Download Read or the A Raisin in the Sun program.

LORRAINE HANSBERRY’S
DIRECTED BY PATRICIA MCGREGOR
2014
SEASON
40TH ANNIVERSARY
FROM THE
MANAGING DIRECTOR.
It is hard to believe that Cal Shakes is celebrating its 40th anniversary this year.
While much about the company has changed over the years (starting with names—
from the Emeryville Shakespeare Company, to the Berkeley Shakespeare Festival,
the California Shakespeare Festival, and now California Shakespeare Theater) the
important things remain the same—namely, our adventurous spirit and deep desire
to create productions of Shakespeare and the classics that feel immediate, relevant,
and wildly entertaining.
While it is gratifying to look back (and I hope you’ll enjoy Philippa Kelly’s series of program articles this season
on Cal Shakes through the years), mostly we’re celebrating our anniversary by looking forward.
JANUARY, we unveiled a new mission to lead us into our next chapter: With Shakespeare’s depth
of humanity as our touchstone, we build character and community through authentic,
inclusive and joyful theater experiences. I hope you’ll find it as inspiring as I do.
IN
IN FEBRUARY, we launched our Shakespeare in Communities program with director Michelle Hensley’s
delightful production of Twelfth Night. Featuring a stellar cast of some of the Bay Area’s best actresses (yes, I
said actresses), this all-female production performed at a homeless shelter (Berkeley Food and Housing Project);
Alameda County Juvenile Hall; Oakland’s Civicorps, an education and job training program for at-risk young
adults; and an LBGT senior center in San Francisco, among other sites. Additionally, we offered ten moderately-priced public performances at San Francisco’s Intersection for the Arts. We were happy to see many of your
familiar faces alongside audience members new to Cal Shakes. We learned so much through his project—both in
terms of how to make better plays and how to be better community partners—and we hope this is just the first
of many such tours we offer as we deepen our commitment to playing an integral role in community life.
IN MARCH, at our annual gala, we announced the launch of the Cal Shakes Legacy Circle—a group of
individuals who have made plans for Cal Shakes in their own estate plans—and the creation of the Moscone
Permanent Endowment. We plan to be around for the next forty years, so we are tremendously grateful for these
forward-looking supporters who are helping to ensure our future. We hope the Legacy Circle will continue to grow
in the months and years ahead; please contact [email protected] if you are interested in learning more.
IN APRIL, we joined with staff from nine other leading arts organizations from around the state at a convening
held by the Irvine Foundation to imagine how we, as individual arts organizations and as a field, can evolve to
better serve our increasingly diverse communities. Envisioning a better California with art at its center was an
inspiring way to spend a few days.
And IN MAY, we open our 2014 season with Lorraine Hansberry’s groundbreaking A Raisin in the Sun, a play
no less potent today than when it opened on Broadway in 1959. We’re thrilled to be producing this American
classic on the Bruns stage, and can’t wait to see it come to life under the direction of the superb Patricia
McGregor and her meticulously-assembled team.
And that only takes us through the first half of the year! We’ve got so much more in store for you.
Thank you for celebrating our 40th anniversary with us. Let’s get this party started.
Susie Falk
Photo by Kevin Berne.
encore art sprograms.com 5
CELEBRATE
CAL SHAKeS
40
AT
OUR STORY: PART One
The JOhN hiNKel PaRK yeaRS
By Resident dRamatuRg, PhiliPPa Kelly
By the 1970s, Berkeley had established itself at the heart of the counterculture, a
multifaceted outgrowth of the Beat movement (“cool jazz,” “beatitude,” anti-materialism, anti-institutionalism) in which the children of post-war Americans sought
to express their independence. These young people rejected their parents’ drive for
security and prosperity, forming collectives and movements of their own that pushed
for environmental reform, sexual freedom, and a stop to the Vietnam War. There
were profound engagements with non-Judeo-Christian beliefs, including Buddhism,
the EST self-realization movement, and the Hare Krishnas; the hedonism led by
Timothy O’Leary, a direct outgrowth of drug-taking; and the music of Bob Dylan, The
Grateful Dead, Janice Joplin and the Woodstock Festival, iconic political embodiments of youthful idealism.
above: Lura dolas as Rebecca and annette
Bening as Rowena in Ivanhoe, 1983; below:
James Carpenter as Hal and michael
McShane as Falstaff in Henry IV, Part 1, 1987.
Right: Louis Lotorto and dakin
matthews in A Midsummer
Night’s Dream, 1985.
1974
The California Shakespeare Theater had its origins in this culture. It began as a
group of Shakespeare enthusiasts who wanted to stage performances. Led by Peter
Fisher, graduate student and musician, the group originally met as the ”Emeryville
Shakespeare Company,” gathering in a shed in Emeryville, with an aim to stage only
Shakespeare, leaving other playwrights to other newly-established theater companies
like the Berkeley Repertory Theater and the American Conservatory Theater. Every
decision was to be arrived at, where possible, through a non-hierarchical governing
structure—what plays to perform, in what order, who to direct, and what budgets
could be allocated. Each director, once selected and given a budget, had the freedom to cast and staff the show at will.
In 1974 the company pooled funds to establish a season budget of $3000, moving to the ready-made amphitheater provided by Berkeley’s John Hinkel Park. They
re-named themselves the Berkeley Shakespeare Festival. The park was shaded by a
glorious oak tree, and at an early performance of A Midsummer Night’s Dream Puck
swung onto the stage from one of its branches. Bay trees scented the amphitheater,
and old, broken-down redwood benches, probably dating back to the 1930s, were
built into its tiers. Once the City of Berkeley had replaced the benches with gravel,
audiences camped along the tiers, making themselves comfortable on cushions and
lawn chairs, often arriving very early—through either
the bottom or the top of the park—to secure their
favorite spots. Many brought sleeping bags so that
when the fog rolled in and the temperature dropped,
they were able to stretch out, warm and snug, with a
picnic and a bottle of wine. (In the first few seasons
the company members also made a big pot of stew
for each performance, which was offered to the audience at intermission.) Two dank, dark old toilets were
available for use at the perimeter of the audience
area, later to be upgraded via the rental of porta-potties. Over time the electricity was upgraded and,
THe JOHn HInKeL PARK YeARS
6 CALIFORNIA SHAKESPEARE THEATER
1987
WWW.CALSHAKES.ORG
1994
under the supervision of production manager Michael Cook, lighting towers
were constructed to allow full stage lighting. Elaborate sets were designed for
the space in front of what is now left of the old stone fireplace.
From 1974 to 1976 the company didn’t sell tickets or charge admission, suggesting instead a donation of $2.00 per show. Effective publicity consisted of
parking old cars topped with large painted signs at strategic locations in Berkeley and near Hinkel Park. The cars had to be moved from time to time, but the
advertising system was effective. By the end of the first season, the Berkeley
Shakespeare Festival had become very successful, filling to capacity and
scoring reviews in local papers and even one in the highly prized international
journal, Shakespeare Quarterly. Company members were able to reimburse
themselves for their investment, also setting aside a small sum to bankroll a
winter production of All’s Well That Ends Well and to start up the next season.
The collective awarded every participant—from directors to the children who
were fairies in A Midsummer Night’s Dream and The Tempest—exactly $1.00
for each performance. Those who were there for every performance would
receive a total compensation of $41.00 for the season.
HOnOR
tHe Past,
This system of collective governance worked well, but after its third season
the board began contemplating ways to expand, and members discussed the
possibility of appointing an Artistic Director. In 1979, against some objections,
the collective appointed its first Artistic Director, George Kovach. It also elected
its first Board of Directors, which included Bernard Taper, journalism professor
at UC Berkeley and one of the original “Monuments Men” who tracked down
works of art pillaged by the Nazis and restored them to their rightful owners.
From the appointment of Kovach, the Festival went through four artistic directors, two of whom—in the grand tradition of Shakespeare’s Lear, Coriolanus,
Prospero, Richard II, Titus Andronicus, Timon of Athens, the Thane of Cawdor,
and Macbeth— were banished by collective command. The company’s second
Artistic Director, a brilliantly resourceful actor/manager named Dakin Matthews,
instituted season concepts, as well as company “sharers,” an early version of
today’s Associate Artist structure. Under Matthews’ five-year tenure (1983–
1987) the Festival produced four plays in repertory every summer, and actress
Lura Dolas was recruited to run a Summer Conservatory. During this period,
however, the company outgrew its premises, prospective audience members
were being turned away, and the neighbors were complaining about noise and
parking. Audience members often came out after a performance to find their
tires slashed, and one irate man was caught taking an axe to the stage. Even
after an 11pm curfew was instituted to mollify the neighbors, the unrest continued, and a new location was clearly on the menu. But more about this in next
program’s article, where we look at Artistic Director Michael Addison who
Continued on page 24.
Left: Howard swain and annette Bening in All’s
Well That Ends Well, 1983; above: Kandis Chappell
as Witch, Julian Lopez-morillas as macbeth, and
Howard swain as Witch in Macbeth, 1983.
2004
2014
enSURe
tHe FutuRe
with
CAL shAkEs
LEgACy CiRCLE.
MosConE PERMAnEnT
EndowMEnT LEAd donoRs
Ellen & Joffa Dale
Barclay & Sharon Simpson
LEgACy CiRCLE ChARTER MEMBERs
Mary Jo & Bruce Byson
Phil & Chris Chernin
Debbie Chinn
Ellen & Joffa Dale
Peter Fisher
Douglas Hill
David Ray Johnson
Mark Jordan
Debby & Bruce Lieberman
Tina Morgado
Richard Norris
Shelly Osborne
James & Nita Roethe
Laura & Robert Sehr
Barclay & Sharon Simpson
Jean Simpson
Valerie Sopher
Kate Stechschulte & David Cost,
In Memory of Margaret Cost
M.J. Stephens & Bernard Tagholm
Carol Jackson Upshaw
Jay Yamada
Monique Young
Xanthe & Jim Hopp
iNTeReSTed iN JOiNiNg
The ciRcle? cONTacT
[email protected]
fOR mORe iNfORmaTiON.
nexT UP: Adventures on
the quest to find a new
home for our theater; what
it took to get to the Bruns.
A RAISIN IN THE SUN
LORRAINE HANSBERRY
DIREcTED BY PATRICIA MCGREGOR
BY
MAY 21–JUNE 15
An American Classic
THE cOMEDY OF ERRORS
WILLIAM SHAKESPEARE
DIREcTED BY AARON POSNER
BY
JUNE 25–JULY 20
The Master’s Most Masterful Farce
PYGMALION
GEORGE BERNARD SHAW
DIREcTED BY JONATHAN MOSCONE
BY
JULY 30–AUGUST 24
Moscone and Shaw, Together Again
A MIDSUMMER
NIGHT’S DREAM
WILLIAM SHAKESPEARE
DIREcTED BY SHANA COOPER
MOvEMENT BY ERIKA CHONG SHuCH
BY
SEPTEMBER 3–28
From the Director of Romeo and Juliet
JOIN US FOR OUR
40TH ANNIVERSARY SEASON
Single Tickets & Subscriptions on sale now.
www.calshakes.org
510.548.9666
Pictured: Rebekah Brockman as Juliet in Shana Cooper’s
Romeo & Juliet (2013); photo by Jay Yamada.
A Raisin in the Sun is presented by special arrangement with SAMUEL FRENCH, INC.
Titles, dates, and artists subject to change.
2014
SEASON
Facing
FORWARD
A conversation between
Rebecca Novick
and Clive Worsley
Art as Education and Engagement
The 40th Anniversary season at Cal Shakes is a time of reflection
upon our successful history as well as a time of new beginnings. This
forward-facing attitude is evidenced by new faces in key leadership positions within the company: Clive Worsley as our new Director of Artistic
Learning, and Rebecca Novick in the newly-created role of Director
of Artistic Engagement. With decades of Bay Area theater experience
between them and a strong desire to broaden the reach of art and arts
education, they have forged a collaborative partnership that promises
to deepen the experience of all our program participants, from students
and subscribers to new audiences and communities.
