beep. Doctors may check pagers
with the house manager and give seat location for
messages. 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 at the set,
but please don’t step onto the stage. Some of the
props can be fragile, and are placed precisely.
No children under seven
Many Berkeley Rep productions are unsuitable
for young children. Please inquire before bringing
children to the Theatre.
SAN FRANCISCO MUSEUM OF MODERN ART PRESENTS
“Magical!” — The New York Times
March 24–28
Project Artaud Theater, San Francisco
Opening Night Benefit Performance 3/25
Produced by Pacific Operaworks, Seattle // Musical direction by Stephen Stubbs // Featuring the Handspring Puppet Company of South Africa
Presented in conjunction with the exhibition William Kentridge: Five Themes, on view at SFMOMA March 14–May 31.
www.sfmoma.org/kentridgeopera or
William Kentridge: Five Themes is organized by the San Francisco Museum of Modern Art and the Norton Museum of Art. Generous
support for the exhibition is provided by the Koret Foundation. Additional support is provided by the National Endowment for the Arts.
800.745.3000
The Return of Ulysses is made possible by generous support from the Koret Foundation, Doris and Donald Fisher, the Mimi and Peter
Haas Fund, and Nancy and Steven H. Oliver. Virgin America is the official airline of this production.
Support for Live Art at SFMOMA is provided by The William and Flora Hewlett Foundation.
Major support for the opening night of The Return of Ulysses is provided by KPMG LLP.
Additional support is provided by Peggy and Willis Newton.
The San Francisco presentation of the exhibition is made possible by generous support from Doris and Donald Fisher, the Mimi and
Peter Haas Fund, and Nancy and Steven H. Oliver.
Image: The Return of Ulysses, production still; photo: John Hodgkiss, © Handspring Puppet Company
Special thanks to our wine sponsor, Napa Valley Vintners.
We can also ensure
your relaxation.
T R AV E L A G E N C Y
DISCOUNTS
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