Download The Agony and the Ecstasy of Steve Jobs The Last Cargo Cult

the berkeley rep magazine
2010–11 · Issue 4
Berkeley Rep moves its
offices and shops · 8
A conversation with
Mike Daisey · 14
Program and bios · 22
The Agony and the Ecstasy
of Steve Jobs
in repertory with
The Last Cargo Cult
My life here
Bette Ferguson, joined in 2006
My Life Here Is
INDEPENDENT
The people who live here are well-traveled and engaged with life. Their independent lifestyle is
enhanced with our Continuing Care and contract options so they have all levels of healthcare under
one roof. Find out why our established reputation as one of the very best not-for-profit communities
is just one more reason people like Bette Ferguson know a good thing when they live it. To learn more,
or for your personal visit, please call 510.891.8542.
stpaulstowers-esc.org
A fully accredited, non-denominational, not-for-profit community owned and operated by Episcopal Senior Communities Lic. No. 011400627 COA #92
EPSP570-01CH 011111
In this issue
c alendar
Docent presentations take place
one hour before each Tuesday
and Thursday performance.
January
10
8
14
Prologue
Report
Feature
A letter from the
artistic director
More for less:
Berkeley Rep acquires
Harrison Street building
A conversation
with Mike Daisey
pag e 5
A letter from the
managing director
pag e 7
PAGE 14
PAGE 8
Educators connect at new
Teacher Advisory Council
PAGE 10
A legacy of
artistic excellence
PAGE 12
11 The Last Cargo Cult first preview, 8pm
12The Last Cargo Cult producer night dinner,
6:30pm, Bistro Liaison
12The Last Cargo Cult opening night, 8pm
14 Tasting: Via Pacifica Selections, 7pm
15 Tasting: Calstar Cellars, 7pm
20The Agony and the Ecstasy of Steve Jobs
first preview, 8pm
2130 Below, The Agony and the Ecstasy
of Steve Jobs, 8pm
21Teen Night, The Agony and the Ecstasy
of Steve Jobs, 8pm
23The Agony and the Ecstasy of Steve Jobs
opening night dinner, Bistro Liaison, 5pm
23The Agony and the Ecstasy of Steve Jobs
opening night, 7pm
27The Agony and the Ecstasy of Steve Jobs
post-show discussion, 8pm
28 Tasting: Kent Rasmussen Winery, 7pm
29 Tasting: PIQ, 7pm
30 Tasting: Oren’s Kitchen, 6pm
31Bret C. Harte Young Directors Fund
Celebration, 7pm
February
Berkeley Rep Present s
The Agony and the Ecstasy of Steve Jobs
pag e 2 2
The Last Cargo Cult
pag e 2 3
Profiles
pag e 2 4
Contributors
About Berkeley Rep
F YI
Foundation, corporate,
and in-kind sponsors
Staff and affiliations
pag e 32
Everything you need to
know about Berkeley Rep’s
box office, gift shop, seating
policies, and more
pag e 2 8
Individual donors to the
Annual Fund
Board of trustees
and sustaining trustees
pag e 33
Pag e 3 4
pag e 2 9
Michael Leibert Society
pag e 3 0
40th Anniversary Campaign
2 Teen Council meeting, 5pm
4 Tasting: Raymond Vineyards, 7pm
5 Tasting: Artesa Vineyards & Winery, 7pm
6 Tasting: Kent Rasmussen Winery, 6pm
11 Tasting: Almare,7pm
11The Agony and the Ecstasy of Steve Jobs
post-show discussion, 8pm
12 Backstage Tour, 9am
12 Tasting: Peterson Winery, 7pm
13 Tasting: Semifreddi’s, 6pm
15The Last Cargo Cult
post-show discussion, 8pm
15 On the Town: Next to Normal, 8pm 20The Last Cargo Cult final performance, 7pm
25 Teen Night, Ruined, 8pm
25 Ruined first preview, 8pm
27The Agony and the Ecstasy of Steve Jobs
final performance, 7pm
School of Theatre event
Donor appreciation event
pag e 3 1
the berkele y rep m aga zine 2 0 1 0 – 1 1 · i s s u e 4
The Berkeley Rep Magazine is
published seven times per season.
Editor
Karen McKevitt
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725
or [email protected].
Art Director
Cheshire Isaacs
Writers
Ben Hanna
Daria Hepps
Karen McKevitt
Madeleine Oldham
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email [email protected]
February 5–June 5, 2011
Isabelle de Borchgrave uses the medium of
paper to form trompe l’oeil masterpieces
inspired by the history of costume. Over 60
pieces will be included from Renaissance
costumes and gowns worn by Elizabeth I and
Marie-Antoinette to the grand couture
creations of Dior, Chanel and Fortuny. The
Legion of Honor is the first U.S. museum
to host an overview of the artist’s work.
Pulp Fashion: The Art of Isabelle de Borchgrave is
organized by the Fine Arts Museums of San Francisco
and sponsored by Lonna Wais. Additional support is
provided by Nathalie and Garry McGuire and Elizabeth
W. Vobach. Collection Connections is made
possible by The Annenberg Foundation.
Image: Isabelle de Borchgrave, Maria de’ Medici
(detail), 2006, inspired by a ca. 1555 portrait by
Alessandro Allori in the collection of the
Kunsthistorisches Museum, Vienna.
Photo: Andreas von Einsiedel
Lincoln Park, San Francisco
34th Avenue and Clement Street
legionofhonor.org • 415.750.3600
prologue
from the artistic direc tor
mike daisey is a master at the art of exposing himself.
Perched behind his little table, armed with only a few pints of
water and the torrent of words that swim around in his considerable head, his performance feels utterly authentic and
raw—combining the hysteria of a comedian, the intelligence
of an essayist, the intensity of an actor, and the desperation of
a raconteur. No subject is too sacred, no experience off limits.
He simply finds a story that’s irresistible and then pursues it
relentlessly until he has discovered something about himself
and something about how the world works.
The stories themselves are as improbable as they are true. During this visit to the
Bay Area, he brings us two tales that are focused on the one current topic that none
of us can stop talking about: money. But these shows are not dry treatises on the
state of the economy or discursive examinations about unemployment, tax cuts, or
the state of the mortgage industry. No, Mike’s strategy is to present the entire issue
of global capitalism as part of his personal travelogue. The associations he makes, regardless of how vast and imposing the subject, are all filtered through the small prism
of his singular personality.
The results are spectacularly entertaining. In The Last Cargo Cult, he describes his
visit to a tribe living on the island of Vanuatu in the South Pacific, whose members
worship American capitalism and every material object it creates. In The Agony and
the Ecstasy of Steve Jobs, he takes us to China, where workers in the tech industry literally put their lives on the line for the privilege of having a job.
In the end, it turns out that the age-old adage is true: nothing is stranger than reality. And the storyteller—especially this storyteller, equipped with his tools of emphasis
and tone, with metaphor and irony, with embellishment and humor—the storyteller is
the best person suited to describe that reality. Especially at its most absurd.
It’s a pleasure to have Mike at the head of our campfire.
Tony Taccone
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 5
January 2011
Volume 43, No. 4
KATHIE LONGINOTTI
Realtor®
Berkeley Rep Subscriber Since 1972
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
510.981.3032
www.AtHomeEastBay.com
Ana Alvira, Kristi Atwood, Emily Busey,
Deb Choat, Robin Kessler, Jana Rekosh
Design and Production Artists
Virginia Wright
Online Editor
Mike Hathaway
Advertising Sales Director
Brenda Senderoff
Market Development
Carol Davidson, Sherri Jarvey,
Cherie Singer, Lenore Waldron
Account Executives
Denise Wong
Sales Assistant
Burgers • Salads • Hot Dogs
Sandwiches • Sides • Beer on Tap • Wine
No secret sauce or special seasonings, just fresh, never frozen, Niman
Ranch Hormone and Antibiotic free, Natural or American Kobe Beef. We
use 100% all natural ingredients prepared fresh to order. Enjoy our
Vegan and Vegetarian selections too. BurgerMeister respects our
environment by using 100% natural recyclable products.
Jonathan Shipley
Ad Services Coordinator
Regional Sales Representatives
Marilyn Kallins, Terri Reed, Alison Short
San Francisco/Bay Area
Paul Heppner
President
Mike Hathaway
Vice President
Save 15%!
Show us your Berkeley Rep Ticket,
Ticket Stub or Will Call Receipt and
we’ll take 15% off the food bill.
2237 Shattuck at Kittredge
Open late every day - 510-649-1700
Burgermeistersf.com
(Sorry, we can’t discount Beer and Wine.)
April Morgan
Bookkeeper
Deborah Greer
Executive Assistant
Jake Newman
Associate Publisher – City Arts
Scott Wagner
Vice President – City Arts
Mark Baumgarten
Executive Editor – City Arts
Jana Rekosh
Project Manager/Graphic Design
Virginia Wright
Systems Administrator
Artisan cocktails, handmade delicacies from local
growers, house charcuterie, and thoughtfully
prepared California food in a revived 1901 classic
building just up the block from Berkeley Rep
2102 Shattuck at Addison · 510.549.9950
425 North 85th Street Seattle, WA 98103
206.443.0445
[email protected]
800.308.2898 x105
www.encoreartsprograms.com
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2011 Encore Media Group. Reproduction
without written permission is prohibited.
6 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
prologue
from the M anaging direc tor
included in this issue is a story about our new campus
in West Berkeley. For the first time in almost 30 years, we’ve
reunited all of our staff members who support the rehearsal
process in one facility. It may seem counterintuitive, in an age
of downsizing and belt-tightening, to announce the acquisition
of a new building—but this move is, in fact, part of a cost-cutting program we’ve undertaken in recent years to reduce our
fixed costs, improve operations, and protect against future inflation. A year ago we purchased the Nevo Education Center,
which houses our School of Theatre, saving $150,000 annually
in lease payments. The acquisition of our new campus on Harrison Street also brings economic benefits (see page 8).
Over the years, we’ve had to relocate our offices, our rehearsal halls, our scene
shop, and our storage facilities again and again. As property values have soared,
buildings have been sold out from under us and rents have skyrocketed. We’ve
struggled to find a space large enough to house rehearsals, yet still close enough to
our costume and prop shops that our artisans could support the needs of actors and
directors without losing valuable rehearsal time transporting materials. Every time
we’ve moved, Berkeley Rep has spent hard-earned dollars outfitting new facilities –
and, over the years, we’ve attempted to acquire almost every property adjacent to
our Addison Street home in the hopes of creating an efficient campus. Each time,
we’ve been outbid by those with deeper pockets than our own.
As a result, we’ve operated in conditions that are completely contrary to the collaborative nature of our work. Our artistic team has been divided between two buildings for more than 15 years, and the administrative staff has been divided for 20. Our
scene shop has been five miles away, and our storage facility two miles distant. We
figured out how to provide more shop space for the folks who create costumes and
props, but it meant dividing them between four different parts of the Addison facility.
Employees housed here with the Thrust Stage often worked in counterproductive
and inefficient conditions. Master Electrician Fred Geffken, for example, used to have
an office tucked under the seats in which you’re sitting. He wasn’t able to work during performances or technical rehearsals because even a phone conversation would
distract from the show—and he grew accustomed to standing up slowly so he didn’t
hit his head. I am thrilled that we’ve finally found a way to change all of this.
It is hard to imagine, when you see a show, that it is only the tip of an iceberg. Yet
every show is supported by dozens of artisans, technicians, and administrative staff.
You may never see them, but their work is evident in the quality of the productions
you’ve come to expect from Berkeley Rep. Cutting costs while providing a more comfortable and collaborative work environment can only improve the quality of our work.
By the time you read this, our shops and offices will be up and running at our
new building. But the last and most important piece of this project will not yet be
complete. Much as we wanted to open the Harrison Street campus with our rehearsal halls in place, we realized we could not do so without additional financial support.
We will need the backing of some generous angels to complete this final task, the
centerpiece of our new complex. The most important work of the theatre gets done
in the rehearsal hall, and those rooms are where our artists create the powerful and
imaginative productions you see every time you attend this theatre.
Warmly,
Take Berkeley Rep
home with you!