In the collaborative spirit, Clive and Rebecca have interviewed each other about their new roles, about inclusivity and outreach in theater, and
about the importance of theater education for all ages and communities.
Clive Worsley: Rebecca, you were recently named
Director of Artistic Engagement here at Cal
Shakes. Can you tell me what that title means
and what that position entails?
Rebecca Novick: Well, I like to say that my job
here is to engage more people with the art and
make the art more engaging. What we did is take
REbecca Novik
what I was doing as director of the Triangle Lab—
where Cal Shakes experiments with how to make our work matter to
more people—and expand that engagement work to connect to all the
programs of our organization.
CW: When you say “make the work matter to more people,” are you
just talking about quantity? About selling more tickets?
RN: No, not at all—what I mean is to find different ways that theater
artists can contribute to the lives of all different kinds of people. I like
to think about a family in Orinda, and a young tech worker in San
Francisco, a nurse in Richmond, and a teenager in East Oakland and
imagine how we might engage with each of those people and find
ways to hear and share their stories.
CW: That sounds really ambitious. Can you give some examples of
how you’ve begun to engage so many different kinds of people?
RN: In the Triangle Lab—which we see as Cal Shakes’ research and
development wing—we’re experimenting with many different ways to
integrate arts into community life. This winter we produced our first-ever
community tour, taking an all-female production of Twelfth Night into
eight community settings like Alameda Juvenile Hall and a Berkeley
homeless shelter. We’re also turning the Bruns into a platform for a
wider variety of voices with programs like our Friday Night in the Grove
performance series. We’re working right now on the next round of our
Artist-Investigator Program, which is going to pair theater artists with
non-profit organizations to explore how theater artists can deploy their
skills outside the rehearsal room to help address community issues.
RN: Clive, you’ve been a teaching artist with Cal
Shakes for many years and last summer you
joined the staff as the new Director of Artistic
Learning. What made you want to come on
board and head up Cal Shakes’ education work?
CW: I felt as though moving into the leadership
of this department was a natural extension of my
CLIVE WORSELY
12-plus years as a teaching artist. I’ve seen firsthand the dramatic impact that arts education has on students of all
ages and from all backgrounds, and I wanted to commit my energies
to furthering that impact.
RN: What are some of the changes you’ve made since your arrival?
CW: We’ve begun to expand our in-school residency programs to
reach students outside of the K-12 public school framework, including
some work with youth ages 18-24 through Triangle Lab activities, and
some community college students. Thanks to some generous benefactors we’ve also been able to take our programs into private and
parochial schools, areas we’ve not been able to serve in the past. I’m
also excited about our fabulous new staff of talented and dedicated
professionals who are committed to our mission to build character and
community.
RN: And of course you have the Summer Shakespeare Conservatories.
Can you talk about what’s new for this summer?
CW: The most exciting thing for 2014 is brand-new locations. Based
on the success of our 12-year relationship with Orinda Intermediate
School, where we’ve been bringing Shakespeare into the seventh grade
classrooms (over 300 students a year), we’ve launched a partnership
wherein both a Five-Week and Two-Week Conservatory will take place
on the OIS campus. We’re also very excited about a new partnership
with Oakland School for the Arts, the East Bay’s only public performing arts middle and high school.
CW: I’m also excited about the programs that we’re going to be doing
in partnership with each other.
RN: Me too. I love that—even in our titles—we can see that artistic
learning and artistic engagement are really two halves of a whole.
CW: Exactly, we see art as education and engagement at all levels for
all ages. Like in our Generations project that happened this spring.
RN: When I came to you to talk about collaborating on a new kind of
residency around A Raisin in the Sun, we both got really excited about
the idea of creating space for a multi-generational conversation about
the themes of the play.
CW: We felt as though this play spoke to people of all ages and asks
questions that could be answered very differently by people from different generations, who could perhaps learn from each other’s answers.
RN: We also couldn’t stop thinking about a particular block in East
Oakland that houses several of our partners and a community struggling with exactly the questions of this play. That residency—which
brought together middle-schoolers, high-schoolers, young adults, and
seniors for study, performance, and discussion—is a great model for
how we might program together in the future.
C
C A
A L
L II F
F O
O R
R N
N II A
A
JONATHAN MOSCONE
JONATHAN MOSCONE
S
S H
H A
A K
K E
E S
S P
P E
E A
A R
R E
E
A
Director
Artistic
rtistic Director
SUSIE FALK
SUSIE FALK
T
T H
H E
E A
AT
T E
E R
R
M
Director
MAnAging
AnAging Director
PRESENTS
PRESENTS
LORRAINE
LORRAINE HANSBERRY’S
HANSBERRY’S
DIRECTED
DIRECTED BY
BY PATRICIA
PATRICIA MCGREGOR
MCGREGOR
MAY 21 – JUNE 15, 2014
BRUNS MEMORIAL AMPHITHEATER, ORINDA
DEDE M. AYITE
SCENIC DESIGNER
COSTUME DESIGNER
KATHERINE NOWACKI
LIGHTING DESIGNER
GABE MAXSON
SOUND DESIGNER
VOCAL/TEXT COACH
RESIDENT FIGHT DIRECTOR
STAGE MANAGER
ASSISTANT STAGE MANAGER
ASSISTANT DIRECTOR
ASSISTANT LIGHTING DESIGNER
ASSISTANT SCENIC DESIGNER
PRODUCTION ASSISTANT
JOSEPH ASAGAI
BENEATHA YOUNGER
LENA (MAMA) YOUNGER
WALTER LEE YOUNGER
MARCUS HENDERSON
RUTH YOUNGER
RYAN NICOLE PETERS
TRAVIS YOUNGER
KARL LINDNER
LIAM VINCENT
GEORGE MURCHISON/BOBO
YORK WALKER
MOVING MAN 1, ENSEMBLE
HOWARD JOHNSON JR.
MOVING MAN 2, ENSEMBLE
DREW WATKINS
WILL MCCANDLESS
NANCY CARLIN
DAVE MAIER
LAXMI KUMARAN
CHRISTINA HOGAN
MARIA CALDERAZZO
KRISTA SMITH
CHIEN-YU PENG
CHERYLE HONERLAH
CAST
ROTIMI AGBABIAKA
NEMUNA CEESAY
MARGO HALL
ZION RICHARDSON, AJANI BARROW*
THERE WILL BE ONE 15-MINUTE INTERMISSION.
“A RAISIN IN THE SUN” IS PRESENTED BY SPECIAL ARRANGEMENT WITH SAMUEL FRENCH, INC.
* ALTERNATE, PERFORMING ON: MAY 25, MAY 27 (11AM), MAY 29 (7:30PM), MAY 30, JUNE 3, JUNE 6, JUNE 10, JUNE 13, JUNE 14 (2PM).
EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON,
PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA
PRODUCERS: CRAIG & KATHY MOODY, NANCY OLSON, ALAN SCHNUR & JULIE LANDRES, BUDDY & JODI WARNER
SEASON
PARTNERS
PRESENTING
PARTNERS
SEASON
UNDERWRITERS
PRODUCTION
PARTNERS
Partial support for open captioning provided by Theatre Development Fund
Theatre Development Fund
encore art sprograms.com 11
“ suggests. may
as HugHes
PeRHaPs tHey’ll be RePlaCed
tHat Re-ligHt a sPutteRing
“
Resident dRamatuRg
“What happens to a dream deferred?”
asks Langston Hughes in the poem,
Harlem. “Does it dry up like a raisin in
the sun?” Hughes wrote this poem in
1951. Six years later it would be
memorialized in the first play by a
black woman to be performed on
Broadway. Twenty-seven-year-old
Lorraine Hansberry had originally
called her play The Crystal Staircase,
drawing on another poem by Hughes,
leader of the Harlem Renaissance,
whom she admired for his resistance
to the European-style values that many
of his compatriots adopted in the
interests of “equality” (indeed, you will
see that George, one of the characters
in her play, embodies these values,
which both writers saw as a terrible
compromise to “Negro identity”).
Influenced though she was by Hughes
and, in her early twenties, by her work
with Paul Robeson on his Pan-African
newspaper, Freedom, it was Hansberry’s
own family who provided the first
platform for A Raisin in the Sun. In
1938, when Lorraine was eight years
old, her father, a successful real estate
agent, had bought a house in the
12 CALIFORNIA SHAKESPEARE THEATER
Washington Park Subdivision of the
South Side of Chicago. In selling him
the house (possibly because there
had been a recession and Hansberry
was the only bidder), its white owner
violated a covenant that restricted
blacks from purchasing or leasing
land in that particular neighborhood.
The Hansberry family suffered violent
attacks and was eventually driven
out, but Lorraine’s father took the
case to the Supreme Court. The court
made the somewhat ambiguous ruling
that because only 54 percent of the
subdivision’s landowners had signed
the agreement requiring them not so
sell to members of “the colored race,”
the ones who hadn’t signed were not
bound by the agreement. This meant
that a new owner, like Hansberry,
could challenge the covenant. Not
until 1948 would the Court rule that
racial covenants were illegal (in a famous case called Shelley v. Kraemer).
It’s not just this life event that makes
a fascinating backdrop to Hansberry’s
A Raisin in the Sun: it’s also the
imagined impact of this event on an
eight-year-old child, the youngest of
her siblings by seven years. Such an
experience, traumatic in itself for a
child, reveals its stark truths as she
WWW.CALSHAKES.ORG
comes more deeply to understand
them. To be driven out of a neighborhood, but told at the end of a long
legal struggle that the covenant could
indeed be challenged, embodies the
paradox of WASP racism: theoretically, racial intermixing is okay, but not
right now and not right here. How
does a child cope with her family’s
eviction and with the literal contradiction of the subsequent judgment?
They are told they have a right to
make a claim to the house that they
bought. But it’s all too late.
Twenty years later, this child, now a
young woman, writes a play about
it. A Raisin in the Sun addresses the
cruel realities of racial segregation,
as well as a myriad of issues tied in
with it: the connections we humans
make between ourselves and our
houses; the impact of money, both
a golden key and a mere slip of
paper; understandings of manhood,
femininity, and of who gets to say
what these qualities are; education;
visible, and invisible ceilings; resentments, prohibitions, and possibilities.
And this play is also about the American Dream, that fantasy pursued
by so many white families half-bro-
ken by the Second World War, many
of them determined to thrust their
children forward as their own dream
“deferred.” Arthur Miller had critiqued
this dream with brutal poignancy in
Death of a Salesman, based on his
own family memories, as he recalled
his uncle’s life as a travelling salesman.
Written in 1949, just two years before
Hughes wrote Harlem and eight years
before Hansberry wrote Raisin, Death
of a Salesman is an epic white man’s
journey to nowhere, his eventual death
part-sacrifice and part-surrender. How
much more intangible were the dreams
of black Americans, the vast majority
of whom weren’t even given the chance
to fail at college as do Willy Loman’s
sons, or to fail at sales as does Willy
himself. Often relegated to jobs as
chauffeurs and domestics and earning,
for their labors, half the income of their
white counterparts, these people were
expected to occupy bit-parts in the
dreams that white families played out
on their lawns and in their houses.
Hansberry’s Younger family, headed
by Mama (Lena), boldly pushes out
of these bit parts they’ve been allotted. There is a check that will, Lena
believes, release them from their
servitude, and from the rat-infested,
cramped space they occupy on
Chicago’s South Side. But Lena’s
dream gets in the way of another set of
aspirations—those of a white man and
his community. The white man, Mr.
Lindner, comes to the Youngers’ home
and tells them they’re not welcome in
his neighborhood: he will pay them not
to spoil his all-white American dream.
So how do these dreams play out?
Dreams may dry up, as Hughes
suggests. But perhaps they’re not
irretrievable. Perhaps they’ll be re-
placed by other dreams that re-light
a sputtering candle of hope. Can the
flame stay alive? Can it light the way
forward? These questions were very
real to the young Lorraine Hansberry
as she moved from visual art studies
at the University of Wisconsin (the
first member of her family not to
attend an all-black college), to her
work with Freedom Magazine, and to
the beginnings, in her mid-twenties,
of her own playwriting career. She
would die of pancreatic cancer at the
age of 34, with little time to explore
and develop further the questions at
the heart of A Raisin in the Sun.
But Hansberry’s play has another
metaphor that suggests that a dream
can re-live, surviving against all odds,
against all stumbles, mistakes and
outright injustices. The key to this
metaphor is in something very small
and almost unnoticeable: the plant
that Mama nurtures. She often mentions her little plant side-by-side with
her children—their tempers (“My
children and they tempers. Lord, if
this little old plant don’t get more sun
than it’s been getting it ain’t never going to see spring again); or her sense
that her children “frighten” her (going
to her plant: “They frightens me,
Ruth. My children).” She also mentions the plant when she expresses
her hopes for her children’s potential.
“Got to admit they got spirit—Bennie
and Walter. Like this little old plant
that ain’t never had enough sunshine
or nothing—and look at it ...”
still inside, confined within the dried-up
and pressed-down skin. It evokes
Hansberry’s sense of her culture, in
1959 still pushed down, confined,
awaiting the explosion of the Civil
Rights movement that would come
with the 1960s. Hansberry seemed
to know that the changes of the ‘60s
were on their way. When you soak a
raisin in life-giving water, by a process
of osmosis it swells up again and looks
like a grape. A kind of renewal. Like
the plant. Like dreams of potential and
independence. The end of Hansberry’s
beautiful play suggests dreams both
implausible and real. How will the
Younger family possibly squeeze, from
$10,000, the remaining payment on
the house, or the medical education
of a young black woman? But when
they use their check, they plant their
dreams. Dreams, like plants, can
withstand a great deal, and though
they wither to almost nothing, sometimes, just sometimes, they can swell
again and live.
My thanks to Mary Randolph for her
legal contribution on this piece, as
well as her excellent edits.
The plant is impervious to Mama’s
dreams, yet at the same time it’s her
living symbol of these very dreams. It
offers a beautiful vernal counterpoint
to the image of a raisin in the sun. A
raisin is dry, but the sweetness is all
encore art sprograms.com 13
FIFTY-FIVE
YEARS LATERfferent?
What’s so di
By Amani Morrison
THIS
is not a play about the ’50s. This is a play
about every day. This is a play about life.
A lot has changed since the immediate post-War years in
which Lorraine Hansberry’s A Raisin in the Sun is set. The
1954 Brown v. Board of Education decision overturned the
1896 Plessy v. Ferguson Supreme Court ruling of “separate but equal,” and a decade later the ruling began to be
enforced through mandated busing to integrate schools via
the Civil Rights Act. Now, sixty years removed from Brown,
black and brown students are concentrated in many under-resourced inner-city schools for various reasons—some
as a lingering result of “white flight” from the cities to the
suburbs; some as a result of being pushed out of neighborhoods by gentrifiers, who cause rents and home prices to
increase substantially; some as a result of the redlining that
disproportionately affects black and brown homebuyers,
restricting their right to borrow money and keeping them on
the periphery of white and affluent neighborhoods. Has a lot
changed?
Prior to the 1964 Civil Rights Act that outlawed discrimination based on “race, color, sex, religion, or national origin,”
the vast majority of blacks worked in service jobs under
white ownership and supervision. Black men, like Walter Lee
in A Raisin in the Sun, worked predominantly as chauffeurs,
doormen, bellhops, busboys, and shoeshines. Black women, like Ruth, worked mostly as washerwomen, maids, and
cooks in the houses of whites. After 1964, the vast majority
of black women and men continued to be excluded from
non-menial labor or were admitted into previously barred
sectors on a token system, proving dominant white society
was willing to allow exceptions to the rule but not change
the rule itself. To change “the rule” was literally to change
the rule, to upset the power dynamic deeply rooted in an
ideology of white supremacy and black subordination.
While black women and men work in a vast array of employment sectors today, “the rule” remains resistant to change.
According to the Bureau of Labor Statistics, in 2012 the
average earnings of white men were 24 percent higher than
14 CALIFORNIA SHAKESPEARE THEATER
for black men, those of white women were 16 percent higher
than for black women, and earnings of women in general
were almost 20 percent lower than for men. The disparities
between Latino populations and their white counterparts
were even more pronounced. Wage and salary disparities
highlight whose work is valued and whose is not. Nowadays,
when the average minimum wage earnings remain below the
poverty line for a family of three, the national unemployment
rate is 6.7 percent (almost twice this in black communities),
and millions of Americans wallow in student loan and consumer debt, the economic crisis of a black family in 1950s
Chicago does not feel so far removed.
Historically, black people who did not know how to “stay in
their place” were fired, blacklisted, violently assaulted, or
even lynched. What’s different today? From Emmett Till to
Rodney King, Trayvon Martin to Renisha McBride, blacks
have been brutalized and murdered as a result of being “out
of place” in behavior or in location. Furthermore, as Michelle
Alexander has shown in her book The New Jim Crow, the
school-to-prison pipeline disproportionately affects black and
brown youth, punishing students for being in underserved
communities and projecting onto children the image of
criminals (and treating them as no less). The result is mass
incarceration and a dominant public insensitive to the humanity of those labeled, and perceived to inevitably become,
criminals. These historically-rooted disparities and discriminations have never reflected on the capabilities of members
of these groups; rather, they have persisted across time to
illuminate the ways in which structures of racism and sexism
continue to prevail in society.
In watching Hansberry’s A Raisin in the Sun today, fifty-five
years after its premiere and during the tenure of the nation’s
first black president, we are reminded of the slow nature of
progress and the tight grip that power continues to have on
the minds and structures of our society. Lorraine Hansberry
was the first African American and the first woman to have
a play staged on Broadway; A Raisin in the Sun was also
the first play on Broadway directed by an African American,
Lloyd Richards. Beneatha, one of Hansberry’s characters, is
the first in her family to attend college and the first, it seems,
to recognize her black identity is not circumscribed by U.S.
borders but is connected to that of other blacks of the African diaspora (as demonstrated through her relationship with
Joseph Asagai). Mama (Lena Younger) also hopes to be the
first black family in an all-white neighborhood. There were
many African American firsts in these days, and black people
prided themselves on being, knowing, or hearing of trailblazers who withstood the storms of being the first and, many
times, the only, in all-white spaces.
WWW.CALSHAKES.ORG
How different are the times now? In 2001, the United States saw the appointment of the
first African American Secretary of State (Colin Powell), and the first African American
woman was appointed in 2005 (Condoleezza Rice). Innumerable black students continue
to have the experience of being the only black person in their college classes and of never
having a black professor on their campus in their field. Black children were even denied a
Disney princess that looked like them until 2009. Some might argue that progress is
progress and that the increase of black “firsts” shows a continual decrease in the spaces
long deemed “whites only.” However, if so much progress has been made, why are there
black “firsts” still happening? Why are they still so celebrated? It is because we are still
unaccustomed to the sight of black people in spaces of power and prominence—integration did not level the playing fields.
WE ARE TEMPORALLY
DISTANT FROM THE 1950S,
BUT EXPERIENTIALLY WE
ARE BUT A STONE’S
THROW AWAY.
When will black “firsts” stop mattering? Only when black people have just as much
access (voting, economic, educational), representation (in history books, children’s
entertainment, TV/film), and ultimately, power. Power to live, breathe, and be—without
being neglected, silenced, or persecuted. While the histories of exclusion and oppression
can never be erased, interventions in the legacies of these histories allows us all to come
a little closer to a state of shared and mutually recognized humanity.
We are temporally distant from the 1950s, but experientially we are but a stone’s throw
away. The nation has experienced tremendous growth and maturation in terms of shifted
ideologies and expanded structures to accept, support, and sustain the advancement of
oppressed and marginalized groups in society. Nevertheless, a number of the challenges
these groups face in our contemporary moment have existed in some form in the recent
historical past. A Raisin in the Sun is not a play about the ’50s. It is a play about the
everyday. It is a play about how the more life and history change, the more they remain
the same. What will you do to make a difference?
Amani Morrison is a PhD student in the African Diaspora Studies Program at
the University of California, Berkeley. Her research interests center upon the
ways in which black communities find, create, interrogate, and challenge
power in the realms of culture and representation.
encore art sprograms.com 15
SAVE THE DATES!
Meet the artists, save money on
tickets, sample local food and drink,
and more during the runs of A Raisin
in the Sun and The Comedy of Errors.
EVENTS
Inside Scoop
Free panel discussion
featuring directors and
artists—with coffee & ice
cream.
RAISIN IN
THE SUN
COMEDY OF
ERRORS
5/5,
Orinda
Library
6/12,
Cal Shakes
Rehearsal Hall
in Berkeley
5/21–23
6/25–27
5/24
6/28
5/25 &
6/8
6/29 &
7/13
Lower-Priced
Previews
Be a part of the process
by seeing the show before
opening, at a discounted
price.
Opening Night!
Mingle with cast, creative
team, and critics at a free
post-show party.
Meet the Artists
Matinees
Post-show chat with
cast & creative team.
Open-Captioned
Performances
Performances featuring
open captioning for
patrons who are deaf or
hard-of-hearing.
Teen Nights
A special pre-show
event for students ages
13-18.
5/28
7/2
6/3 &
6/12
7/8 &
7/17
Fridays in the Grove
A pre-show performance
of the Bay Area’s best
musicians, storytellers,
spoken word artists
in the Upper Grove.
Included in the ticket
price.
Complimentary
Tuesday Tastings
Enjoy pre-show samples
from local purveyors.
InSight Matinee
Post-show talk with the
dramaturg.
5/23,
6/27, 7/4,
5/30, 6/6,
7/11, 7/18
6/13
5/27, 6/3,
6/10
7/1, 7/8,
7/15
6/1
7/6
6/6
7/11
Camper Night
Students from our
prestigious Summer
Conservatories are
invited to come together
for pre-show activities
and picnicking.
Maker Workshop
Tap into your creativity
at our monthly Maker
Workshops. Suitable for
aspiring artists of all ages.
n/a
7/19
For complete descriptions of these and
other events, click calshakes.org/events.
UP NEXT:
THE
COMEDY OF
:
ERROREAS
SE
Ron Campbell
TWINS & A T
BY RESIDENT DRAMATURG PHILIPPA KELLY
Next up in our season is The Comedy of Errors, one of Shakespeare’s early-career gems. This comedy is, as my friend Michael
Paller has noted, an “incredibly dark” piece that can’t be performed that way. Spousal betrayal, husbands locked out of doors,
one woman accusing another of adultery, beatings administered
regularly by masters to servants—you’ll see it all in this play.
What’s there to laugh about? Everything. Helen Hayes Award- and
Barrymore Award-winning playwright and director Aaron Posner
leads a cast that includes favorites Danny Scheie, Liam Vincent,
and Ron Campbell; Tristan Cunningham, who captivated us in A
Winter’s Tale; and Patty Gallagher, who played the virtuosic Winnie in Happy Days in 2009. They’ll be joined by stars new to our
stage, Nemuna Ceesay and Adrian Danzig.