The Hoag Theatre Store in the
Roda lobby offers wonderful
Berkeley Rep gifts for you and
all the theatre lovers in your life.
Susan Medak
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 7
Report
The growing years
1968: The Theatre is born in a
storefront on College Avenue.
1980: The Thrust Stage on
Addison Street is complete.
1990: As the company grows,
many staff members move to
rented office space.
2001: The Roda Theatre
and Berkeley Rep School of
Theatre on Addison Street are
completed.
2005: An accidental fire
destroys scene shop.
2010: Berkeley Rep
purchases a new campus at
999 Harrison Street.
Next: More audience
amenities at the Thrust Stage.
More for less
Berkeley Rep acquires Harrison Street building
B y K a r e n McK e v i t t
8 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
One building,
six benefits
Grades K-8
Cuts costs: Berkeley Rep pays
50% less for 50% more space.
Enhances the audience
experience: patrons at the
Theatre will enjoy new amenities.
Improves efficiency: consolidates
functions handled at five different
locations in two cities.
Supports the local economy:
brings all the Theatre’s
employees back into Berkeley
and upholds the tradition of light
manufacturing in the west part
of town.
Traditional / Academic
English / Math / Science / History /
French / Latin / Music / Computers /
Art / P.E. / After-school programs
Increases autonomy: Berkeley
Rep stops renting and owns all of
its shop and office space.
Fosters a collaborative, creative
work environment: artists,
artisans, and administrators all
work under one roof in a spacious,
attractive new campus.
Applications now being accepted for
the Fall 2011 school year. Call for a
brochure and to schedule a tour.
in 1980, we built the thrus t s tage. in 20 01 , we opened the roda
Theatre and the School of Theatre. Now Berkeley Rep is in the midst of another
enterprising expansion plan. In November, we announced the purchase of a
62,000-square-foot building at 999 Harrison Street in West Berkeley. In December,
Berkeley Rep’s artisans and administrators moved in, united under one roof for the
first time in decades. The new campus provides a permanent home for the costume
shop, prop shop, scene shop, storage, and administrative offices, which were previously divided among five different locations in two cities.
The purchase was made possible by a favorable real estate market and generous
terms arranged because of Berkeley Rep’s long history serving the local community.
After some essential improvements paid for with seed funding from the S.D. Bechtel,
Jr. Foundation and the Wayne & Gladys Valley Foundation, the new space will save
the Theatre $250,000 each year. That’s 50% less expense for 50% more space.
Of course, all performance-related functions will continue at the Theatre. The
box office remains on Addison Street, as well as the School, and the sound, electrics, and wardrobe crews continue to work backstage—with a lot more space. Plus,
Berkeley Rep audiences can look forward to new amenities we’re planning for the
Thrust Stage.
“It has long been our dream to reunite our staff under one roof,” says Artistic
Director Tony Taccone. Besides improving staff efficiency, the Harrison Street campus fosters the kind of collaborative, creative work environment that Berkeley Rep’s
artists, artisans, and administrators thrive on.
“We’ve been forced to move our shops, our storage, and our offices several times
over the years,” says Managing Director Susan Medak. “It was particularly difficult
when our scene shop burned down in 2005, and we had to outfit a replacement
space in West Oakland. When that lease expired, it became imperative to find a
permanent location.”
The Harrison campus allowed Berkeley Rep not only to bring the scene shop back
to West Berkeley and uphold the area’s tradition of light manufacturing, but also to accomplish the larger goal of reuniting our staff and securing autonomy. Susan sums it up:
“Say goodbye to the days of being bounced from one rented space to another.”
www.theacademyk-8.com 510.549.0605
2722 Benvenue Ave., Berkeley, CA 94705
TAKING THE
DRAMA
OUT OF REAL ESTATE
FOR THE PAST
26 YEARS!
BROKERS
Mary Canavan & Marilyn Pursley
R E A LT O R S
Martha Becker • Kathleen Curry
Tracy Davis • Lee Goodwin • Lorri Holt
Colleen Larkin • Sandy Parker
Cameron Parkinson • Carol Parkinson
Kathryn Stein • Joann Sullivan
Helen Walker • Linda Wolan
A LOCALLY OWNED & INDEPENDENTLY
OPERATED BERKELEY BUSINESS
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 9
Report
Members of the 2010–11 Teacher Advisory Council (l to r)
Richard Silberg, Outreach Coordinator Dave Maier, Beth Daly, Marianne Philipp,
Community Programs Manager Ben Hanna, and Jan Hunter
Know a great teacher? Bring a
Berkeley Rep workshop to your
favorite K–12 classroom. Visit
berkeleyrep.org/outreach for
more information.
Educators connect at new Teacher Advi
By Benjamin hanna
budget cuts, higher class sizes,
increased pressure to teach to the test—
it’s the unfortunate worry list facing
educators today. Jan Hunter, director of
the Performing Arts Academy at Skyline
High School in Oakland, notes, “It
seems like all of us are affected by this
budget crunch. And it’s affecting all of
this great stuff that’s been going on, like
taking my students to Berkeley Rep’s
student matinees or having teaching
artists in my classroom.”
Jan is one of nine enthusiastic
teachers from across the Bay Area who
comprise the Theatre’s newly formed
Teacher Advisory Council, which
meets three times each year. These
meetings provide a place for teachers
to connect and discuss topical issues in
theatre education.
“Teachers kept telling me they
wanted a place to connect with other
teachers who use theatre in the class1 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
room. They want a place to rejuvenate
and talk about best practices in arts
education,” says Dave Maier, Berkeley
Rep’s Jan & Howard Oringer Outreach
Coordinator. “We want to enhance the
work they’re doing, not add to their
workload. That’s why we created this
new Council.”
“Sometimes it feels isolating to
be the lone teacher using theatre to
teach in the classroom,” says Marianne
Philipp from George Washington High
School in San Francisco. “We’re looking forward to this Council. We want
more teachers to get excited about
this work.”
The Council also helps inform curricular choices at Berkeley Rep’s School
of Theatre and consults on the wide
range of educational issues that arise
out of the plays produced on its stages.
These educators also help identify
promising scholarship students for
Berkeley Rep’s classes and the Summer
Theatre Intensive.
Rachel Fink, the director of the
School of Theatre, adds, “Our goal is to
support the teachers who advocate for
us in their communities. Through their
critical feedback we are better able to
serve the needs of Bay Area teachers
and students.”
Berkeley Rep’s outreach workshops and student matinees have been
an important part of many school
theatre programs, and these educators
are eager to keep the programs alive
and thriving.
“Coming to Berkeley Rep is good
for my students,” explains Jan. “Meeting people who are professional artists
makes them feel special. They think,
‘That could be me!’ It makes it possible.
The Teacher Advisory Council will help
shape and provide access to these kinds
of experiences.”
Bring theatre to classrooms!
Help Berkeley Rep’s School
of Theatre bring dynamic
arts education and outreach
programs to over 20,000 young
people around the Bay Area.
visory Council
Make a gift to Berkeley Rep’s
Annual Fund today—
call 510 647-2907 or click
berkeleyrep.org/give.
Teacher Advisory Council
Drea Beale
Lighthouse Community Charter
Julie Boe
Amador Valley High School
Amy Crawford
Berkeley High School
BCC.BerkeleyRep.MalagaCorp.080310.PRINT.pdf 8/5/2010 11:45:12 PM
Beth Daly
San Lorenzo High School
Jan Hunter
Skyline High School
Marianne Philipp
George Washington High School
Richard Silberg
Martin Luther King Middle School
John Warren
East Bay Arts High School
Jordan Winer
Berkeley High School
C
M
Y
CM
MY
CY
CMY
K
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 1 1
Report
A legacy of
artistic excellence
These people are making great theatre their legacy. They’re all
members of the Michael Leibert Society, which honors dedicated
supporters who include Berkeley Rep in their estate plans.
Rick Hoskins and
Lynne Frame
Attending together since 1995
Our parents took us to the theatre when
we were growing up and our mutual
love for theatre is part of what brought
us together. Berkeley Rep consistently
engages us by presenting innovative
work that is often intellectually and
philosophically challenging. Each year
we get four subscriptions so that we can
bring friends to every show, which inevitably leads to a stimulating post-show
discussion. Berkeley Rep is included in
our estate plan to help ensure the Theatre’s continuity for the benefit of our
family and our community.
Dale and
Don Marshall
Attending together since 2004
Berkeley Rep is a local jewel. It provides insights into life for the audience
and for those who are touched by the
educational outreach, which helps
young people to make the transition
from child to adult in a more meaningful way. Berkeley Rep is a part of
our legacy, and we feel good that our
children know of our support during
our lifetime and beyond.
1 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
By making a gift through your
estate, you can help to ensure
that great theatre is available to
your kids and your community
for generations to come. Unless
you specify otherwise, your gift will
become a part of Berkeley Rep’s
endowment, where it will provide
income to the Theatre year after
year. Your gift can cost you little or
nothing now, may help reduce a tax
burden on your family later, and will
help artistic excellence flourish at
Berkeley Rep forever.
For tools, tips, and information
about estate planning and
about becoming a member of
the Michael Leibert Society,
please click berkeleyrep.org/
plannedgiving, or contact
Daria Hepps at 510 647-2904
or [email protected].
t i c k e t s & ta b l e s o n s a l e n o w !
a deliciously theatrical gala to benefit berkeley Rep
saturday, april 23, 2011
Four seasons san Francisco
Tickets $500 each · Tables start at $5,000
Call Margo at 510 647-2909 to reserve
Toni Mester
Attending since 1985
Planned giving is not just for the
wealthy. I have included Berkeley Rep
as a beneficiary in my trust because
theatre has enriched my life.
Educating Clinicians to Society for Over 40 Years
The Wright Institute offers a
Doctor of Psychology in
Clinical Psychology (PsyD) and a
Master of Arts in Counseling Psychology
(MFT licensure).
2728 Durant Avenue • Berkeley, California 94704 • 510.841.9230
[email protected] • www.wi.edu
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 1 3
1 4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
A conversation with
Mike Daisey
(with a surprise guest appearance
from Jean-Michele Gregory)
by Madeleine Oldham
You call what you do “extemporaneous monologuing.” I
thought briefly about writing a piece about other performers who do this. But I ended up reading about Spalding
Gray and ... Spalding Gray. Are there other people whom
you consider ancestors?
Well, there are two lenses we can look at this through:
one is that there’s almost no one performing this way, so it’s a
very strange and alien thing. On the other hand, you could say
that everyone is performing this way and that, in fact, it’s the
American theatre that’s the aberration.
I perform extemporaneously, so I speak in the air and the
words compose themselves in real time. This is the dominant
form of human expression—everyone who teaches in a class
is performing extemporaneously; everyone who preaches in a
church, a synagogue, or a mosque anywhere in the world; almost all comedy; lawyers arguing their cases—all are performing extemporaneously. So you could say it’s the theatre, in its
very structured, locked-up form, that’s the odd man out.
But within the construct of the theatre there aren’t that
many extemporaneous performers. So it can feel very strange,
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 1 5
you can feel very isolated. But then I just have to look at the
world around me to realize I have many brothers and sisters.
spreads across the entire world. It’s a system of dominance
and submission that really controls how we conduct human
exchanges. A huge amount of that is about the acquisition of
You seem to have a tremendous appetite for new informastuff, and our love of objects and of tools. We’re very used to
tion. Have you had that since you were a kid?
criticizing how much we love our shit, but one of the reaI have always been interested in the world. The job of the
sons we love it is that it is awesome. And that’s a legitimate
monologue is fundamentally the pursuit of my obsessions: to
thing—we love it because it’s awesome. That’s why we want
illuminate them and to illuminate paths through them that an
it so much, and why, in fact, every culture that is introduced
audience can follow and can participate in. It’s a wonderful job
to our awesome shit loves it as well. And that’s the axis that
that I built for myself. I do tend to pick up obsessions with a lot
the show revolves on.
of vigor. I really enjoy the chase, and then discovering the conThe Agony and the Ecstasy of Steve Jobs is really that in
nections between the pieces of each individual monologue,
microcosm. It examines our technology through a very perand then also between the works from one to another. It’s one
sonal kind of lens. It’s the stuff we actually mediate our minds
of the reasons why doing these two shows in repertory was exthrough, especially in this age when we spend so much of our
citing. When we’ve done pieces next to each other in the past,
time on the net and on the web and communicating with one
you learn a lot more about each of
another virtually. Even you and I
the pieces because of the way they
are having this conversation by
relate to each other.
telephone. When we do this—
You seem to have a
when we use systems to destroy
tremendous appetite
Can you say anything about
space so that people who are far
for new information.
how these two relate to each
apart can connect to each other,
Have you had that
other, or do you not want to
these are actually massive shifts
since you were a kid?
give that away?
in human consciousness. And
Sure. These are both about
as we shift that way again and
commerce and our own obsesagain we fetishize the objects
I do tend to pick up obsessions
sions. The Last Cargo Cult is
enormously because they’re so
about our economic system that
important to us.
with a lot of vigor. It’s one of
the reasons why doing these
two shows in repertory was
exciting, because you learn a
lot more about each of the
pieces because of the way they
relate to each other.