The Comedy of Errors takes place in the city of Ephesus in Turkey,
separated by two seas from Syracuse in Sicily, from whence one
“pair” of twins travels to find their fraternal match: the Antipholus
and the Dromio twins, born on the same day but separated via
one of Shakespeare’s favorite devices, a cruel storm, each twin left
for years to imagine his other half. Antipholus of Syracuse drags
his long-suffering servant Dromio with him as he wanders around
Ephesus looking for his twin. Strangeness compounds as the visitors are misrecognized by everyone (even spouses!), yet they don’t
seem to twig that they have been taken for their brothers. The
absurdity of this situation tips the play’s dark themes of loss and
brutality into non-stop hilarity: in the hands of the brilliant Aaron
Posner and his seven-person cast, you may laugh more in your two
hours at this play than you have for a long time.
Yet The Comedy of Errors is not just a farce: in its levels of misrecognition and loss, we see Shakespeare, very early in his career,
beginning a comic exploration into a theme that he’d return to
again and again in all kinds of genres. What makes us humans
“individuals?” The very word “individual” was in Shakespeare’s
day a complete paradox: it described both the unique features that
divide and distinguish one particular person from another, and, at
the same time, the sense that “you and I are indivisible.” In the
late sixteenth century, a time of medical advances and explorations to strange places, as well as cosmological revolutions, there
was much speculation on the topic of what, indeed, makes “you”
yourself.
In The Comedy of Errors the theme of nativity is referred to quite
a bit—with misidentified twins and a father who yearns to see
them reunited—but there’s no reference at all to procreation.
Even the courtesan is not linked to fecundity, but to rings, chains,
diamonds, and money. There is, I think, a sense in which Shakespeare saves the idea of regeneration for the re-joining of the
twins, the restitution of families, and idea of “coming home” to a
place you’ve never actually been before—yourself.
Nemuna Ceesay
Tristan Cunningham
Adrian Danzig
Patty Gallagher
Danny Scheie
Liam Vincent
WHO’S WHO
ACTING COMPANY
ROTIMI
AGBABIAKA*
(Joseph Asagai)
Rotimi Agbabiaka is
thrilled to make his Cal
Shakes debut. He most
recently appeared in
Once On This Island at
TheatreWorks and Oil
and Water with San
Francisco Mime Troupe. He has also performed
with Magic Theatre, Center REP, Berkeley
Repertory Theatre, and was a cast member
at Beach Blanket Babylon. His solo play,
Homeless, won Best Solo Performance at the
SF Fringe Festival. Rotimi was born and raised
in Nigeria, educated in Texas and Illinois, and
is glad to now call San Francisco home. He
received his MFA in Acting from Northern Illinois
University.
NEMUNA CEESAY*
(Beneatha)
Nemuna Ceesay is so
excited to be making
her Cal Shakes debut!
A recent graduate of
the Master of Fine Arts
Program at American
Conservatory Theater,
Ceesay has appeared in
A.C.T.’s A Christmas Carol and Major Barbara,
a co-production with Theatre Calgary which
performed in San Francisco as well as Calgary,
Alberta, Canada. She has appeared in MFA
Program productions of very still & hard to
see, The House of Bernarda Alba, Polaroid
Stories, Derek Walcott’s The Odyssey, Andrew
Lippa’s The Wild Party, The Strangest Kind
of Romance, Tartuffe, Twelfth Night, Seven
Guitars, and The Country Wife. She also worked
for two seasons at Summer Repertory Theatre
in Santa Rosa, performing shows in rotating
repertory, including Avenue Q, Sarah Ruhl’s
Passion Play, The Mousetrap, Hairspray, A Flea
in her Ear, and The Piano Lesson. Ceesay holds
a BA in theater from UC Irvine’s Claire Trevor
School of Arts.
MARGO HALL*
(Lena Younger)
Ms. Hall is delighted to
return to Cal Shakes,
where she has appeared
in A Winter’s Tale,
American Night: The
Ballad of Juan Jose,
and Spunk. Her recent
credits include Be Bop
Baby: A Musical Memoir, which she also wrote
in collaboration with Nakissa Etemad, at Z
Space; The Motherf**ker With the Hat at SF
Playhouse; Fences and Seven Guitars at Marin
Theatre; Fabulation for Lorraine Hansberry
18 CALIFORNIA SHAKESPEARE THEATER
Theatre; Marcus; or the Secret of Sweet and
Once in a Lifetime at A.C.T.; and Trouble in
Mind at Aurora Theatre. Hall is a founding
member of Campo Santo, the resident theater
company at Intersection for the Arts, where she
has directed and acted in over 15 productions
including plays by Chinaka Hodge, Jessica
Hagedorn, Naomi Iizuka, Philip Kan Gotanda,
Octavio Solis, and many more. In 2005, she
made her writing debut as a collaborating
writer on Leigh Fondakowski’s The People’s
Temple, which won the Will Glickman Award
for best new play for 2005, and premiered at
Berkeley Rep. She has also performed at Arena
Stage, Olney Theater, and Source Theater in
Washington, D.C. and the Guthrie Theater in
Minneapolis, and has toured France with Word
for Word.
MARCUS
HENDERSON*
(Walter Lee Younger)
Marcus Henderson is
a recent Yale School of
Drama graduate who
hails from St. Louis,
Missouri. Much of his
work has been in film;
recent credits include
Whiplash (2014), which was screened at the
2014 Sundance Film Festival and won the
Grand Jury Prize; Bobo Noir (2014); a role
on the CBS TV series The Crazy Ones (2014),
created by David E. Kelley; the short film
Dystopia (2013); and in the 2012 film Django
Unchained, directed by Quentin Tarantino,
which won an Academy Award for Best Original
Screenplay. Marcus is very happy to be at Cal
Shakes for the first time of what he hopes to be
many more to come.
RYAN NICOLE
PETERS
(Ruth Younger)
Ryan Nicole Peters is
an award-winning artist/
activist whose creative
work ranges from theater
to poetry to music. The
2007 Bay Area Black
Music Award-winner
for Spoken Word began her sincere artistic
pursuits after graduating from San Diego
State University, where she studied Political
Science and Sociology and received honors as a
scholarship track & field athlete. Since returning
to her hometown of Oakland, California, Ryan
has written and acted for Cal Shakes in Hamlet:
Blood in the Brain, Playwrights Foundation’s
Tree, 700th & International, and played the
lead in SF Playhouse’s production of The Story.
When she is not acting or performing with
her hip hop group Nu Dekades, she is serving
her community as a non-profit consultant for
RPA Consulting. Ryan is overjoyed to join Cal
Shakes again for this production of A Raisin
in the Sun and looks forward to many more
opportunities to work with this phenomenal
company.
LIAM VINCENT*
(Karl Lindner)
Liam most recently
appeared as Bob
Cratchit in A Christmas
Carol at the American
Conservatory Theater.
Past Cal Shakes
productions include
Twelfth Night, Romeo
and Juliet, Private Lives, Titus Andronicus,
Candida, The Taming of the Shrew, King Lear,
Richard III, The Merry Wives of Windsor, Henry
IV, The Comedy of Errors, and A Midsummer
Night’s Dream. Mr. Vincent has also appeared
in productions at the Alliance, the Huntington,
Aurora, TheatreWorks, Marin Theater Company,
SF Playhouse, Portland Center Stage, Arizona
Theater Company, Shakespeare Santa Cruz,
Pasadena Playhouse, San Jose Rep, Magic
Theatre, Soho Rep, the Civilians, Campo Santo,
Encore Theatre Company, and San Francisco
Shakespeare Festival. He is a graduate of
Boston University.
YORK WALKER*
(George Murchison,
Bobo)
York Walker is thrilled
to be making his Cal
Shakes debut with A
Raisin in the Sun! He is
a recent graduate of the
American Conservatory
Theater’s Graduate
Acting Program where he performed in Seven
Guitars, Twelfth Night, Tartuffe, Richard II,
The Wild Party, very still & hard to see, The
House Of Bernarda Alba, and Polaroid Stories.
He was recently seen on the A.C.T. mainstage
in A Christmas Carol and Napoli. Regional
credits include: The House Of Bernarda Alba
(Moscow Art Theatre); Hairspray (Gateway
Playhouse); Let Bygones Be and Heist!
(34th Annual Humana Festival); Dracula, A
Christmas Carol, and Important People (Actors
Theatre of Louisville); As You Like It, Allistair,
and Everything Is Ours (Chautauqua Theater
Company). York also received a BA in Acting
from Illinois State University.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
WWW.CALSHAKES.ORG
WHO’S WHO
ZION RICHARDSON
(Travis Younger)
Mr. Richardson is a tenyear-old fifth-grader who
loves life, his family,
and basketball. His first
Cal Shakes appearance
was in last season’s
production of A Winter’s
Tale, where he played
Mamillius and was in the ensemble. This is the
second time he has appeared in A Raisin in
the Sun; he was previously in a production at
the African-American Shakespeare Company in
San Francisco, where he played Travis under
the direction of his A Winter’s Tale cast-mate L.
Peter Callender.
AJANI BARROW
(Travis Younger
[Alternate])
Ajani Barrow, age 9,
performed at the Grand
Lake Montessori Opera
Camp in 2012 and
2013. His first opera
was Harlequin; in 2013,
he was in The Wisdom
Tree. Ajani appeared as Grandpa in Bay Area
Children’s Theatre 2014 production of Charlie
and the Chocolate Factory. He is thrilled to be
making his Cal Shakes debut and hopes it is the
first of many more to come.
HOWARD JOHNSON
JR.
(Moving Man 1,
Ensemble)
Howard Johnson Jr. is
an actor and stand-up
comedian who has
worked on stage, film,
and television. While this
is his first appearance at
Cal Shakes, he previously performed in Othello
at the San Francisco Shakespeare Festival,
Romeo & Juliet at Shotgun Players, Death of
a Salesman at Laney College, A Midsummer
Night’s Dream and Oda Oak Oracle at Stanford
University, Fences at Tabia Theatre Ensemble,
and Black Ballin’ at Oakland Public Theater.
As a television actor he has appeared in Final
Witness, Trauma, and Nash Bridges. His film
credits include acting roles in Pig Hunt, One
Take Western, The Making Of… and Prophet.
Mr. Johnson also wrote the stage play Epoch
Blue, a jazz play based on true events in the
lives of jazz legends Miles Davis, John Coltrane,
and Thelonious Monk, which is now being
adapted for the screen. Mr. Johnson studied
acting at University of Minnesota and received
Shakespeare training from Stanford University.
In addition to his acting work, Johnson is an
ordained minister and teaches drama to at-risk
youth throughout the Bay Area, the Twin Cities,
and abroad.
DREW WATKINS
(Moving Man 2,
Ensemble)
Drew Watkins was born
and raised in Oakland,
and left his hometown to
study psychology at the
University of Arizona. He
recently graduated from
the Meisner Technique
Studio in San Francisco, where he honed his
acting skills. Watkins has been performing on
stage since he was eight years old. He is excited
for his first Cal Shakes show, and hopes it will
be the first of many.
CREATIVE TEAM
PATRICIA
MCGREGOR
(Director)
Ms. McGregor is a
Harlem-based director,
writer, and deviser of
new work. Last season
she directed A Winter’s
Tale at Cal Shakes, and
the season before that
she directed the critically-acclaimed Spunk.