1 6 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
I regularly fall asleep with my iPhone in my bed—I have it
right before bed and I fall asleep and in the morning I have to
find it again. When I was younger, before cell phones, I never
had an object—not my wallet, not my watch—I never had
anything that I feel the way I feel about the iPhone. So I think
it’s very important that we examine these objects and the circumstances under which they are actually built, which we are
very, very unaware of. And even when we think we’re aware
of it, we aren’t really fully aware. So I feel like the monologues
speak to one another about our stuff and the importance of it
and the power exchanges that happen in our culture.
and our marriage are really the same braid—the strands are
woven around one another. And I think that shows in the work.
It’s very rare in the American theatre—normally directors stay
with shows until they open, then they fly off to the next location. The actors are then left on their own, and I think that you
lose something ineffable and vital when a director goes away.
Jean-Michele and I work together on everything, and
she’s been there for thousands of performances over the last
15 or so years. As a consequence, I feel like the quality of work
would never be what it is now if she had not been devoted in
that way. She is so exacting about what it means to have an
image that’s precise and what it means to cut something just
How does something go from being an idea to being a show?
so. She is a fantastic editor, certainly the best editor, I think,
Well, first, it isn’t really an idea in the traditional sense—
in the American theatre. She has an amazing ability to see an
it’s an obsession. When an obsession of mine might be related
image clearly and then to divine from watching it in three dito or connected to a show, I can sort of feel that. Then it
mensions, as it’s playing out on stage, what needs to be cut or
gestates for a long period in my
trimmed or sharpened to a point.
mind, and I do research, and
So it’s been a really fantastic
one of the things I’m looking for
collaboration and a fantastic marHow did you and your
is another obsession. Because
riage, and really for us those two
wife/director discover
generally where a monologue
things are inseparable.
that working together
emerges is where two obsessions
was a good thing?
are colliding. It’s not enough for
I think a lot about the separame alone to be obsessed. It’s
tion between people’s work
not enough even for me alone
lives and their personal lives
She is a fantastic editor, certainly
to be obsessed and then to also
and how those lines have
feel like my culture is obsessed,
gotten very blurry in recent
the best editor, I think, in the
because if that were true, I would
years—for a lot of people it all
American theatre. She has an
just make instructional videos.
blends together, particularly
amazing ability to see an image
Where two obsessions are in
now when it’s so easy to work
clearly and then to divine from
collision is where it’s near the
remotely and be accessible all
watching it in three dimensions
ignition point, and where it might
the time. This somehow relates
as it’s playing out on stage what
be possible to make a monologue.
in my mind to your appetite for
needs to be cut or trimmed or
So this generally involves a lot of
technology and how you can
sharpened to a point.
research, and travel sometimes—
operate on many different levels
in the case of both of these
at once...
monologues, extensive travel as
I do think people conceive
well as personal journeys. Then
their relationships in a wide variI collect all this information but
ety of contexts. We spend more
nothing actually gets written because the monologues are not
time together than any other couple I’ve ever heard of. Ever.
scripted. Nothing is written at all, including notes, until about
So as a consequence I feel like we fall outside the normal bell
24 hours before the very first time the monologue is created
curve of what people think of as constituting a collaboration.
in performance. At that point I create an outline. It’s very tense
At the same time I love it. We wouldn’t do it if it didn’t feed
and very nerve-wracking—it’s a lot like giving birth, and then
us. I’m confident that had we come together much later in life,
I perform it for the first time, which tends to be a very monuwe’d have a very different relationship to the work, because
mentous thing. Only after that do we begin to use the tools of
when we came together we were both developing what kind
the traditional theatre to shape it.
of artists we were going to be. We were still finding our voices.
I think that plays a role in the chorus that has emerged, and
How did you and your wife/director discover that working
I know that the work would not be anywhere near what it is
together was a good thing?
now without that collaboration. That’s incredibly clear. Not just
That came about very early—on the very first monologue,
aesthetically, but also economically and socially. The way the
actually. We met doing really bad theatre—a terrible German
American theatre works, no one can afford to hire a director to
expressionist play in an awful production in Seattle that we
be with you 24/7 that way. The only way you can do it is to do
were both acting in. It was just a dreadful production, and in
what we’ve done, which is basically like a commune, but it’s a
that way that horrible theatre can bind people together for the
commune of two. It may not be a perfect model, but given the
rest of their lives, it did that for us and we found one another.
way the arts are in my lifetime, this is the path we found to try
It was really natural when we started working together and
and realize our visions and make them as vivid and real as posthe relationship began around the same time, so things have
sible. I think we’re able to achieve more together than we ever
always been intertwined. Our work life and our personal life
could have separately.
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 1 7
I’ve heard you say that you enjoy teaching. Why?
toized that artist and that we’re no longer as interested in what
I do love teaching very much, and I love the extemporanethat artist might have to say as we would be if that artist didn’t
ous nature of teaching. It’s also very instructive because you
have any kind of adjective attached to the front of his or her
learn a lot about how you tell stories not just by doing it, but
name. I feel like it’s the act of conscious citizens to be activalso by having to communicate to other people how you do
ists. I think that if you have no activism in your life, if you have
it. It’s very illuminating. The process of having to break down
nothing you’re advocating for or fighting for, then you are not
what you did into resonant metaphors that might afford the
conscious. There is so much that needs work, there is so much
possibility of shedding light on a creative process is actually a
that cries out for people to have passion about, that I feel
difficult undertaking. It’s really rewarding because first, if you
like people need to be activists, they need to search for what
succeed, even a little, there’s a chance you might have actutheir activism means. That’s an ongoing search to clarify and
ally communicated. Which, I think, is why we go to the theatre
constantly question what it is to stand for something and the
night after night—in the hope, the dream, that someone might
incredible pull and tug and battle in our hearts and minds over
actually tell the truth. It happens so rarely that something
what is right.
leaps the gap and actually connects with us. When it does hapAnd we can’t rest on dogma: if the theatre is a living conpen, it’s like the sunlight pouring in—it’s a marvelous thing.
struct, it is exactly the place where these things can actually
And for it to happen in teaching, there’s that chance that you
be wrestled with. Because in theatre, people have to physicould actually impart something
cally come into a space together.
that’s numinous, that goes on to
There’s this fantastic communion
I’ve heard you say that
illuminate a variety of contexts,
between what is happening on
you enjoy teaching. Why?
and I love that. Often it doesn’t
the stage and what is happening
happen. When we think back in
in the audience. In my work, the
our education there were lots of
attempt is to dissolve as many
It’s really rewarding because if
days when we learned nothing, so
boundaries as possible, so we’re
you succeed, even a little, there’s
it keeps you humble too. It keeps
actually speaking to one another,
a chance you might have actually
you honest. You can’t actually be
not from a script—we’re havilluminating every moment of eving this experience tonight and
communicated. Which, I think, is
ery day—people would burn out.
tonight alone, and I feel like activwhy we go to the theatre night
So I really enjoy trying to parse
ism is a natural outgrowth of that.
after night— in the hope, the
that distance, and I feel like I learn
When we speak about
dream, that someone might
a lot about my craft by doing that.
charged
circumstances, part of
actually tell the truth.
the attempt is obviously to incite
Do you consider your work a
the desire for change, but the
form of journalism?
ways in which people change
Given the state of journalism
the world, those are their own
today I don’t know if I should be slightly insulted. (Laughs.) No,
idioms. What prevents theatre from collapsing into didacticism
I do actually. I think that journalism should be part of most art
is the understanding that our job in the theatre is to present
that we make. Because we should know what is happening in
these charged circumstances and to work with the audience
the world, we should know it in our bones and it should inform
to reach toward catharsis, but that the catharsis is their own.
our work. I feel like the impulse in the theatre, and in many
They’re the ones that come to that place and they’re the
other art forms, is to distance ourselves from the concerns
ones who have to walk out owning what they’ve seen, so you
of the day in an attempt to then get an overview of life, but I
can’t actually preach, you can’t actually tell people what they
think that’s a false dichotomy. I think that actually being cheek
believe. Well, you can but it’s not going to work, not the way
by jowl with life itself, with things that are actually happenyou want it to. It won’t work because it becomes aesthetically
ing, affords us an opportunity to have a specific dialogue that
rigid and unyielding and it doesn’t allow audience members to
doesn’t exist otherwise. It lets us find these charged elements
find their own paths, which may not be the same as your path.
that can pull us along like a magnet and pull us somewhere
Like the role I have as a monologuist—people sometimes find
where catharsis is possible. So I do think journalism is a huge
things in the shows that I wouldn’t agree with politically. But
part of it. Journalism has a fantastic framework to live up to:
that’s not my job. My job is to aesthetically moderate a path
the attempt to actually transmit the truth even despite all the
and create these opportunities and chances to reach for somedifficulties inherent to that undertaking. I find it very inspiring.
thing that they may not have been able to get to on their own.
A lot of my heroes are journalists.
It’s not to dictate what that path contains and who they are in
relation to that path.
In performance terms, how do you see the relationship
between journalism and activism?
You’ve been accused of biting the hand that feeds you,
I think that in the arts world we have a strong bias against
most notably with regard to your piece called How Theater
activism. We always say we don’t because that would seem
Failed America. How do you respond to that?
like we were uncaring. But we do, because if we say someone
It’s the job of people who are citizens to stand up and
is an activist artist, really what we mean is that we’ve ghetspeak responsibly in their own workplaces and be truthful. I
1 8 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
think a lot of the talk about biting hands that feed you evolves
I’m most proud of are things that exist outside the traditional
mostly out of a fundamental disconnect: we’re not used to
aesthetic framework. I’m very proud of the teaching work
hearing a performer of any kind speak about the working
we’ve done. I’m really proud we’ve been able to carve out a life
conditions of the American theatre. As a group, actors and arttogether as independent artists in the theatre.
ists are so disenfranchised that they are effectively voiceless.
I’m really proud that we had the opportunity to take The
If I was a traditional actor, I certainly wouldn’t have been able
Agony and the Ecstasy of Steve Jobs to India this summer. I got
to make that monologue—I would never work again. One of
to perform early versions of this show talking about China’s
the ways we make people voiceless is that we criticize them.
labor policies in the context of performing in India with Indian
Wouldn’t you want people to bite the hand that feeds them if
audiences who are having the same multinational corporations
they care? I want to see us have a healthy, vibrant American
move in and try to enforce the same labor standards. It was
theatre that justifies its existence and creates works that are
riveting to get to have these conversations late into the night
transporting and transformative. Our theatre doesn’t do that
with people and feel how this is a living story that really matoften enough. I get paid in the
ters right now.
theatre to make work, and it’s
A small thing that often feeds
my responsibility to speak up if I
me
is
that after the shows I generIs there a moment in
see things I think are wrong. If I
ally
go
to the lobby. Unlike tradiyour career you’re
remain silent out of some belief
tional theatre, I feel like it’s importhe most proud of?
that because I make my living
tant for people to have an ability
doing it this way that I should be
to connect with me because of
silent, then I’m actually perpetuatthe nature of the performance.