Recent credits include Nothing Personal at
New York Live Arts (part of the LIVE IDEAS:
James Baldwin Festival), Adoration of the Old
Woman at Intar, Becky Shaw at Roundhouse
Theater, The Mountaintop at Philadelphia
Theatre Company, and the world premieres
of Hurt Village at Signature Theatre Center
and Indomitable James Brown at Summer
Stage and the Apollo. Other directing credits
include Holding it Down with Grammy Award
nominee Vijay Iyer and Mike Ladd and Blood
Dazzler with renowned poet Patricia Smith and
choreographer Paloma McGregor at Harlem
Stage, Jelly’s Last Jam, Romeo and Juliet, Four
Electric Ghosts, Cloud Tectonics, Eleemosynary,
The French Play, In The Cypher, Lady Day
at Emerson’s Bar and Grill, Sidewalk Opera,
Dancing in the Dark, The Covering Skyline,
and In the Meantime. Ms. McGregor spent the
summer at the Williamstown Theater Festival
developing the new musical Loving v Virginia.
She is also developing the musicals Stagger
Lee with Will Power and Girl Shakes Loose
Her Skin with Sonia Sanchez, Imani Uzuri,
and Zakiyyah Alexander. She was associate
director of Fela! on Broadway and has worked
at venues including NYSF Shakespeare in the
Park, BAM, Second Stage, the Public Theater,
the Kitchen, the O’Neill, Lincoln Center
Institute, Exit Art, and Nuyorican Poetry Café.
This year she directed the world premiere of
Marcus Gardley’s The House That Will Not
Stand, which played at both Berkeley Rep and
Yale Rep. She cofounded Angela’s Pulse with
her sister, Paloma. Angela’s Pulse creates vital
choreoplays and fosters collaboration among
artists, educators, organizers, academics and
other diverse communities in order to illuminate
under-told stories, infuse meaning into the
audience experience, and animate progress
through the arts. Ms. McGregor attended the
Yale School of Drama where she was a Paul and
Daisy Soros Fellow and Artistic Director of the
Yale Cabaret.
DEDE M. AYITE
(Scenic Designer)
Dede Ayite has designed sets and costumes for
both theater and film. Her past design credits
include The Music Man in Concert (Two Rivers,
NJPAC), Kurt Metzger (Comedy Central),
Adoration of the Old Woman (Intar), Woyzeck
(UM, Amherst), Look Upon Our Lowliness
(TMTC), Fox Shortcoms (FOX Network),
COPPER Project (Improve Everywhere /BBC
America), Last Laugh (soloNOVA Festival),
Mary Stuart (directed by Robert O’Hara)
(NYU), Hollow Roots (The Public UTRF),
Holding it Down (Harlem Stage), Vassa (Lee
Strasburg Institute), Illmatic (Urban Stages),
The Piano Lesson (Yale Repertory Theatre),
Smile Orange (Trinidad), The Seagull and Every
Other Hamlet In the Universe (Yale School Of
Drama), Passing and Orestes (Yale Cabaret),
American Schemes (Summer Stage NYC), and
Frozen, The Fantasticks and No Exit (Lehigh
University). Selected Associate/Assistant credits
include: Lady Day… (Broadway), Othello
(Guthrie), Witness Uganda (ART), Fences
(LWT, McCarter), The Laramie Project (BAM),
Wild with Happy (Public Theatre), Hurt Village
(Signature Theatre), The Common Pursuit
(Roundabout Theatre), and Compulsion (Yale
Rep). Dede Ayite has a MFA in Design from the
Yale School of Drama and BA in Theatre and
Behavioral Neuroscience from Lehigh University.
KATHERINE NOWACKI
(Costume Designer)
Ms. Nowacki is thrilled to be returning to
Cal Shakes for A Raisin in the Sun. Her most
recent work includes Death of a Salesman
(TheatreWorks Colorado Springs) and A Winter’s
Tale (Cal Shakes). Assistant work includes
the world premiere of The Legend of Georgia
McBride (Denver Center Theatre Company) and
The Tempest (American Repertory Theater). Her
design work with Big Thought in Dallas brought
together her love of theater and arts education.
Their program Creative Solutions provides atrisk teens a safe alternative to the streets by
helping first-time juvenile offenders channel
their energy into the visual and performing arts.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
encore art sprograms.com 19
WHO’S WHO
She is a member of installation art and theater
group Dead White Zombies, creating work that
emphasizes new, experimental, and collectivelycreated performance work that defies categories
and conventions. She holds an MFA from
Southern Methodist University in Dallas and a
BFA in Costume Design from Southern Oregon
University.
GABE MAXSON
(Lighting Designer)
For Cal Shakes: The Tempest (2012). Other Bay
Area designs: Terminus (Magic Theatre), Good
People and Circle Mirror Transformation (MTC),
Carey Perloff’s Higher (American Conservatory
Theater), The Companion Piece (Z Space),
Assassins (Shotgun Players), Hunters Point
(Strange Angels), Les Liaisons Dangereuses
(Porchlight), So I Married Abraham Lincoln and
That Obscure Subject of Desire (Paufve Dance).
Gabe was an artistic associate at The Wooster
Group (NYC) from 2002-2011. He co-designed,
with renowned designer Jennifer Tipton, the
premieres of La Didone (2008), Hamlet (2006,
2011), and Poor Theater (2004), and cocreated the interactive video installation There Is
Still Time... Brother (2007). He is recipient of
a 2009 TBA CA$H Grant (with his wife, actress
Michelle Maxson), a 2011 Lighting Artists
in Dance award, and a 2010 Emmy Award
nomination as co-producer of the award-winning
documentary film Fixer: The Taking of Ajmal
Naqshbandi (HBO Documentary Films, 2009,
NYTimes Critics’ Pick). Gabe is an assistant
professor of Production and Design, as well as
production manager and resident designer, at
the University of San Francisco.
WILLIAM MCCANDLESS
(Sound Designer)
Design credits at Cal Shakes: Winter’s Tale,
Lady Windermere’s Fan, Spunk, Blithe Spirit,
and Candida. Other recent designs include
Venus in Fur, Napoli!, 4000 Miles, and
Higher for American Conservatory Theater,
I and You and The Whipping Man for Marin
Theatre Company, and The Great Gatsby
and The Whipping Man for Virginia Stage
Company. McCandless has been a visiting
artist at San José State University, University
of San Francisco, Sonoma State University, St.
Mary’s College of California, and Solano College
Theatre. McCandless has received two Bay Area
Theatre Critics Circle Awards for sound design
and has been a recipient of the Landisman
Fellowship, a program of Theatre Bay Area.
NANCY CARLIN
(Text and Vocal Coach)
Ms. Carlin has appeared in many Cal Shakes
productions including Man and Superman,
Nicholas Nickleby, Julius Caesar, Twelfth Night,
and A Midsummer Night’s Dream. She has
performed with American Conservatory Theater,
Berkeley Rep, Oregon Shakespeare Festival, San
Jose Rep, TheatreWorks, Shakespeare Santa
Cruz, Aurora Theatre, Marin Theatre Company,
SF Playhouse, the Jewish Theatre San
Francisco, and Shotgun Players. Ms. Carlin has
directed productions for Aurora Theatre, Foothill
Theatre Company, Lake Tahoe Shakespeare
Festival, B St. Theatre, SF Playhouse, TJT-SF,
A.C.T.’s MFA program, Center REP, PlayGround,
Shakespeare Santa Cruz, and the AfricanAmerican Shakespeare Company where she will
be directing The Tempest this fall. Carlin is a
lecturer at UC Santa Cruz and is the co-author
of the musical, Max Understood, which will
have its premiere in San Francisco, produced
by Paul Dresher Ensemble, next spring. She
holds a BA in comparative literature from Brown
University and an MFA in acting from A.C.T.
LAXMI KUMARAN*
(Stage Manager)
Ms. Kumaran is enjoying her fourth season
at Cal Shakes where she has stage-managed
A Winter’s Tale, Lady Windermere’s Fan,
American Night, Hamlet, Spunk, Candida,
and Titus Andronicus. In the Bay Area, Ms.
Kumaran has also stage-managed for San
Jose Rep and Center REP. Before moving to
the Bay Area, Ms. Kumaran stage-managed
in Chicago for a variety of theaters, including
the Goodman Theatre and the Court Theatre.
Some of the directors with whom she has
had the pleasure of working include Patricia
McGregor, Liesl Tommy, Joel Sass, Jonathan
Moscone, Rick Lombardo, Christopher Liam
Moore, Timothy Near, Amy Glazer, Richard
Seer, John McCluggage, Kirsten Brandt, Barbara
Damashek, Michael Butler, Robert Falls,
Mary Zimerman, David Ira Goldstein, JoAnne
Akalaitis, Robert Woodruff, Karin Coonrod, Gary
Griffin, and David Cromer. Ms. Kumaran has
taught stage management classes at UC Santa
Cruz; San José State; Northern Illinois, DePaul
and Northwestern universities; and currently
teaches at the University of California Berkeley.
CHRISTINA HOGAN*
(Assistant Stage Manager)
Christina is very excited to be back at Cal
Shakes! Her previous Cal Shakes credits
include (as Production Assistant) Romeo
and Juliet, Blithe Spirit, The Tempest, The
Verona Project, The Taming of the Shrew, The
Pastures of Heaven, Much Ado About Nothing,
A Midsummer Night’s Dream, and (as Stage
Management Intern) Twelfth Night. Other
theater credits include work at Magic Theatre,
Marin Theatre Company, A.C.T. Conservatory,
Shotgun Players, TheatreFIRST, and Town Hall
Theatre. Christina has a BFA in Theatre Arts
from Saint Mary’s College of California.
CAL SHAKES PROFILES
JON MOSCONE
(Artistic Director)
Jonathan Moscone
is in his 15th season
as artistic director of
California Shakespeare
Theater, where he
most recently directed
American Night: The
Ballad of Juan José
and where he will direct Shaw’s Pygmalion
for the 2014 season. His other credits include
Tribes at Berkeley Rep, and the world premiere
of Ghost Light, which he co-created and
developed with playwright Tony Taccone for
Oregon Shakespeare Festival and Berkeley
Rep. In addition, he directed Bruce Norris’
Clybourne Park for American Conservatory
Theater. For Cal Shakes, Jonathan has directed
the world premiere of John Steinbeck’s The
Pastures of Heaven by Octavio Solis, The Life
and Adventures of Nicholas Nickleby, Candida,
Twelfth Night, Happy Days, Much Ado About
Nothing, The Tempest, and The Seagull. He is
the first recipient of the Zelda Fichandler Award,
given by the Stage Directors and Choreographers
Foundation for “transforming the American
theatre through his unique and creative work.”
His regional credits include Intersection for the
Arts, the Huntington Theatre, Alley Theatre,
Milwaukee Repertory Theater, Goodspeed
Musicals, Dallas Theater Center, San Jose
Repertory Theatre, Intiman Theatre, and
Magic Theatre, among others. Jonathan
currently serves as a board member of Theatre
Communications Group.
SUSIE FALK
(Managing Director)
Ms. Falk was appointed
Cal Shakes’ Managing
Director in February
2009, after serving
for four years as Cal
Shakes’ Marketing
Director, overseeing all
marketing, sales, and
public relations efforts for the Theater, as well as
box office and front of house operations. During
her tenure, the company has seen ticket revenue
increase by 24% and completed a rebranding
effort. She previously served for five years as
Press and Public Relations Director for Berkeley
Repertory Theatre. Prior to that, she spent five
years in the PR and Marketing Departments
at American Conservatory Theater, and one
season as part of the Professional Arts Training
Program at Seattle Rep. She served for seven
years on the board (four as vice president) of
Theatre Bay Area, the local service organization
for theater companies and theater workers. She
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
encore art sprograms.com 21
Be
Flexible.
Flex Subs
start as low
as $80.
AFFORDABLY-PRICED
FLEX SUBSCRIPTIONS
GIVE YOU FOUR VOUCHERS
TO USE AT ANY TIME,
FOR ANY SHOW.
See all four plays yourself,
pick two and bring a guest,
or bring a group to the
performance of your choice.
To purchase for yourself
or as a gift, call our box
office at 510.548.9666
or visit calshakes.org.
22 CALIFORNIA SHAKESPEARE THEATER
WHO’S WHO
is a graduate of Vassar College and completed
course work in organizational psychology at JFK
University in Pleasant Hill. She lives in Berkeley
with her husband, lighting designer York
Kennedy, and their daughter Pippa.
REBECCA NOVICK
(Director of Artistic Engagement)
Ms. Novick was the founder of Crowded Fire
Theater Company and served as its artistic
director for 10 years, growing the company
from an all-volunteer group to one of San
Francisco’s most respected small theaters. She
has developed and directed new plays for many
theaters in the Bay Area and elsewhere, and,
among other awards, her directing work has
been recognized by the Goldies for outstanding
local artist. Ms. Novick has also held a number
of arts management and consulting positions
including serving as interim arts program officer
for the San Francisco Foundation, project
coordinator for the Wallace Foundation Cultural
Participation Initiative in the Bay Area, and
director of development and strategic initiatives
for Theatre Bay Area. She regularly writes and
speaks on issues relating to the arts sector;
recent publications include contributions to
20under40, the GIA Reader, Counting New
Beans, and Theatre Bay Area Magazine.
Ms. Novick has a BA from the University of
Michigan in drama and anthropology.
CLIVE WORSLEY
(Director of Artistic Learning)
Clive Worsley assumed the reins as Director of
the Cal Shakes Artistic Learning Department
in August of 2013, and has been one of Cal
Shakes’ premiere Teaching Artists since 2002.
He was instrumental in developing some of
the first integrated arts public school residency
programs, and is the moderator of our popular
Student Discovery Matinee program. Clive is
familiar to all age groups at our popular Summer
Shakespeare Conservatories as both a Master
Class Instructor and Director. From 2008–2013,
Mr. Worsley also served as Artistic Director
of Town Hall Theatre in Lafayette, where he
brought about both artistic and fiscal success.
As an award-winning actor he has appeared on
many Bay Area stages including Cal Shakes,
Berkeley Rep, TheatreWorks, Marin Theatre
Company, the Magic, Center REP, Shotgun,
and others. Mr. Worsley brings a longstanding
passion for and holistic philosophy of arts
education to the company. He believes strongly
in the power of theater to educate and enrich
people regardless of age or background and
looks forward to building upon the great success
of the Artistic Learning programs.
PHILIPPA KELLY
(Resident Dramaturg)
Dr. Kelly’s work has been supported by many
foundations and organizations, including the
Fulbright, Rockefeller, and Walter and Eliza
WWW.CALSHAKES.ORG
Hall Foundations. She publishes widely, from
books on Shakespeare (her latest being The
King and I, Arden Press, 2010, a meditation
on Australian identity through the lens of King
Lear), to papers on dramaturgy and topics
of cultural engagement (her most recent
discussion of dramaturgy can be found in the
Cambridge Journal of Postcolonial Inquiry,
2014). Besides her work for Cal Shakes, Dr.
Kelly has also served as production dramaturg
for the Oregon Shakespeare Festival and Word
for Word Theater Company. For the 2013–2014
academic year she has been practicing and
teaching dramaturgy at the University of
California, Berkeley. She also teaches regularly
for the Osher Lifelong Learning Institute in
Berkeley. For most of the summer she can be
found out here at Cal Shakes, where she is one
of the regular pre-show Grove Talk speakers.
She is married to composer Paul Dresher and
they have one son, Cole.
DAVE MAIER
(Resident Fight Director)
Mr. Maier is an award-winning fight director who
has composed violence for several Cal Shakes
productions including Hamlet, Spunk, Titus
Andronicus, Macbeth, Romeo & Juliet, King
Lear, Richard III, A Midsummer Night’s Dream,
and As You Like It. His recent credits includes
Pericles (Berkeley Rep); Tales of Hoffmann and
The Gospel of Mary Magdalene (SF Opera);
and Reasons to Be Pretty (SF Playhouse).
His efforts have been seen on many Bay Area
stages including American Conservatory Theater,
San Jose Rep, Shakespeare Santa Cruz, and
Shotgun Players, among others. He is a Full
Instructor of Theatrical Combat with Dueling
Arts International and a founding member of
Dueling Arts San Francisco. He is currently
teaching combat-related classes at Berkeley Rep
School of Theatre and Saint Mary’s College of
California.
PRODUCERS
ELLEN & JOFFA DALE
(Executive Producers)
Long-time subscribers and donors, Ellen and
Joffa Dale live in Orinda. Ellen is serving her
second stint on Cal Shakes’ Board of Directors;
she was also on the board in 1991 when
the Bruns Amphitheater first opened. While
Ellen and Joffa thoroughly enjoy picnics and
performances at the Bruns, the primary focus
of their donations is Artistic Learning. They
believe that the lives of children reached by Cal
Shakes’ education programs are enormously
enriched and that these children are the artists
and audiences of the future. Ellen and Joffa
also helped establish the Moscone Permanent
Endowment and are charter members of the Cal
Shakes Legacy Circle.
WHO’S WHO
CRAIG & KATHY MOODY
(Producers)
Craig and Kathy Moody love Cal Shakes. Craig
is from a theatrical family; his mother and father
both acted and directed professionally, and Craig
acted through high school, college, law school,
and summer stock. The Moodys first saw Cal
Shakes’ production of The Taming of the Shrew
13 years ago, the same week as the RSC’s
inferior production of Shrew at the Herbst. From
that time on they have been ardent Cal Shakes
supporters, ushering, donating, and bringing
friends to every production. Craig joined the Cal
Shakes Board of Directors in 2012. They have
one child, Ross, a recent graduate of UCLA (BA)
and Cambridge (M.Phil) who is still searching
for the perfect job while editing scientific
papers. They reside in Piedmont where Kathy is
a teacher’s aide. Craig recently retired from his
antitrust litigation practice.
THANK YOU TO OUR
Corporate Partners and Individual Benefactors
FOR MAKING OUR RAISE THE ROOF GALA
SUCH A CEILING-SHATTERING SUCCESS
Lead Corporate Partners
Corporate Partners
Gold Benefactors
Bob Epstein & Amy Roth
Bruce & Debby Lieberman
Sharon & Barclay Simpson *
Harvey & Gail Glasser
Nicola Miner & Robert Mailer Anderson *
Barbara Sklar
Matthew Goudeau
Craig & Kathy Moody *
Frank & Carey Starn *
Dr. & Mrs. Jeffrey Hays*
Peter & Delanie Read *
Carol Upshaw
Nancy Kaible & David Anderson
Jim & Nita Roethe
Steven Winkel & Barbara Sahm
Fred Levin & Nancy Livingston
Robert & Laura Sehr
Jay Yamada
Silver Benefactors
OUR CORPORATE PARTNERS
BART
(Presenting Partner)
The Bay Area Rapid Transit District (BART)
is a 104-mile, automated rapid transit system
serving over three million people. Forty-four
BART stations are located in Alameda, Contra
Costa, San Francisco and San Mateo counties,
and serve to truly connect the Bay Area.
BART’s mission is to provide a safe, reliable,
economical, and energy-efficient means of
transportation.
With gas prices climbing ever higher and
everyone looking to green their commute, BART
expects a lot more people will be looking to
BART, as riders get the equivalent of 250 miles
to the gallon. Don’t forget that you can BART
to Bard—Cal Shakes offers a free BART shuttle
from the Orinda BART station. BART... and
you’re there!
Jacqueline Carson & Alan Cox
Michael & Phyllis Cedars *
Phil & Chris Chernin
Josh & Janet Cohen
Ellen & Joffa Dale *
Joe Di Prisco & Patti James *
Henry & Vera Eberle
Nancy & Jerry Falk *
David & Diane Goldsmith
Dan Henkle & Steve Kawa
Jeanne Herbert
Erin Jaeb & Kevin Kelly *
Jeffer Mangels Butler & Mitchell LLP *
Maureen & Calvin Knight
Walter Moos & Susan Miller
Jonathan Moscone & Darryl Carbonaro
Rick Norris & David Madsen
Nancy Olson
* Benefactors marked with
an asterisk are table sponsors.
ASHLAND 2014
Into the Woods
Music and Lyrics by
Stephen Sondheim
Book by James Lapine
June 4 – October 11
MEYER SOUND LABORATORIES
(Presenting Partner)
Family owned and operated since 1979,
Meyer Sound Laboratories, Inc. designs and
manufactures high-quality, self-powered sound
reinforcement loudspeakers, digital audio
systems, active acoustic systems, and sound
measurement tools for the professional audio
industry. Founded by John and Helen Meyer,
the company has grown to become a leading
worldwide supplier of systems for theaters,
arenas, stadiums, theme parks, convention
centers, houses of worship, and touring concert
sound-rental operations. Meyer Sound systems
are installed in many of the great venues of the
world, including the Berlin Philharmonie and
Estonia’s Nokia Concert Hall; and in several
well-loved Bay Area venues, such as The
Fillmore, Yoshi’s, Berkeley Rep, and Freight &
Salvage Coffeehouse. Celine Dion, Metallica,
and countless other artists use Meyer Sound’s
equipment on tour. Meyer Sound’s main office
Norm & Janet Pease
Michael & Virginia Ross
Sondra & Milton Schlesinger
Judy & John Sears
Jean Simpson
Kate Stechschulte & David Cost
Eleven Plays in Three Theatres
February 14–November 2
1-800-219-8161 • www.osfashland.org
Miriam A. Laube in Into the Woods
encore art sprograms.com 23
WHO’S WHO
and manufacturing facility are located in
Berkeley, California, with additional satellite
offices located around the world.
SAN FRANCISCO MAGAZINE
(Presenting Partner)
San Francisco magazine is proud to celebrate
40 years of award-winning coverage of the Bay
Area lifestyle—from food, fashion, and culture
to politics, trends, and trendsetters. Through its
history, San Francisco has been honored with
more than 50 awards for editorial and design
excellence. In 2010, it won the most coveted
award in the magazine industry, the General
Excellence award given by the American Society
of Magazine Editors—and has been nominated
again this year. This recognition substantiates
San Francisco’s passion and commitment to
publish the Bay Area’s best magazine—as well
as one of the nation’s best.
CITY NATIONAL BANK
(Season Partner)
Founded in California 60 years ago, City
National Bank supports organizations that
contribute to the economic and cultural vitality
of the communities it serves. City National
has grown to nearly $30 billion in assets,
providing banking, investment and trust services
through 77 offices, including 16 full-service
regional centers in the San Francisco Bay Area,
Southern California, Nevada, New York City,
Nashville, Tennessee, and Atlanta, Georgia. The
corporation and its wealth management affiliates
oversee more than $64 billion client investment
assets, and has been listed by Barron’s as one
of the nation’s top 40 wealth management
firms for the past 13 years. City National Bank
provides entrepreneurs, professionals, their
businesses, and their families with complete
financial solutions on The way up®.
LAFAYETTE PARK HOTEL & SPA
(Season Partner)
The Lafayette Park Hotel & Spa is pleased to
support Cal Shakes and serve as “home away
from home” for Cal Shakes artists. With its
French Chateau architecture, legendary service,
plush accommodations, award-winning cuisine,
and full-service spa, the Lafayette Park Hotel
& Spa provides one of the only Four Diamond
experiences in the East Bay. Enjoy amazing
cuisine at the Park Bistro Restaurant before
the show, or stop by the Bar at the Park for
a drink afterwards. The Hotel features more
than 10,000 square feet of indoor and outdoor
meeting space and is the ideal location for social
events and corporate meetings. To be sure, the
most elegant and memorable events are held at
this “Crown Jewel of the East Bay.”