I’m really proud that we had
ing the problem. I’d actually argue
Over many years I’ve gotten some
the opportunity to take The
that it’s a conspiracy of silence in
wonderful opportunities to hear
Agony and the Ecstasy of Steve
the American theatre that leads
people’s stories, because when
Jobs to India this summer. I got
to a lot of our problems. People
you tell them a story, often they
to talk about China’s labor
don’t speak, and they even have
feel inspired to share a story back
policies with Indian audiences
good reason not to speak because
to you. That feeds me the way it
who are having the same
they will pay for it if they do. But
encourages real human contact—
multinational corporations
nevertheless it’s going to require
the way we’re actually talking to
move in and try to enforce the
bravery—people need to stand
one another and the real way it
same labor standards. It was
up and say clearly what’s going
pushes back the dark a little bit. I
riveting to get to have these
on, and when people speak that’s
like that a lot.
conversations late into the
when the possibility of change
begins to emerge.
Do you think you will do this
night with people and feel how
kind of work forever and ever?
this is a living story that really
Are there people making work
I think that I’ll be telling
matters right now.
right now that you think, “Yes,
stories forever. I think we all will.
we need more of this”?
Storytelling is the only art form
Oh yes. Particularly people
built with language that is actually
making ensemble-based work,
intrinsic to human consciousdevised work. There’s a socioeconomic thread to it—I’m very
ness—everyone in every culture can tell stories. That’s a
interested in artists that control their own work and the cirremarkable thing if you think about it. I have no doubt that I’ll
cumstances under which the work is made. I am really touched
keep telling stories for the rest of my life, because if I was not,
by The Civilians. Tim Crouch does a lot of fantastic work that
I’d probably be dead.
really connects with me that way. David Cromer’s Our Town
was amazing. The people I get most excited about are the ones
If you weren’t doing this, what would you be doing?
who feel like they are in control of their own destinies—espeI’m obviously really passionate about monologue. I’m
cially when they’re doing work that speaks to local concerns or
probably more likely to transform the format of the work I do
a constituency that actually gets to see and then participate in
into other idioms. I write books and I make films and things,
those shows. I find that all really exciting.
but really the focus is this. Right now I’m working on a piece
that’s a 24-hour monologue, a gigantic project that I’m deeply
Is there a moment in your career you’re most proud of?
invested in that’s about many things. It’s largely about the
That’s such a good question. I can’t speak for both of us,
history of Puritanism in America and how Puritanism functions
and maybe after we’re done I’ll see if JM will chime in. You
as an essential American value right down the center of our
know, all the monologues end up feeling like your children, so
country. It’s a huge project that transforms and explodes our
it’s very hard to point to any one and be more proud of one
traditional ideas about how long and large a piece can be and
than another. But also I think parents actually do have favorwhat the boundaries are of performance. So I’m investigating
ites, although they change from time to time, but you try not
those sorts of things that are sufficiently outside the box of
to tell anyone that you have favorites. The reality is that what
what constitutes performance at the theatres I often work at.
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 1 9
Jean-Michele, do you have
your own obsessions that
make their way into the
work? Do the two of you
share obsessions?
I function much more as
an editor. I have my own
obsessions, and if I were
creating shows they’d
probably be about very
different things. I find
that the gap in our
obsessions is helpful.
I’m very likely to go off in those sorts of
directions. There’s been talk of and ideas about
installations and large-scale happenings and
things that sort of intensify the feeling that coming to the theatre is an event that happens once
and once alone, and that this thing that happens is special and sort of sacred, and that we
participate in it and realize it. It creates its own
scarcity because once that event has happened,
it is past. So I’m very interested in those things
that work against the cookie-cutter mold where
we make shows run for a certain amount of time
and then repeat them, because I think they’re
unrepeatable. Trying to find a balance between
the art being realized and making it unrepeatable is part of
the essential magic of theatre.
(At this point, Mike wanted me to ask Jean-Michele the
question I’d just asked him about what he’s most proud of.
She got on the phone, and I did.)
Jean-Michele: I think I’m always most proud of whatever
we’re working on currently. Whatever the newest thing is, this
is the one that has all my attention. But you know, we went
to India this summer and we did a performance of The Agony
and the Ecstasy at the Indian School of Business in Hyderabad.
It was so cool because it was this hall packed with all these future business leaders, and I couldn’t believe the luck of getting
to be there telling this story to these people, and then getting
to talk to them afterwards and hearing their responses and
their perspective on the situation. It’s a mixture of pride and
luck, I guess.
Mike and I were just talking about his obsessions and how
they appear in the work. Do you have obsessions that make
their way into the work? Do the two of you share obsessions?
I function much more as an editor. I have my own obsessions, and if I were creating shows they’d probably be about
very different things. What I’m trying to do is clarify his
2 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
vision and fully understand the story that he’s trying to tell
and the point he’s trying to make, and to make him aware of
when the message isn’t coming through clearly or if there’s
something blocking the flow of it. I find that the gap in our
obsessions is helpful. Like everything I know about tech is by
virtue of having spent a lifetime with him. That’s not something that I would be natively interested in. And so it can be
very helpful when he’s speaking about those things to have
an outsider perspective.
Is this situation something you look back on and think it
makes sense how you got here, or is it completely surprising that this is how you’re making your living?
Well, I think it makes total sense that this is what I’d be
doing—the fact that we’re making a living at it is the surprising
part. I started doing theatre when I was a kid and so I always
knew theatre was going to be a big part of my life. I grew up
in Seattle and just assumed that I would always have a day job
and the theatre would be what I would do at night. Honestly,
it never really seemed like it was even possible that one could
make a living at it. So the fact that we have been able to do this
as our job always feels to me like this crazy wonderful lucky
rare thing, like we won the lottery but even better because
we’re getting to do what we love to do.
+
=
20%
off
Upgrade and save!
See both The Agony and the Ecstasy of Steve Jobs and
The Last Cargo Cult, and save 20% on tickets to your
second show. Contact the box office at 510 647-2949
for personal service Tue–Sun noon–7pm.
Left to right
Oberon K.A. Adjepong
and Tonye Patano
ph otos co u r t e s y o f k e v in b er n e .co m
Left to right Zainab Jah,
Carla Duren, and
Pascale Armand
Next at Berkeley Rep: Ruined
Lynn Nottage’s Pulitzer Prize–winning play provides a bleak yet beautiful look
at the lives of women in the Congo. This intense and important tale, filled with
humanity, hope, and unexpected humor, starts February 25 in the Roda Theatre.
Berkeley Repertory Theatre presents
The Agony and the
Ecstasy of Steve Jobs
Created and Perfor med by
Mike Daisey
direc ted by
Jean-Michele Gregory
Set and Lighting Design by Seth Reiser
January 11– February 27, 2011 · thrus t s tage
Remembering that you are going to die is the best way I know to avoid the trap of
thinking you have something to lose. You are already naked.
—Steve Jobs
If you have money, you can make the ghosts and devils turn your grindstone.
— Chinese proverb
If you want to enjoy a good steak, don’t visit the slaughterhouse.
—American proverb
The Agony and the Ecstasy of Steve Jobs has been developed with the support of the Sloan Foundation,
Ensemble Studio Theatre, Woolly Mammoth Theatre Company, the Cape Cod Theatre Project, Seattle
Repertory Theatre, the US State Department Cultural Affairs program in India, the Chennai Hindu
MetroPlus Theatre Festival, Vancouver’s PuSh International Festival, and the Portland Institute for
Contemporary Art.
This is a work of nonfiction. Some names and identities have been changed to protect sources.
The Agony and the Ecstasy of Steve Jobs and The Last Cargo Cult are produced thanks to the generous support of
2 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
B e rke le y Re pe rto ry Th e atre
To ny Tacco n e , Artis tic D irec to r
Susan M e dak , M anag in g D irec to r
The Last
Cargo Cult
Created and Perfor med by
Mike Daisey
direc ted by
Jean-Michele Gregory
Set and Lighting Design by Seth Reiser
January 11– February 27, 2011 · thrus t s tage
MANI HEM I GUD LAIF.
BUT MANI I MEKEM MAN I,
STAP RAPEM BRATA MO SISTA
BLONG HEN.
BILIF IN UNION.
IN CUSTOM, SPIRIT,
STAMPA LAIF LONG WOL.
GUD LAIF.
—John Frum movement, traditional
There is a war between the rich and poor
A war between the man and the woman
There is a war between the ones who say there is a war
and the ones who say that there isn’t
Why don’t you come on back to the war?
That’s right, get in it
Why don’t you come on back to the war?
It’s just beginning
—Leonard Cohen, traditional
The Last Cargo Cult has been developed with the support of the Perth Literary Festival, the
Victorian College of the Arts in Melbourne, Woolly Mammoth Theatre Company, Penobscot
Theatre, the Southampton Writers Conference, the Portland Institute for Contemporary Art, the
Richard Hugo House, the Public Theater, and the IRT Theater’s 3B Development Series.
This is a work of nonfiction.
Se a son producer s
Wayne Jordan & Quinn Delaney
Marjorie Randolph
E xecutive Producer s
The Strauch Kulhanjian Family
a ssociate producer s
Scott & Sherry Haber
Zandra Faye LeDuff
Len & Barbara Rand
Richard A. Rubin & H. Marcia Smolens
Co -sponsor
Wealth Management
at Mechanics Bank
se a son sponsor s
2 0 1 0 – 1 1 · iss u e 4 · 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
Mike Daisey
c r e at o r / PER F ORMER
Mike’s groundbreaking
monologues weave
together autobiography,
gonzo journalism, and
unscripted performance to tell hilarious
and heartbreaking
stories that cut to the
bone, exposing secret
histories and unexpected connections. His monologues include
the critically acclaimed If You See Something
Say Something, the controversial How Theater
Failed America, the six-hour epic Great Men
of Genius, the unrepeatable series All Stories
Are Fiction, and the international sensation 21
Dog Years. He has performed in venues on five
continents, ranging from off Broadway at The
Public Theater to remote islands in the South
Pacific, from the Sydney Opera House to
abandoned theatres in post-Communist Tajikistan. He’s been a guest on the Late Show with
David Letterman, as well as a commentator and
contributor to the bbc, npr, Salon, Slate, Vanity Fair, and Wired. His first film, Layover, was
shown at the Cannes Film Festival this year,
and a feature film of his monologue If You See
Something Say Something is currently in postproduction. His second book, Rough Magic, a
collected anthology of his monologues, will be
published next year. He has been nominated
for two Drama League Awards and the Outer
Critics Circle Award, and is the recipient of
a MacDowell Fellowship, four Seattle Times
Footlight Awards, and the Sloan Foundation’s
Galileo Prize.
Jean-Michele Gregory
D I RE C TOR
Jean-Michele works as a director, editor, and
dramaturg, focusing on extemporaneous
theatrical works that live in the moment they
are told. Working primarily with solo artists,
for the last decade she has collaborated with
monologist Mike Daisey, directing at venues
across the globe including American Repertory Theatre, the Barrow Street Theatre,
Berkeley Rep, Cherry Lane Theater, Intiman
Theatre, Museum of Contemporary Art Chicago, the Noorderzon Festival, Performance
Space 122, The Public, the Spoleto Festival, the
Sydney Opera House, the tba Festival, the
Under the Radar Festival, Woolly Mammoth
Theatre Company, Yale Repertory Theatre,
and many more. She has also directed New
York storyteller Martin Dockery (The Surprise,
Wanderlust) and the Seattle-based performer
and writer Suzanne Morrison (Optimism, Yoga
Bitch). Her productions have received four Seattle Times Footlight Awards (21 Dog Years, The
Last Cargo Cult, Monopoly!, The Ugly American),
the Bay Area Critics Circle Award (Great Men
of Genius), and nominations from the Drama
League and Outer Critics Circle (If You See
Something Say Something). New York Magazine,
TheaterMania, and Time Out New York ranked
her shows among the best plays of 2009.
Seth Reiser
s e t & LI GHT I NG D ES I GN
Seth is pleased to be making his Bay Area
debut at Berkeley Rep on these two extraordinary pieces of theatre. His design credits
include Apple Pie Order, below, and Happy
Thoughts at Bard College; Mike Daisey’s Barring
the Unforeseen at irt; Black Snow and NonPlay with the New Ensemble; Cactus Flower
at Capital Repertory Theatre; Dutch AV at La
MaMa Experimental Theatre Club’s Under the
Radar Festival; The Last Days of Judas Iscariot at
Muhlenberg College; the Obie award-winning
Lily’s Revenge at Here Arts (Henry Hewes
Design Award nomination); middlemen with
the Human Animals Collective; Radio Play with
Tommy Smith and Reggie Watts; The Seagull
PREMIER SERVICE FOR A PREMIER AUDIENCE
Lorri Arazi
Stina Charles-Harris
Jack McPhail
Leslie Avant
Francine Di Palma
Denise Milburn
Norah Brower
Leslie Easterday
Carol Libby Neil
Nacio Brown
Gini Erck
Bob & Carolyn Nelson
Carla Buffington
Jennie A. Flanigan
Nancy Noman
Cheryl Cahn
Nancy Hinkley
Amy Robeson
Maria Cavallo-Merrion
Maureen Kennedy
Diane Verducci
Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont
www.pacunion.com
1625 Shattuck Avenue
Berkeley, CA 94709
510.982.4400
24 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
1900 Mountain Boulevard
Oakland, CA 94611
510.339.6460
at Columbia Stages; The Secret Lives of Coats at
Whitman College; Transformations at Juilliard
Opera; Transition at The Public Theater’s Under
the Radar Festival; the Eugene O’Neill Theater
Center’s Cabaret & Performance Conference;
and Eryc Taylor Dance at Joyce SoHo. Seth
received his mfa from New York University.
He lives in Brooklyn with his wife Mary and
daughter Marion. Visit sethreiserdesign.com.
Tony Taccone
ART I ST I C D I RE C TOR
Tony is 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, Lemony Snicket, and
Itamar Moses. Tony made his Broadway debut
with Bridge & Tunnel, which was lauded by the
critics and won a Tony Award for its star, Sarah
Jones. In 2009, he returned to Broadway to
direct Carrie Fisher’s Wishful Drinking, which
set box-office records at Berkeley Rep before
enjoying a six-city national tour. He commissioned Tony Kushner’s legendary Angels in
America, co-directed its world premiere at the
Mark Taper Forum, and has collaborated with
Kushner on seven projects including Brundibar
and the premiere of Tiny Kushner. Two of his
recent shows transferred to London: Continental Divide played the Barbican in 2004, and
Tiny Kushner played the Tricycle Theatre last
fall. His many regional credits include Actors
Theatre of Louisville, Arena Stage, the Eureka
Theatre, the Guthrie Theater, the Huntington
Theatre Company, The Public, Seattle Repertory Theatre, and Yale Rep. In 2011, two scripts
penned by Tony will have their premieres.
Susan Medak
MANAG I NG D I RE C TOR
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration
and operations of the Theatre. She is president
of the League of Resident Theatres (lort), the
management association that represents 75 of
the nation’s largest nonprofit theatres. Susan
has often served on program panels for the
National Endowment for the Arts and chaired
two panels for the Massachusetts Arts Council as well. She served two terms on the board
of Theatre Communications Group, including
three years as the organization’s treasurer.
Closer to home, Susan chairs the Downtown
Berkeley Business Improvement District. She
is president of the Downtown Berkeley Association and founding chair of the Berkeley Arts
in Education Steering Committee for Berkeley
Unified School District and the Berkeley
Cultural Trust. Susan serves on the faculty of
Yale School of Drama and is a proud member
of the Mont Blanc Ladies’ Literary Guild and
Trekking Society. She lives in Berkeley with her
husband and son.
Les Waters
ASSO C I ATE ART I ST I C D I RE C TOR
Obie Award–winner Les Waters has served
as associate artistic director of Berkeley Rep
since 2003. In the last five years, his shows
Bring Berkeley Rep
to your classroom
Interactive theatre workshops
Serving K–12 students and teachers
One FREE hour for every
public school in the Bay Area*
Click berkeleyrep.org/outreach
*Based on availability. Limited to one teaching hour per K-12 public school in the nine Bay Area counties.
MAYBECK
HIGH sCHOOL
Est 1972
Berkeley’s Independent
College Preparatory
High School
NEW Location! 2727 College Ave, Berkeley
www.maybeckhs.org 510/841-8489
2 0 1 0 – 1 1 · iss u e 4 · 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
have ranked among the year’s best in the New
York Times, The New Yorker, Time Magazine,
Time Out New York, and usa Today. Les has a
history of collaborating with prominent playwrights like Caryl Churchill, Charles Mee, and
Wallace Shawn, and champions important new
voices such as Will Eno, Jordan Harrison, Sarah
Ruhl, and Anne Washburn. In 2009, he made
his Broadway debut with In the Next Room (or
the vibrator play), which began in Berkeley. His
other productions at Berkeley Rep include the
world premieres of Concerning Strange Devices
from the Distant West, Fêtes de la Nuit, Finn in
the Underworld, Girlfriend, 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
Lieutenant of Inishmore, The Pillowman, and
Yellowman. Les has numerous credits in New
York, his native England, and at theatres across
America. He led the mfa directing program at
ucsd and is an associate artist of The Civilians,
a theatre group in New York.
Karen Racanelli
GENERAL MANAGER
Karen joined Berkeley Rep in November 1993
as education director. Under her supervision, Berkeley Rep’s Programs for Education
provided live theatre for more than 20,000
students annually. In November 1995, she
became general manager, and since then has
overseen the day-to-day operations of the
Theatre, supervising the box office, company
management, and IT. She has represented the
League of Resident Theatres during negotiations with both Actors’ Equity Association and
the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep,
Karen worked as executive director for a small
San Francisco–based theatre company and
served as sponsorship manager for the San
Francisco Fair. She also worked for Theatre
Bay Area as director of theatre services. As an
independent producer, Karen produced plays
and events for Climate Theater, Intersection
for the Arts, Life on the Water, Overtone
Theatre Company, and San Jose Stage Company. She has served on the boards of Climate
Theater, Overtone Theatre Company, and Park
Day School and is currently on the board of
the Julia Morgan Center.
Madeleine Oldham
D RAMATURG/ LI TERARY MANAGER
Madeleine is Berkeley Rep’s literary manager
and resident dramaturg. As literary manager
and associate dramaturg at Baltimore’s Centerstage, 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
26 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
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 act/Seattle, Austin Scriptworks, Crowded Fire Theatre
Company, Geva Theatre Center, the Kennedy Center, the Neo-Futurists, and Portland
Center Stage.
of the Boy Scouts of America. His wife, Julie
A. Kulhanjian, is an attending physician at
Oakland Children’s Hospital. They have three
teenage children.
Wealth Management
at Mechanics Bank
PRO D U C T I ON CO - SPONSOR
Amy is in her 20th season with Berkeley
Rep. She has also had the pleasure of casting
for act/Seattle, Arizona Theatre Company,
Aurora Theatre Company, B Street Theatre,
the Bay Area Playwrights Festival, Dallas
Theatre Company, Marin Theatre Company,
The Marsh, San Jose Repertory Theatre, Social
Impact Productions Inc., and Traveling Jewish
Theatre. Amy cast roles for the film Conceiving Ada, starring Tilda Swinton, as well as Josh
Kornbluth’s Haiku Tunnel and his upcoming
Love and Taxes. Amy received her mfa from
Brandeis University, where she was also an
artist-in-residence. She is a coach to hundreds
of actors and teaches classes and workshops
at Berkeley Rep’s School of Theatre and various other venues in the Bay Area.
Founded in 1905, Mechanics Bank provides
personal banking, business, and commercial
banking, trust and estate services, and
brokerage and wealth management services
through 33 offices across Northern California.
After four generations of local ownership,
it remains fiercely independent and deeply
committed to the Bank’s founding values
of trust, lasting relationships, teamwork,
genuine care, and pride in what it does. It
demonstrates its values to the thousands of
hardworking individuals and businesses who
have chosen Mechanics Bank by providing
personalized service with access to real
people; by employing knowledgeable, tenured
bankers who know your name and commit
their personal best to you; and by investing in
and giving back to our local communities. For
more information, visit mechanicsbank.com or
call 800 797-6324.
Marjorie Randolph
BART
Marjorie is president of Berkeley Rep’s board
of trustees and a longtime supporter of the
Theatre. She currently lives in Los Angeles, where she heads up worldwide human
resources for Walt Disney Studios, although
she still considers Berkeley her home. During
her tenure at Berkeley Rep, she has produced
10 plays. She is a member of the California Bar
and a former president of California Women
Lawyers. She serves on the National Advisory
Panel of the Institute for Research on Women
and Gender at Stanford University.
Voted America’s No. 1 transit system in 2005,
the Bay Area Rapid Transit District (bart) is
a 104-mile, automated, rapid-transit system
that serves more than 100 million passengers
annually. bart is the backbone of the Bay Area
transit network. bart trains travel up to 80
mph and connect the heart of San Francisco
and Oakland’s financial districts with the Bay
Area’s biggest airports along with 26 cities
located throughout Alameda, Contra Costa,
San Francisco, and San Mateo Counties. bart’s
mission is to provide safe, reliable, affordable
service that runs almost entirely on electricity
made from hydro and other renewable energy
sources. Since opening in September 1972, bart
has safely carried more than 1.5 billion passengers more than 18 billion passenger miles.
Amy Potozkin
C AST I NG D I RE C TOR
SEASON PRO D U C ER
The Strauch Kulhanjian Family
EXE C UT I VE PRO D U C ERS
Roger Strauch is a former president of
Berkeley Rep’s board of trustees and a current
member. He is chairman of The Roda Group
(rodagroup.com), a venture-development
company based in Berkeley, best known
for launching Ask.com, PolyServe, and
Sightspeed. Roger serves on the boards of
Cardstore.com, GameReady, and Ravenflow,
all located in the East Bay, and his firm is the
lead investor in Solazyme, a renewable-energy
company based in South San Francisco. Roger
is a member of the engineering dean’s college
advisory boards of Cornell University and
UC Berkeley. At Cal, he is also an executive
member of the board of trustees for the Mathematical Sciences Research Institute (msri)
and a co-founder of the William Saroyan
Program in Armenian Studies. He is also an
executive member of the Piedmont Council
SEASON SPONSOR
Wells Fargo
SEASON SPONSOR
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.
Chutzpah list*
Chef’s Special
Pre-Theatre Menu
If you’d like to donate any of these items, please
contact the Theatre at 510 647-2901.
Offices & Shops
Computers (working Pentium iii or higher PC
systems)
Laser printer—color or b&w
lcd monitors
Marketing
Letter-folder
Portable desktop multimedia projector
Portable audiovisual screen
Slide scanner
Seasonal. Inspired.
Consciously Purveyed.
2327 Shattuck Ave.
Berkeley ~ 510.540.5950
Reservations at
venusrestaurant.net
Scene Shop
Electro-pounce machine
Electromagnetic drill press
Clean lumber
Prop Shop
Cargo van
Antique furniture (in good condition)
Bedazzler
Small vintage items (in good condition)
Unused lumber
New hand/power tools:
· 14v Dewalt cordless drills
· Pneumatic pop-riveter
· Plasma cutter
· 18-volt Makita cordless drills
Costumes
Clothes dryer
Lighting & Sound
Pentium laptop computer
15˝ flat-screen computer monitors
Education
Video projector
iPod docking stations
Digital video camera (hard drive-based)
Tripod
Portable speakers
Large dance mirrors
Gymnastic mats
Circus/clown props (scarves, rings, low wire,
rolla bolla, Chinese yoyos, devil sticks, peacock
feathers, trapeze)
General
Automatic transmission passenger vehicle or
pick-up truck (in good condition)
Good condition hand tools
Working flashlights (batteries not required)
Desk chairs
Pro bono auto mechanic work
Reference books for literary department
Two-, three-, and four-drawer lateral file cabinets
Stereo headphones (for the hearing-impaired
description service)
Dry-erase board (24˝ x 36˝or smaller)
Dry-erase year-at-a-glance wall calendar
General office help—filing/database
*If we don’t ask for it, we probably won’t get it!
Opening the doors to dream homes
since 1906.