24 CALIFORNIA SHAKESPEARE THEATER
PEET’S COFFEE & TEA
(Season Partner)
Peet’s Coffee & Tea is proud to be the exclusive
coffee sponsor of California Shakespeare
Theater’s 2014 season. Peet’s Coffee & Tea has
earned an international reputation for quality
since its founding in Berkeley in 1966. Peet’s
has also been a valued supporter of California
Shakespeare Theater since 2001. Peet’s salutes
Cal Shakes on another wonderful season of
reimagining the classics and bringing new works
to the stage.
KBLX-FM
(Production Partner)
KBLX-FM is the Bay Area’s Urban Adult
Contemporary radio station that broadcasts
from San Francisco. Broadcasting on 102.9
FM, KBLX is the home of Steve Harvey Morning
Show. KBLX plays the best in R&B, spinning
such artists as Stevie Wonder, Michael Jackson,
Beyoncé, Prince, Usher, Alicia Keys, Charlie
Wilson, Robin Thicke, John Legend, Chaka
Khan, and many more.
UNITED AIRLINES
(Production Partner)
As a global airline, United has a singular goal
of making the world a better place for its
customers and employees to live, work, travel,
and do business. With a deep commitment
to the vitality of our communities, United is
pleased to serve the California Shakespeare
Theater as its official airline and proudly
supports their remarkable contributions to the
arts here in Bay Area and beyond. Together
with the California Shakespeare Theater, United
celebrates the theater’s vision to expand the
possible by exhilarating minds, igniting passion,
and nourishing individuality.
AFFILIATIONS
This Theater operates under an agreement
between the League of Resident Theatres
and Actors’ Equity Association, the Union
of Professional Actors and Stage Managers
in the United States. The Directors and
Choreographers are members of the Stage
Directors and Choreographers Society, an
independent national labor union. The scenic,
costume, and lighting designers are represented
by United Scenic Artists, Local USA-829 of the
IATSE. California Shakespeare Theater is an
Equal Opportunity Employer.
WWW.CALSHAKES.ORG
OUR STORY: PART ONE
THE JOHN HINKEL PARK YEARS
Continued from page 7.
led the company through its search for new
premises, culminating in Professor Hugh
Richmond’s near-arrest and an eventual
move to the Bruns.
Many remarkable artists joined the
Festival in the early days, including Annette
Bening, Robin Goodrin Nordli, Howard
Swain, Nancy Carlin (who continues as
an Associate Artist with the company
today), Lura Dolas, Richard E.T. White,
and Julian López-Morillas. The collective
spirit required everyone to pitch in to make
ends meet, and Dolas, for example, recalls
her multiple roles on and off-stage—administrative work, publicity, directing,
script cutting, driving the van from venue
to venue, and, in the off-season, running
a teaching conservatory. Jim Carpenter,
lacking a beard, was obliged to carefully
cut the hair of the company mascot dog
for a performance of The Comedy of Errors
(coming up in the next slot of our season,
hopefully, though, with no need to coif
Jonathan’s Chihuahua, Lucy). The company members’ resourcefulness in these
early days puts me very much in mind of
how Shakespeare and his actors must have
worked. They, too, made and hauled their
own props, and they, too, had neighbors
who didn’t want them (forcibly shut down
at one point, Shakespeare and his troupe
had to break down their theater and carry
its parts across the Thames in the middle
of the night.) “It is not in the stars to hold
our destiny, but in ourselves…” Four hundred years apart, the members of regional
theater companies are living proof of this.
THANKS TO OUR DONORS
INDIVIDUALS
These contributors made gifts between April 1, 2013 and March 31, 2014. Levels of support are based on cumulative gifts to our
annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used
matching gifts from their employers to multiply their initial contribution. Supporters noted with a cross (†) donated at the Benefactor
level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our
apologies and contact Ian Larue at 510.899.4907 or [email protected] so that we may correct our records.
$25,000 and above
Anonymous
Ellen & Joffa Dale†
Erin Jaeb & Kevin Kelly†
Maureen & Calvin Knight†
Helen & John Meyer
Nicola Miner & Robert Mailer Anderson†
Delanie & Peter Read†
Michael & Virginia Ross†
Jean Simpson†
Sharon & Barclay Simpson†
Jay Yamada†
$10,000–$24,999
Anonymous (2)
Henry & Vera Eberle†
Harvey & Gail Glasser†
David & Diane Goldsmith†
Craig & Kathy Moody†
Nancy Olson†
Shelly Osborne & Steve Tirrell
Arthur & Toni Rembe Rock
Monica Salusky & John Sutherland in memory of
Riley Goodness
William & Nathalie Schmicker
Alan Schnur & Julie Landres
Frank & Carey Starn*†
Teresa & Patrick Sullivan
Buddy & Jodi Warner†
George & Kathleen Wolf
$5,000–$9,999
Anonymous (2)
Simon Baker
Michael & Phyllis Cedars†
Phil & Chris Chernin†
Mary Curran & John Quigley
Joe Di Prisco & Patti James†
Bob Epstein & Amy Roth†
Ken & Julie Erwin
Nancy & Jerry Falk†
Elise & Tully Friedman
Rena & Spencer Fulweiler
Dr. & Mrs. Jeffrey Hays†
Ken Hitz
Mark Horowitz & Jody Buckley
Barbara E. Jones in memory of William E. Jones
John Kemp & Mary Brutocao
Fred Levin & Nancy Livingston, The Shenson
Foundation†
Ashley & Antonio Lucio
Richard Norris & David Madsen†
Janet & Norman Pease† in honor of Patti James,
Dana Taylor, and Midge Zischke
Ms. Janee Pennington-Watson & Mr. Colin Watson
Jim & Nita Roethe†
Michele & John Ruskin
Barbara Sahm & Steven Winkel† in memory of
Gene Angell
Yvonne & Angelo Sangiacomo
Miriam & Stanley Schiffman
Sondra & Milton Schlesinger†
Charles & Heidi Triay
David & Maria Waitrovich
$2,500–$4,999
Anonymous
Ann & Clifford Adams
Ann Appert
Valerie Barth & Peter Wiley
Mr. & Mrs. Richard Bertero
Jeff Bharkhda
Nina & David Bond
Wai & Glenda Chang
Josh & Janet Cohen†
Ron & Gayle Conway
Jan Deming & Jeff Goodby
Andrew Ferguson & Kay Wu
Patrick W. Golden & Susan Overhauser
Mimi & Peter Haas Fund
Ardice Hartry & Paul Covey
Randy & Bev Hawks
Nancy Kaible & David Anderson†
Jean & Jack Knox
Lisa & Scott Kovalik
Gina & David Larue
Bill & Carol Leimbach
Debby & Bruce Lieberman† in honor of
Sharon & Barc Simpson
Walter Moos & Susan Miller†
Jonathan Moscone & Darryl Carbonaro†
Mary Prchal
Noralee & Tom Rockwell
Patti & Rusty Rueff
Tiffany Schauer
Judy & John Sears†
Debbie Sedberry & Jeff Klingman
Laura & Robert Sehr†
Mary Jo & Arthur Shartsis
Maureen Shea & Allen Ergo
M.J. Stephens & Bernard Tagholm in memory of
Juniper Marley Allen
Steven Sterns & Barry Klezmer
Virginia & Thomas Steuber
Christine & Curtis Swanson
Carol Jackson Upshaw in honor of Jonathan Moscone†
Muriel Fitzgerald Wilson
Beverly & Loring Wyllie
Michael H. Zischke & Nadin Sponamore
$1,000–$2,499
Anonymous
Frank & Loren Acuna
Stephanie & N. Thomas Ahlberg
Melissa Allen & Elizabeth Andreason
Pat Angell
Susan M. Avila & Stephen Gong
Eugene & Neil Barth
Megan Barton & Brian Huse
Stephanie & David Beach in honor of Amanda Starr
Mercer
Laura & Paul Bennett
Liz & Richard Bordow in honor of Dr. Michael Cedars
Erin Bydalek & Patrick Bengtsson*
Pamela & Christopher Cain
Joe & Nicole Carberry
Steven & Karin Chase
Debbie Chinn in honor of the Staff of the Carmel Bach
Festival, Susie Falk, and Megan Barton
Alice Collins & Len Weiler
Tony Cone & Wendy Rader
Debra Crow
Diana & Ralph Davisson
Pam & Wayne Dewald
Ellen Dietschy & Alan Cunningham in honor of
Philippa Kelly
Lois De Domenico
Barbara Duff in memory of George Duff
Donald Engle & Karen Beernink
Susie Falk & York Kennedy
Mimi & Jeff Felson
Shelley & Elliott Fineman
Kevin Fitzgerald
Sally & Michael Fitzhugh
Dale & Jerry Fleming
Jessica & James Fleming
Vincent Fogle & Emily Sparks
Stanlee Gatti
Kathleen & Karl Geier
William & Vanessa Getty
Carol & Richard Gilpin
Judith & Alexander Glass
Werner Goertz & Elizabeth Harvey
Pamela & John Goode
Janie & Jeff Green
Charles & Katherine Greenberg
Garrett Gruener & Amy Slater
Tish & Steve Harwood
Remy Hathaway
Joyce Hawkins & John W. Sweitzer
Chris & Marcia Hendricks
Paul Hennessey & Susan Dague*
Elizabeth & Thomas G. Henry
Jeanne Herbert†
Bonnie & Tom Herman
Craig & Margaret Isaacs
Mary Anna & Martin H. Jansen, M.D.