1495 Shattuck Avenue, Berkeley | 510.486.1495 | CaliforniaMoves.com
©2010 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company.
Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. DRE License # 00313415
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 2 7
Contributors
We acknowledge the following Annual Fund donors whose contributions from December 2009
through November 2010 helped to make possible the Theatre’s artistic and community
outreach programs. Supporters noted with  made gifts in-kind. Funders whose names are
noted with  have used a matching gift to double or triple their initial contribution.
foundation sponsors
Gif ts of $ 100,000 and above
Gif t s of $25,000 –49,999
Gif ts of $5,000 –9,999
Doris Duke Charitable Foundation
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
S.D. Bechtel, Jr. Foundation
The Ira and Leonore Gershwin Philanthropic Fund
The Mosse Foundation for the Arts and Education
Wallis Foundation
Woodlawn Foundation
Berkeley Civic Arts Program
Ann & Gordon Getty Foundation
Ramsay Family Foundation
Gif ts of $50,000 –99,999
Gif t s of $10,000 –24,999
Edgerton Foundation
Koret Foundation
The Andrew W. Mellon Foundation
National Endowment for the Arts
The Bernard Osher Foundation
Anonymous
The Frank H. & Eva B. Buck Foundation
California Arts Council
Margaret A. Cargill Foundation
The Green Foundation
Hellman Family Foundation
The Thomas J. Long Foundation
The San Francisco Foundation
Gif ts of $1,000 –4,999
Alameda County Arts Commission
Joyce & William Brantman Foundation
Civic Foundation
Dramatists Guild Fund
Oakland Fund for the Arts
corpor ate sponsors
Sea son sponsors
Gif t s of $12 ,000 –24,999
Gif ts of $1, 500 –5,999
The Morrison & Foerster Foundation
Union Bank
Vodafone Americas Foundation™
Wealth Management at Mechanics Bank
4U Field Hockey
Bingham McCutchen LLP
Gallagher Risk Management Services
Macy’s, Inc.
Ruegg & Ellsworth
Gif t s of $6,000 –11,999
Gif ts of $50,000 and above
Gif ts of $2 5,000 –49,999
Armanino McKenna LLP
Bank of the West
BluesCruise.com
Charles Schwab & Co.
Deloitte
Genstar Capital LLC
Heritage Capital Private Asset Management
Howard Rice Nemerovski Canady Falk & Rabkin
MBV Law LLP
Meyer Sound
Oliver & Company, Inc.
Panoramic Interests
Peet’s Coffee & Tea
Seagate Properties Inc.
SNR Denton US LLP
STG Asset Management, Inc.
UBS Financial Services Inc.
U.S. Bank
In - Kind sponsors
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.
media sponsor s
m atching gif t s
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.
Amanda’s Feel Good Fresh Food
Back to Earth Organic Catering
Bobby G’s Pizzeria
Bogatin, Corman & Gold
Bucci’s Restaurant
CASS, Inc.
Darling Flower Shop
Domaine Carneros
Etc Catering
eVe Restaurant
Four Seasons San Francisco
Gather Restaurant
GHS Corporation
Grace Street Catering
H. Julien Designs
Hotel Shattuck Plaza
Ippuku
Jazzcaffè/act Catering
Kevin Berne Images
La Note
Left Coast Catering
Paula LeDuc Fine Catering
Patricia Motzkin Architecture
Picante Catering
Post Meridian
Pyramid Breweries
Revival Bar + Kitchen
Ricola usa
2 8 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
Semifreddi’s
Solstice Press
TCHO
Venus Restaurant
Raymond Vineyards is the official
wine purveyor of Berkeley Rep.
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
A & B Foundation · American Express · Amgen
Foundation · Argonaut Group, Inc. · AT&T · Bank of
America · Bank of the West · S.D. Bechtel, Jr. Foundation ·
California HealthCare · Chevron · Clorox · The Doctors
Company · First Quadrant · Franklin Templeton · Gap
Foundation · Google · Hewlett Packard · IBM
Corporation · Intuit Inc. · Irvine Foundation · Johnson &
Johnson · JPMorgan Chase & Co. · Lawrence Livermore
National Security · Levi Strauss Foundation · Lexis-Nexis ·
Macy’s, Inc. · Merrill Lynch & Co. · Microsoft · Morrison &
Foerster Foundation · NORCAL Mutual Insurance
Company · Oracle Corporation · Patagonia · Salesforce.
com · Schwab Charitable Fund · Sony Corporation of
America · Stuart Foundation · Sun Microsystems
Foundation · UPS Foundation · VISA U.S.A., Inc. · John
Wiley & Sons, Inc.
Contributors
Leg end
in-kind gift
matching gift
Donor Circle Members
Producer CIRCLE
se a son producer s
$ 5 0,0 0 0 & u p
Anonymous
Wayne Jordan & Quinn Delaney
Marjorie Randolph
e xecutive producer s
$ 2 5,0 0 0 –49,9 9 9
Rena Bransten
Bill Falik & Diana Cohen
Wayne Jordan & Quinn Delaney
John & Helen Meyer
Mitch & Pam Nichter
Beth & David Sawi
Jack & Betty Schafer
Dr. & Mrs. Philip D. Schild
The Strauch Kulhanjian Family
Jean & Michael Strunsky
Julie M. Weinstein
Felicia Woytak & Steve Rasmussen
producer s
$ 12 ,0 0 0 –2 4 ,9 9 9
David & Vicki Cox
Thalia Dorwick
Kerry Francis & John Jimerson 
Mary & Nicholas Graves
Jack Klingelhofer
Mary Ann & Lou Peoples
president s
$ 3,0 0 0 – 5,9 9 9
Anonymous (3)
Neil & Gene Barth
Tracy Brown & Gregory Holland
Kimo Campbell
Richard & Anita Davis
Lois M. De Domenico
Delia Fleishhacker Ehrlich 
Howard Grothe & Robert James Donor Advised Fund of
Horizons Foundation
Earl & Bonnie Hamlin
Doug & Leni Herst
James C. Hormel
LeRoy Howard & Dana Buntrock
Hurlbut-Johnson Foundation of the
East Bay Community Foundation
Barbara E. Jones in memory of William E. Jones
Robert Kelling
Leonard Merrill Kurz
Nancy & George Leitmann
Jennifer S. Lindsay
Dixon Long
Neil & Leah Mac Neil
Naomi & Bruce Mann 
Charlotte & Adolph Martinelli
Sandi & Dick Pantages
Pease Family Fund
David & Marilyn Pratt
Ivy & Leigh Robinson
David S. H. Rosenthal & Vicky Reich
Ms. Riva Rubnitz
Joyce & Jim Schnobrich
Dr. & Mrs. Stephen Schoen
Emily Shanks 
Laura Wais & Dorothee Pardys
John & Pamela Walker
Sheila Wishek
Saul Zaentz
Martin & Margaret Zankel
direc tor s
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (7)
L. Matthew Adams
Pat Angell in memory of Gene Angell
Ross E. Armstrong
Nina Auerbach
John Bacon
Jane & Bill Bardin
Edith Barschi
Valerie Barth & Peter Wiley 
Leo P. Ruth & Deborah Dashow Ruth
Patricia Sakai & Richard Shapiro
Joan Sarnat & David Hoffman
Sally Smith & Don Burns
Michael & Sue Steinberg
Karen Stevenson & William McClave
Guy Tiphane
Gail & Arne Wagner
a ssociate producer s
$ 6,0 0 0 – 11,9 9 9
Anonymous
Anonymous, on behalf of Karen Grove
The Alafi Family Foundation
Shelley & Jonathan Bagg
Stephen Belford & Bobby Minkler
Carole B. Berg
Stephen K. Cassidy & Rebecca L. Powlan
Robert Council & Ann Parks-Council
Robin & Rich Edwards
Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards
John & Carol Field
David & Vicki Fleishhacker
Virginia & Timothy Foo
Herb & Marianne Friedman
Paul T. Friedman 
Steven, Jill, & Kevin Fugaro
Bruce Golden & Michelle Mercer
Fritzi Benesch
Linden & Carl Berry
Becky & Jeff Bleich
Caroline Booth
Broitman-Basri Family
Drs. Don & Carol Anne Brown
Thomas & Tecoah Bruce
Jennifer Burden & Carren Shagley
Tom Cantrell & Robert Lane
Lynne Carmichael
Jennifer Chaiken & Sam Hamilton
Susan Chamberlin
Mel & Hella Cheitlin
Earl T. Cohen & Heidi M. Shale
Karen & David Crommie
Ed Cullen & Ann O’Connor
John & Stephanie Dains
Ilana Debare & Sam Schuchat
Becky Draper
Edward Durbin & Joan Morris
Dirk Epperson 
Merle & Michael Fajans
Nancy & Jerry Falk
Cynthia A Farner
Donald & Sylvia Fillman
Ann & Shawn Fischer Hecht
Linda Jo Fitz
Kristina Flanagan
Mort & Frannie Fleishhacker
James Gala
Karl & Kathleen Geier
Dennis & Susan Johann Gilardi
Marjorie Ginsburg & Howard Slyter
Daniel & Hilary B. Goldstine
Deborah & Howard Goodman
Garrett Gruener & Amy Slater
Richard & Lois Halliday
Migsy & Jim Hamasaki
David & Vera Hartford
Gregg Hauser & Judy O’Young, MD
Gail & Bob Hetler
Harlan & Joanne Heydon
Richard N. Hill & Nancy Lundeen
Bill Hofmann & Robbie Welling 
Hilary & Tom Hoynes
George & Leslie Hume
Ron & Virginia Iverson
Beth & Fred Karren
Mary S. Kimball
Pearl T. Kimura
Lynn Eve Komaromi
John Kouns & Anne Baele Kouns
Scott & Sherry Haber
Bob & Linda Harris
Ms. Wendy E. Jordan
Julie Matlof Kennedy & Patrick Kennedy
Jean & Jack Knox
Wanda Kownacki
Ted & Carole Krumland
Suzanne Lafetra
Zandra Faye LeDuff
Dale & Don Marshall
Sandra & Ross McCandless
Martin & Janis McNair
Stephanie Mendel
Steven & Patrece Mills 
Dugan Moore
Eddie & Amy Orton
Virginia Patterson
Peter Pervere & Georgia Cassel
Len & Barbara Rand
Kaye & Randy Rosso
Pat Rougeau
Richard A. Rubin & H. Marcia Smolens
Jodi Schiller & Ben Douglas
Pat & Merrill Shanks
Tides Foundation, recommended by
an anonymous donor advised fund
Ama Torrance & David Davies
Steven & Linda Wolan
Helen E. Land
Randy Laroche & David Laudon
Louise Laufersweiler & Warren Sharp
Ellen & Barry Levine
Bonnie Levinson & Dr. Donald Kay
Tom Lockard & Alix Marduel
Greg & Liz Lutz
Peter & Melanie Maier
Lois & Gary Marcus
Sumner & Hermine Marshall
Jill Matichak
Judith & Kim Maxwell
Miles & Mary Ellen McKey
Scott McKinney & Sherrill Lavagnino
Susan Medak & Greg Murphy
Toby Mickelson & Donald Brody
Roger & Satomi Miles
John & Katrina Miottel
Andy & June Monach
Scott Montgomery & Marc Rand
Judith & Richard Oken
Tom & Kathy Pendleton
Jonathan & Hillary Reinis
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
Deborah Romer & William Tucker
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
Edie Silber & Steve Bomse
Amrita Singhal & Michael Tubach
Kae Skeels
Sherry & David Smith
Stephen & Cindy Snow
Lorna & Cris Strotz 
Andrew & Jody Taylor
Nancy & Fred Teichert
Susan & David Terris
Buddy & Jodi Warner
Robin Williams
Wendy Willrich
Steven Winkel & Barbara Sahm
George & Kathy Wolf
Charles & Nancy Wolfram
Sally Woolsey
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 2 9
Contributors
Individual annual fund donor s
pl ay wright s
$ 1,0 0 0 –1, 49 9
Anonymous (3) · Bruce & Martha Atwater ·
Mary Bailey · Elizabeth Balderston · Helen
C. Barber · Anonymous · Anonymous ·
David Beery & Norman Abramson · Linda
Brandenburger · Ed & Lisa Chilton · Julie
Harkness Cooke · James Cuthbertson ·
Barbara & Tim Daniels  · Narsai & Venus
David · Harry & Susan Dennis · Corinne
& Mike Doyle · Betty Feinstein & Robert
Henderson · Barbara & Marty Fishman ·
Kirk & Suanne Flatow · Thomas & Sharon
Francis · Christopher R. Frostad  · Judith
& Alex Glass · Lauren Golden & Brian
Hurst  · Phyllis & Eugene Gottfried ·
Harriet Hamlin · Ruth Hennigar · Laurin
Herr & Trisha Gorman  · Dixie Hersh  ·
Paula Hughmanick & Steven Berger ·
Harold & Lyn Isbell · Rosalind & Sung-Hou
Kim · David Lincoln King & Tim Stevenson ·
Michael Kossman · Joel Krauska · Susan B.
Levine & Jim Lauer · Ray Lifchez · Karen &
John McGuinn · Alison McLean · Margo
Murray · Jim Newman & Jane Ivory · Robert
S. Newton · Barbara & Pier Oddone · Janet
Ostler · Gerane Wharton Park · Bob &
MaryJane Pauley · Allen Rabinovich  ·
We gratefully recognize
the following members
of the Annual Fund
whose contributions
were received in
November and
December 2010.
Boyard & Anne Rowe · Neal Shorstein,
MD & Christopher Doane · In Memory
of Nathan Andrew Sommers  · Carl &
Joan Strand · Marcia Tanner, in honor of
Sally Smith & Don Burns  · Pate & Judy
Thomson · Michael Tubach & Amrita
Singhal · Scott Wachter & Barbara Malina ·
Sallie Weissinger · Beth Weissman ·
Patricia & Jeffrey Williams · Lee Yearley &
Sally Gressens · Sam & Joyce Zanze
ac tor s
$5 0 0 – 9 9 9
Anonymous (2o) · Gerry & Marcus Alexis ·
Marcia & George Argyris · Bryan Balazs ·
Barbara Jones Bambara & Massey J.
Bambara  · Michelle L. Barbour · Don
& Gerry Beers · Cindy Beitmen  · Mary
Ann & Len Benson · Jonathan Berk &
Rebecca Schwartz · Robert Berman & Jane
Ginsburg · Dr. & Mrs. Gerald & Carol Block ·
Dr. Kevin & Mrs. Riva Bobrowsky · Marilyn
Bray · Ronnie Caplane · Charles & Kristine
Cardall · Bruce Carlton & Richard McCall ·
Paula Carrell · Dennis Cohen & Deborah
Robison · Lawrence Crapo & Desiree
Gillingham · Pat & Steve Davis · Jackie &
Charles Desoer  · Francine & Beppe Di
Supporter s
$ 2 5 0 –49 9
Kay Andersen · Peter Bransten · Dan
Brekke · Terin Christensen · Michael
Handler · Renee Hilpert  · Bill & Jane
Neilson · Margaret O’Connor · Carol Shen
and Larry Dodge
Contributor s
$ 15 0 –2 49
Anonymous · Irwin & Rita Blitt · Johnny
Chang  · Ruth Conroy · Edwin Eng · Paul
Goldstein & Dena Mossar · Janet King &
Tom Corlett  · Kim Walker
Friends
$ 75–149
Anonymous, in memory of Audrey
Patterson, beloved friend · Keira
Armstrong & Steve Thompson · Stephen
Palma · Dan Dougherty · Drs. Nancy Ebbert
& Adam Rochmes · Michael Ehrenzweig ·
Roger & Jane Emanuel · Gini Erck & David
Petta · In honor of Kerry Francis · Harold &
Alice C. Furst · Dorothy & Chuck Garber  ·
Al Garren · Bonnie Goldsmith · Marcia
Goodman & Hank Levy · Judy & Shel
Greene · Glenn Hammonds · Mrs. Robert
Hanscom · Kate Hartley & Mike Kass · Joe
Hartzog · Richard L. Hay · Irene & Robert
Hepps · Drs. Gareth & Ruth Hill · Elaine
Hitchcock · John & Elise Holmgren  ·
Robert & Linda Holub · Rebecca Hull &
Joe Raabe · Lynda & Dr. J. Pearce Hurley ·
Helmut H. Kapczynski & Colleen Neff ·
Ken & Karen Keller · Drs. Mary Kemeny &
Paul Feigenbaum · Jack & Birthe Kirsch ·
John Kruse & Gary Beuschel · Woof
Kurtzman & Elizabeth Hertz · William
& Adair Langston · Mr. & Mrs. S. J.
Lapporte  · Mr. & Mrs. David Leonetti ·
John & Karen Levy · Mary A. Mackey ·
Vonnie Madigan · Joan & Roger Mann ·
Gus Manning · John E. Matthews · Nancy
McCormick · John McGehee · Caryl & Peter
Mezey · Jerry Mosher · Ron Nakayama ·
Markus Niebanck · Claire Noonan & Peter
Landsberger · Robyn & David Owen  ·
Stephen E. Palmer · Richard Pearson & Jean
Hart · Lewis B. Perry, Jr. · Edward & Nancy
Pike · Regina Phelps · Beth Polland · Paul
Popenoe · Chuck & Kati Quibell · David
& Mary Ramos · Paul & Phyllis Robbins ·
Horacio Rodriguez · Rick & Stephanie
Rogers · Ronald & Karen Rose · Dorothy &
George Saxe · Cynthia & William Schaff ·
Mark Schoenrock & Claudia Fenelon ·
Teddy & Bruce Schwab · Randee & Joseph
Seiger · Brenda Shank, MD PhD · Steve &
Susan Shortell · Paul Silva · Dave & Lori
Simpson · Jerry & Dick Smallwood · Dr.
Scott & Mrs. Alice So · Louis & Bonnie
Spiesberger · Robert & Naomi Stamper ·
Annie Stenzel · Rocky & Gretchen
Stone · Monroe W. Strickberger · Karen
Tiedemann & Geoff Piller · Emil Valkov  ·
Deborah & Bob Van Nest · William van
Dyk & Margi Sullivan · Jane Walker · Louise
& Larry Walker · Mark Wasserman & Judy
Freeman  · Dave Wedding Dress · Judith
& Malcolm Weintraub · Jonathan & Kiyo
Weiss · Dr. Ben & Mrs. Carolyn Werner ·
Fred Winslow & Barbara Baratta · Margaret
L. Wu & Ciara Cox, in honor of Kerry
Francis & John Jimerson · The Glea G. Wylie
Charitable Fund
Brandon · James Cardella · Redell Clark ·
Maheesh Jain · Anthony Kosky · Michele
Martinez · Michael Montoya · M. Norris ·
Otis Paul · Ms. Rose M. Ray · Raeshma
Razvi · Sandra Ried · Helaine & Marc
Schweitzer · Darin Smith · Steve Spellman
Anne Dorsey · Diane Douglas · Steven
Eisenhauer · Roy Eyal · Karina Foote ·
Daniel Frysinger · Marlyn Gershuny ·
Annette Greiner · Jeannette Grogan ·
Esther Gulli · Lauren Gunderson · Kenneth Harris · Nancy Herrera · Mr. and
Mrs. Peter Hoban · William Hodgson ·
Wanda R. Hundley · Lois Anne Indorf ·
Grace Jimenez · Cynthia Kane · Saila
Kariat · Karen Kelley · Eva M. Kertesz ·
John Kiszla · Cecilia Lindsay · Dorian
Lok · Gary Mattingly · Timothy McClure ·
Robert McIntosh · Robert Miller · Lucas
Milliken · Hercules Morphopoulos · Jim
Nelson · Satoru Nitta, in memory of Pearl
Kimura · Gael Pardi · Christine Peterson ·
Dorit Raviv · Dorina Reid · Katrina ScottGeorge · Valerie Sinzdak · Mark Tanaka ·
MC Taylor · Kalvin Vangaasbeck · Steven
Vosen · Richard Watson · Lyuba Zarsky
Patrons
Anonymous · Laurie Adams · Wayne
Archer · Raymond Baker · Kathy Bales ·
Gizelle Barany · Anne F. Battersby ·
Mary Bayless · Jon Bendich · Michele
Benjamin · Robert Bernhard · Herman
& Elaine Binger · Martha Blake · Mr. &
Mrs. Robert Brewer · Amy Brooks · Carol
Brown · Leslie Burton · Cathy Carrig ·
Douglas Carruth · Lisa Cohen · Barbara
Cohrssen-Powell · Mary & Matthew Connors · Gabriela Crane · Peter B. Dahl · Ray
Delgado · Mary deLuna · Susan Dickey ·
The Society welcomes the
following new members:
Douglas J. Hill
Sustaining members
as of December 2010:
Anonymous
Ken & Joni Avery
Nancy Axelrod
Carole B. Berg
Estate of Nelly Berteaux
Linda Brandenburger
Bruce Carlton & Richard G. McCall
Stephen K. Cassidy
Estate of Nancy Croley
Andrew Daly & Jody Taylor
Rich & Robin Edwards
William Espey & Margaret Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey & Deana Freedman
Marjorie Ginsburg & Howard Slyter
Mary & Nicholas Graves
Richard & Lois Halliday
Linda & Bob Harris
Fred Hartwick
Hoskins/Frame Family Trust
Zandra Faye LeDuff
Estate of John E. & Helen A. Manning
Richard Markell
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez & Peter Sloss
Suzanne & Charles McCulloch
Susan Medak & Greg Murphy
Toni Mester
Sharon Ott
Amy Pearl Parodi
Barbara Peterson
Margaret Phillips
Estate of Margaret Purvine
Marjorie Randolph
Betty & Jack Schafer
Michael & Sue Steinberg
Karen Stevenson
Dr. Douglas & Anne Stewart
Jean Strunsky
Phillip & Melody Trapp
Dorothy Walker
Grace Williams
Karen & Henry Work
Martin & Margaret Zankel
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org
or contact Daria Hepps at 510 647-2904 or [email protected].
3 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
Named funds
Dale Elliot Fund
Bret C. Harte Young Directors Fund
Jan & Howard Oringer Outreach Coordinator Position
The Bernard Osher Foundation New Play Development Program
Peter F. Sloss Dramaturgy & Literary Fund
The Strauch Kulhanjian Artistic Innovation Fund
We acknowledge the following donors for their
generous support of the 40th Anniversary Campaign:
Inve s to r s circle
Anonymous
Wayne Jordan & Quinn Delaney
The Bernard Osher Foundation
The Strauch Kulhanjian Family
s e a so n pro d uce r s Circle
Doris Duke Charitable Foundation
Ira & Leonore Gershwin Philanthropic Fund
Marjorie Randolph
Jean & Michael Strunsky
pro d u ce r s 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
Joan Sarnat & David Hoffman
Betty & Jack Schafer
Felicia Woytak & Steve Rasmussen
Martin & Margaret Zankel
a sso ciate pro d uce r s 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.
William & Flora Hewlett Foundation
Koret Foundation
Sarah McArthur & Michael LeValley
Sandra & Ross McCandless
Andrew W. Mellon Foundation
Dugan Moore
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Richard A. Rubin & H. Marcia Smolens
Cynthia & William Schaff
Michael & Sue Steinberg
The Harold & Mimi Steinberg Charitable Trust
Guy Tiphane
Wayne & Gladys Valley Foundation
presid e nt s Circle
American Express Philanthropic Foundation
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
direc tor s Circle
Rena Bransten
John & Carol Field
Susan Medak & Greg Murphy
Len & Barbara Rand
Stephen & Cindy Snow
The Tournesol Project
Arne & Gail Wagner
Woodlawn Foundation
pl ay wrig ht s circle
Anonymous (2)
Stephen K. Cassidy
Mel & Hella Cheitlin
East Bay Community Foundation
Kristina Flanagan
Tom Hanks & Rita Wilson
Bob & Linda Harris
Roger & Silvija Hoag
Patrick & Holly O’Dea
Patricia Sakai & Richard Shapiro
Kae Skeels
Douglas Tilden
Wells Fargo Foundation
We thank these additional donors for their
support of the 40th Anniversary Campaign:
Anonymous (3)
Pat Angell in memory of Gene Angell
Susan & Barry Baskin
Alvin Baum
Harry & Suzie Blount
Lynne Carmichael
Kristin Carpenter
In memory of Julie Evelyn Chandler
Susan Chamberlin
Harry & Susan Dennis
Alex Edwards
Entrekin Foundation
Cynthia A Farner
Steven, Jill, & Kevin Fugaro
Mary Hamilton
Earl & Bonnie Hamlin
Harlan & Joanne Heydon
Deborah & David Kirshman
Jack Klingelhofer
Lynn Eve Komaromi
Zandra Faye LeDuff
Nancy & George Leitmann
Ellen & Barry Levine
George I. Lythcott, III
Neil & Leah Mac Neil
Helen Marcus & David Williamson
Miles & Mary Ellen McKey
Ron Nakayama
Barbara & Pier Oddone
Judith & Richard Oken
Regina Phelps
Aaron Phillips
James & Maxine Risley
Barbara & Richard Rosenberg
Sarlo Foundation of the Jewish Community
Endowment Fund, in honor of Rebecca Martinez
Dr. & Mrs. Philip D. Schild
Sherry & David Smith
Theresa Nelson & Bernard Smits
Mr. Leon Van Steen
Dave Wedding Dress
Julie M. Weinstein
Alexis Wong
To learn more about the 40th Anniversary Campaign, contact Lynn Eve Komaromi,
Director of Development, at 510 647-2903 or [email protected].
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 3 1
About Berkeley Rep
S taff and affiliations
Artistic Director
Tony Taccone
Managing Director
Susan Medak
General Manager
Karen Racanelli
artis tic
Associate Artistic Director
Les Waters
Artistic Associate
& Casting Director
Amy Potozkin
Literary Manager/Dramaturg
Madeleine Oldham
Artists under Commission
David Adjmi
Glen Berger
Marcus Gardley
Dan LeFranc
Tarell McCraney
Rita Moreno
Dominic Orlando
Dael Orlandersmith
Stew/Heidi Rodewald
cos tum es
Costume Shop Director
Maggi Yule
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
patro n s e rvices
Patron Services Manager
Katrena Jackson
House Manager
Debra Selman
Assistant House Managers
Cayley Carroll
Octavia Driscoll
Aleta George
Abigail Hanson
Kiki Poe
Usha Reddy
Concessionaires
Michelle Baron
Amy Bobeda
Samantha Budd
Alex Friedman
Jamaica Montgomery-Glenn
Wendi Gross
Emily Hartman
Champagne Hughes
Kimberly “Mik” Jew
Zoe Kalionzes
Devon LaBelle
Margot Leonard
Ellen Maloney
Candice McDowell
Krys Ritchie
Rachel Steinberg
Kate Vangeloff
Katherine Wepler
Allison Whorton
Jennifer M. Wills
Usher Coordinators
Nelson & Marilyn Goodman
pro d uc tio n
Production Manager
Tom Pearl
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Megan Wygant
s tag e m anag e m e nt
Production Stage Manager
Michael Suenkel
Stage Managers
Cynthia Cahill
Nicole Dickerson
Karen Szpaller
Kimberly Mark Webb
Production Assistants
Megan McClintock
Leslie M. Radin
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
sce n e s h o p
Technical Director
Jim Smith
Associate Technical Director
Ryan O’Steen
Shop Foreman
Sam McKnight
Master Carpenter
Colin Babcock
Carpenter
Stephanie Shipman
sce nic art
Charge Scenic Artist
Lisa Lázár
elec tric s
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
soun d
Sound Supervisor
James Ballen
Sound Engineer
Angela Don
adminis tr atio n
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director
Meghan Pressman
Executive Assistant
Andrew Susskind
Bookkeeper
Kristin Cato
Human Resources Manager
David Lorenc
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
Managing Director Fellow
Kate Liberman
d e velo pm e nt
Director of Development
Lynn Eve Komaromi
Associate Director of
Development
Daria Hepps
Special Events Manager
Margo Chilless
Individual Giving Manager
Laura Fichtenberg
Institutional Grants Manager
Amanda Margulies
Development Database
Coordinator
Jane Voytek
Development Associate
Sarah Nowicki
3 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
box o ffice
Ticket Services Director
Christine Bond
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
Destiny Askin
D. Mark Blank
Crystal Chen
Christina Cone
Tom Toro
Michael Woo
m arke ting &
com munic 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 Manager
Cari Turley
Communications Manager
Karen McKevitt
Marketing Manager &
Multimedia Producer
Pauline Luppert
Webmaster
Christina Cone
Program Advertising
Ellen Felker
o pe r atio n s
Facilities Director
Emiel Koehler
Facilities Coordinator
Lauren Shorofsky
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Kevin Barry
Sonny Hudson
Sophie Li
Lamont Rodriguez
b e rkele y re p
sch o ol o f the atre
Associate General Manager &
Director of the School of Theatre
Rachel L. Fink
Associate Director
MaryBeth Cavanaugh
Jan & Howard Oringer
Outreach Coordinator
Dave Maier
Community Programs Manager
Benjamin Hanna
School Administrator
Emika Abe
Registrar
Katie Riemann
Faculty
Aleph Ayin
Erica Blue
Jon Burnett
Rebecca Castelli
Paul Cello
Robert Ernst
Deborah Eubanks
Nancy Gold
Gary Graves
Marvin Greene
Ben Hanna
Ben Johnson
Devon LaBelle
Dave Maier
Marilet Martinez
Alex Moggridge
Ryan O’Donnell
Madeleine Oldham
Robert Parsons
Christopher Peak
Lisa Anne Porter
Amy Potozkin
Diane Rachel
Elyse Shafarman
Rebecca Stockley
Tony Taccone
James Wagner
Les Waters
Outreach Teaching Artists
Gendell Hing-Hernández
Devon LaBelle
Marilet Martinez
Alex Moggridge
Ryan O’Donnell
Carla Pantoja
Harold Pierce
Tommy Shepherd
Caron Treger
Meja Tyehimba
Elena Wright
Teacher Advisory Council
Drea Beale
Julie Boe
Amy Crawford
Beth Daly
Jan Hunter
Marianne Phillip
Richard Silberg
John Warren
Jordan Winer
Docent Committee
Thalia Dorwick, chair
Charlotte Martinelli, co-chair
Docents
Dee Kursch
Joy Lancaster
Lori Miller
Marc Seleznow
Barry Walter
2010 –11 B e rke le y Re p
Fellows hip s
Bret C. Harte Directing Fellow
Jennifer M. Wills
Company/Theatre
Management Fellow
Champagne Hughes
Costume Fellow
Amy Bobeda
Development Fellow
Wendi Gross
Education Fellows
Candice Renee McDowell
Allison Whorton
Graphic Design Fellow
Samantha Budd
Lighting / Electrics Fellow
Daniela Becerra
Marketing &
Communications Fellow
Kate Vangeloff
Peter F. Sloss Literary/
Dramaturgy Fellow
Rachel Steinberg
Production Management Fellow
Krys Ritchie
Properties Fellow
Jamaica Montgomery-Glenn
Scenic Art Fellow
Margot Leonard
Scene Shop Fellow
Lindsay Cramond
Sound Fellow
Leandro Marques
Stage Management Fellow
Amanda Warner
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.
Board of TRustees
Marjorie Randolph
Bill Falik
Vice President
Sandra R. McCandless
Vice President
David Cox
Tre a surer
Scott Haber
Secretary
Kerry Francis
Chair , Trus tees Com mit tee
Peter Pervere
Chair , Audit com mit tee
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
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
WORLD PREMIERE
Board Memb er s
President
Richard A. Rubin
a national new play network/global age project
Thalia Dorwick, PhD
William T. Espey
John Field
Lisa Finer
David Fleishhacker
David Hoffman
Wayne Jordan
Julie Matlof Kennedy
Carole S. Krumland
Dale Rogers Marshall
Susan Medak
Helen Meyer
Pamela Nichter
Mary Ann Peoples
Len Rand
Patricia Sakai
Jack Schafer
Emily Shanks
Sally Smith
Roger Strauch
Jean Strunsky
Tony Taccone
Felicia Woytak
Sus taining advisor s
Carole B. Berg
Rena Bransten
Stephen Cassidy
Diana Cohen
Nicholas Graves
Rick Hoskins
Dugan Moore
Pat Rougeau
Richard Shapiro
Michael Steinberg
Michael Strunsky
Phillip Trapp
Martin Zankel
Directed by Jessica Heidt
January 28 - March 6, 2011
Only 2 doors east of
Berkeley Rep - visit us
and mention code BRC5
for $5 off tickets!
510.843.4822
www.auroratheatre.org
eileeN Fisher
TiaNello
ciTroN
FlaX
CONTEMPORARY CLOTHING
plus sizes for women
Founding Director Michael W. Leibert
5937 college ave, oaKlaND
510.654.5144
www.infullswing.com
2 0 1 0 – 1 1 · iss u e 4 · t h e b e r k e le y r e p m ag a z i n e · 3 3
ENCORE 1-6 4-C_FNL.indd 1
10/20/10 12:03 PM
IFS
F YI
Latecomers
Latecomers will be seated at the discretion of the house manager.
Theatre –
On The Square
Visit our website!
Theatre info
Click berkeleyrep.org—you can buy tickets
and plan your visit, read our blog, watch
video, sign up for classes, donate to the
Theatre, and explore Berkeley Rep.
Emergency exits
Please note the nearest exit. In an emergency,
walk—do not run—to the nearest exit.
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 email
accounts, please authorize berkeleyrep@
berkeleyrep.pmail.us.
Tickets/box office
Larkspur Hotels & Restaurants
offers unique hospitality and
urban excitement in the heart of
San Francisco’s theatre district.
Enjoy a night on the town – dine
at our very own Kuleto’s or
Bar Norcini, see one of many nearby
shows, and then stay comfortably
at one of our three hotels – just
steps from Union Square.
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
2010/11 ticket prices
date/ tim e
previews
tue 8 pm , wed 7pm ,
thu 2pm*, sat 2pm
thu 8 pm , su n 2 & 7pm
fri 8 pm
sat 8 pm
prem
a
$43 $38
54 46
59
65
73
53
59
65
b
$29
34
39
47
54
*No Thursday matinees for Limited Engagement shows
For reservations at any of our three
Union Square hotels –
call 866.823.4669 or visit us at
LarkspurHotels.com
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
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 showtime. Proof of eligibility
required. Subject to availability.
Sorry, we can’t give refunds or offer
retroactive discounts.
Theatre maps
LAR 072909 theatre 1_3v.pdf
3 4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · iss u e 4
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
Bring Berkeley Rep to your school! Call the School
of Theatre at 510 647-2972 for information about
free and low-cost workshops for elementary, middle,
and high schools. Call Cari Turley at 510 647-2918
for $10 student-matinee tickets. Call the box office
at 510 647-2949 for information on discounted
subscriptions for preschool and K–12 educators.
Theatre store
Berkeley Rep merchandise and show-related books
are available in the Hoag Theatre Store in the Roda
Theatre and 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.
Phones / electronics / recordings
Please make sure your cell phone, pager, 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.
OIA 020510 copier 1_2h.pdf
bistro
French food for the soul
Open 7 days a week
Walking distance to the theatre
10% discount for
Berkeley Rep patrons
Full bar
1849 Shattuck at Hearst · 510 849-2155 · liaisonbistro.com
Berkeley Rep patron discount not to be combined with any other offer
The art of performance draws our
eyes to the stage
Our community's commitment to arts and culture says a lot about where we live.
Theater brings us together from the moment the lights go down and the curtains
come up.
Berkeley Rep, we applaud this production.
University • 2460 Bancroft Way • 510-464-2266
Berkeley Main • 2144 Shattuck Avenue • 510-649-3630
North Berkeley • 1800 Solano Avenue • 510-558-2800
West Berkeley Business Center • 2929 7th Street • 510-647-1055
wellsfargo.com
© 2010 Wells Fargo Bank, N.A.
All rights reserved.
Member FDIC. 122939 11/10