Timothy Kahn & Anne Adams
Elizabeth Karplus
Bruce Kerns & Candis Cousins
Sheryl & Anthony Klein
Kim & Max Krummel
Jennifer Kuenster & George Miers
Jerry Kurtz
Dr. Todd & Pamela Lane
Adair Langston-Holway & William Langston
Connie & John Linneman
Eileen & Richard Love
Natalie Lucchese in memory of Sam Lucchese
June & Andy Monach
Linda & Chris Moscone
Patricia & David Munro
Lizzie & John Murray
Carol & Richard Nitz*
Deborah O’Grady & John Adams
Drs. Oldrich & Silva Vasicek
Candace & Richard Olsen
Eleanor Parker
Dr. & Mrs. Irving Pike
Pauline Proffett & Matthew Fabela
Paul A. Renard
Rachel Rendel
Velma & Hugh Richmond
Maria & Danny Roden
Lesah & Jeffrey Ross
Claire Roth
encore art sprograms.com 25
INDIVIDUAL DONORS, CONTINUED
Rob & Eileen Ruby Philanthropic Fund of the Jewish
Community Foundation of the East Bay
Patricia & Glenn Rudebusch
Barbara & Jerry Schauffler
Martha G. Schimbor
Margie & Jim Shaughnessy
Cathleen Sheehan & Kenneth Sumner
Jo Schuman Silver
Jennifer & Will Sousae
Gail & Rick Stephens
Sue & Terry Stiffler
Paul & Susan Sugarman
Mr. & Mrs. Richard Thieriot
Nancy Thomas
Barbara & Richard Thompson
Phyllis & Jim Thrush*
Beth Ann & Michael Ward in honor of
Sharon & Barclay Simpson
Anne & Paul Wattis
Prentiss & Janice Wilson
Drs. Bonnie Zell & Manuel Torres
Midge & Peter Zischke
$750–$999
Anonymous (2)
William Anderson
Michael & Sandra Cleland
Craig Congdon*
Jacqueline Carson & Alan Cox†
Frank & Margaret Dietrich
Lori & Gary Durbin
Sharon & Leif Erickson
Gita & Louis C. Fisher
James Fortune
Laura & William Gorjance
Dan Henkle & Steve Kawa†
Xanthe & James Hopp
Eleanor & Richard Johns
Bill & Joey Judge
Michael Huston & Marcia Cho
James & Rosaleen Kelly
Arline Klatte & Jon Ennis
Michael & Samantha Leo
Joy Lienau-Armstrong
Randall & Rebecca Litteneker
Kheay Loke & Martha McGrady
Elizabeth Lowe
Eileen & Peter Michael
Nancy & Gene Parker
Mark & Claire Roberts
Jirayr Roubinian
Diana Sanson & Ben Compton in honor of
Jean Simpson
Linda Schwartz
David A. Shapiro, M.D. & Sharon L. Wheatley
Barbara Sklar†
Gary Sloan & Barbara Komas
Robert St. John & M. Melanie Searle
Anne Marie & Tom Taylor
Jeff Wagner
Meredith & Jeffrey Watts
$500-$749
Anonymous (4)
Kay & David Aaker
Beth & Phil Acomb
Ann & Russ Albano
Claire & Kendall Allphin
Jose & Carol Alonso
Barbara Aumer-Vail & Steve Vail
Robin Azevedo
Mary Jo & Norm Baietti
Elizabeth Balderston
Joyce & Charles Batts
L. Karin & Bob Benning
26 CALIFORNIA SHAKESPEARE THEATER
Sara Benson
Paula Blizzard & David Brown
Nancy & Roger Boas
Marilyn & George Bray
Jean & John Brennan
Germaine Brown
Bronwyn & Kevin Brunner
Doree & Andrew Burstein
Judith Butler
Joan Byrens
Stacey Callies
Jo Alice & Wayne Canterbury
Katherine & Henry Chesbrough
Jane & Thomas Coulter
John F. Cove, Jr. & Natalie Balfour
Chris & Lynn Crook
Jill & Chuck Crovitz
Theresa Cullen
Maria Dichov
Eric Dittmar & Gayle Tupper
Corinne & Michael Doyle
Karin Eames
Lynn & Bill Evans
Ilse & Jim Evans
Mary & Benedict Feinberg
Claudia Fenelon & Mark Schoenrock
Scott & Joan Fife
Peter Fisher
Kerry Francis & John Jimerson
Nancy Francis
Doris Fukawa & Marjan Pevec
Charla Gabert & David Frane
Gopnik & Lewinski Family
Matthew Goudeau†
Kathleen & David Graeven
Kristi & Arthur Haigh
George Haley & Theresa Thomas
Harriet Hamlin & James Finefrock
Patricia & Brian Hanafee
Sonny & Bruce Hanson
Phil Hunsucker & Kristi Helmecke
Lisa & Michael Holmes
Ben & Sarah Holzemer
Leslie & George Hume
Carole & Philip Johnson
Ken Johnson
Karin & Patrick Johnston
Malcolm Jones & Karen Roche
Leslie & Murray Kalish
Mr. Marshall Kido
Thomas Koegel & Anne LaFollette
Joseph Lee
Susan & Donald Lewis
Kate & Thomas F. Loughran
Jean & Lindsay MacDermid
Elena Maslova
Mary & Howard Matis
Marsha Maytum & William Leddy
Yvonne Clinton-Mazalewski & Robert Mazalewski
Eugene McCabe
Jacquelyn McCormick & Michael Salkin
Will McCoy
Nion T. McEvoy
Paul & Ellen McKaskle
Charlie & Casey McKibben
Kimberly & Jerry Medlin
Alex Miller & Leslie Louie
D. G. Mitchell
Pia & Chris Mittlestaedt
Terri Mockler
Ronald Morrison
Jennifer & Brian Mosel
Marilyn & David Nasatir
Joseph Navarro & Billie Jones
Rebecca Novick
WWW.CALSHAKES.ORG
Ann & John Nutt
Marie & Jim O’Brient
William Ostrander & Janice L. Johnson
Sharon & Bill Owens
Cindy Padnos & Jim Redmond
Berniece & Charles Patterson
Carol & Mark Penskar
Carey Perloff & Anthony Giles
Mariana Portella
Craig Pratt
Pam Rafanelli
Hillary & Jonathan Reinis
Judith & William Roberts
Julie & Andrew Sauter
Patti & Paul Sax
Joyce & Kenneth Scheidig
Marcus Segal
Lucille & John Serwa
James Shankland & Leslie Landau* in honor of
the Queen’s Own
Heidi Shale & Earl Cohen
Neil Sitzman
Eric & Erica Sklar
Betsy Smith
Carrie & Jason Smith
H. Marcia Smolens
Valerie Sopher
Stephanie & Robert Sorenson
David Starke
Alexandra & Peter Starr
Tony Taccone & Morgan Forsey
Ragesh Tangri
James Topic & Terry Powell
Martha Truett & David White
Dawson & Andrew Urban
Jamie & Gerry Valle
William Van Dyk & Margaret Sullivan
Jackie Wallace
Jennifer & Perry Wallerstein
Kelvin Wate
Doug Welsh
Wendy & Mason Willrich
Barbara & Craig Woolmington-Smith
Joe Wynne
Linda & Warren Zittel
CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT
We are grateful for the generous investment of the following foundations, corporations, and government agencies, which
support our 2014 artistic and educational programs. Multiyear grants are designated with a double asterisk (**).
PRESENTING PARTNERS
$100,000 and above
The William and Flora Hewlett
Foundation**
The James Irvine Foundation**
The Andrew W. Mellon Foundation**
Meyer Sound
$50,000–$99,999
BART
The Dean and Margaret Lesher
Foundation**
$25,000–$49,999
Cal Shakes
City National Bank
KBLX
National Endowment for the Arts
Otter Cove Foundation
San Francisco Magazine
The Shubert Foundation
$10,000–$24,999
SEASON PARTNERS
Blueprint Studios
Chevron Corporation
James N. Cost Foundation†
Dale Family Fund
Sidney E. Frank Foundation
Ann and Gordon Getty Foundation
The Thomas J. Long Foundation
The Gordon and Betty Moore Foundation
John Muir Health
KCBS
MCJ Amelior Foundation
McRoskey Mattress
Peet’s Coffee & Tea
United Airlines
$5,000–$9,999
Baker Avenue Asset Management
Lafayette Park Hotel & Spa
The Bernard Osher Foundation
Theatre Development Fund
Wells Fargo Foundation
Up to $4,999
SEASON
PRODUCTION PARTNERS
Alameda Theatre + Cineplex
Aquarium of the Bay
Archer Norris
Aurora Theater Company
B Cellars
Berkeley Acupuncture Project
Berkeley Repertory Theatre
Boisset Wine Living
Cafe Rouge
The Carneros Inn
Caterpillar Foundation
Chez Panisse
Classic Catering
Clif Family Winery
David Rubin Travel
Delfina Restaurant
Dodge & Cox
DuMol Wine Company
Electronic Arts
Frances Restaurant
The French Laundry
The FruitGuys
Helicon Collaborative
Hyatt Regency Century Plaza
J. & H. Billing Services
John’s Grill
Judd’s Hill
Lamborn Family Vineyards
Meadowood Napa Valley
Mechanics Bank
The Olympic Club
Original Joe’s
Pier 39
Pizzaiolo
PricewaterhouseCoopers LLP
Ram’s Gate Winery
Rialto Cinemas
Rock Wall Wine Company
Safeway, Inc.
San Francisco Chronicle
The Sanctuary
St George Spirirts
The Tech Museum
TWANDA Foundation
UC Berkeley Library
Wanut Creek Yacht Club
Walt Disney Family Museum
Waterbar
The Whittier Trust Company in Honor of
Jonathan Moscone
TASTING PARTNERS
Mindy Jade Chocolates
Coco Tutti
R&B Cellars
Urbano Cellars
Crofter’s Organic
Upper Crust Pies
MATCHING GIFTS
Adobe Systems, Inc.
Apple
AT&T Foundation
Bank of America
Caterpillar Foundation
Chevron Humankind
Google
J.P. Morgan Chase Foundation
McKesson Foundation
Sidley Austin
Visa
Wells Fargo
Organizations Providing Donor-Advised
Funds
The San Francisco Foundation
Foundation Source
Fidelity Charitable Gift Fund
Renaissance Charitable Foundation
Schwab Charitable Fund
Jewish Community Federation
Bank of America Charitable Gift Fund
East Bay Community Foundation
encore art sprograms.com 27
MISSION
With Shakespeare's depth of humanity
as our touchstone, we build character
and community through authentic,
inclusive and joyful theater experiences.
BOARD
OF DIRECTORS
EXECUTIVE COMMITTEE
Buddy Warner
PRESIDENT
Jean Simpson
FIRST VICE PRESIDENT
Susie Falk
VICE PRESIDENT* AND MANAGING
DIRECTOR
Jonathan Moscone
VICE PRESIDENT* AND ARTISTIC
DIRECTOR
Marshall Kido
VICE PRESIDENT
Alan Schnur
VICE PRESIDENT
Kate Stechschulte
VICE PRESIDENT
Ellen Dale
SECRETARY
Jay Yamada
TREASURER
*ex-officio
IN MEMORY
The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late
son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis,
NY, on December 14, 1942. He came to California with his family at the age
of seven, and attended Pleasant Hill High School, where he played football and
took the North Coast Championship in Greco-Roman wrestling. At the Air Force
Academy, he became the AAU wrestling champion. He earned a Master’s Degree
in Mechanical Engineering from Ohio State University. George rode Brahma bulls
and saddle broncs, and loved to ride horses through the Siesta Valley where
the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile
accident just before he was due to ship out for service in Vietnam. California
Shakespeare Theater honors the memory of Lt. George H. Bruns III.
ABOUT THE BRUNS AMPHITHEATER
Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the
East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks
to serve the public with a community facility while preserving the watershed with minimal
disruption to the pastoral surroundings. This land may be open to the public for performances
and private events, but remains restricted private property at all other times.
PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS
28 CALIFORNIA
SHAKESPEARE
THEATER
WWW.CALSHAKES.ORG
(PHOTO BY JAY
YAMADA); LADY
WINDERMERE'S FAN (PHOTO BY JAY YAMADA);
LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).
DIRECTORS
Jeff Bharkhda
Michael Cedars
Phil Chernin
Mike Cleland
Joshua Cohen
Ellen Dale
Sonny Hanson
Erin Jaeb
Tony Kallingal
Maureen Knight
Craig Moody
Richard Norris
Nancy Olson
Linda Clark Phillips
Jim Roethe
John Ruskin
Sharon Simpson
Frank Starn
ADVISORY COUNCIL
Wayne Canterbury
Bob Epstein
Peter Fisher
Allison Goldstein
Jeff Green
Anne Grodin
Nancy Kaible
Jennifer King
Lesa McIntosh
Tapan Munroe
Susan Rainey
Carole Rathfon
Peter Read
Hugh Richmond
John Sears
Francesca Vietor
Sarah Woodard
2014 COMPANY
Jonathan Moscone ARTISTIC DIRECTOR ASSOCIATE ARTISTS
Jenny Bacon, ACTOR
L. Peter Callender, ACTOR
Ron Campbell, ACTOR
Nancy Carlin, ACTOR
James Carpenter, ACTOR
Catherine Castellanos, ACTOR
MaryBeth Cavanaugh, CHOREOGR APHER
Julie Eccles, ACTOR
Daniel Fish, DIRECTOR
Dan Hiatt, ACTOR
Jennifer King, TE ACHING ARTIST
Domenique Lozano, ACTOR
Andy Murray, ACTOR
Meg Neville, COSTUME DESIGNER
Ryan Nicole Peters, WRITER AND ACTOR
Lisa Peterson, DIRECTOR
Andre Pluess, COMPOSER /SOUND DESIGNER
Jake Rodriguez, COMPOSER /SOUND DESIGNER
Stacy Ross, ACTOR
Mark Rucker, DIRECTOR
Susannah Schulman, ACTOR
Danny Scheie, ACTOR
Lynne Soffer, DIALECT AND TE X T COACH
Octavio Solis, PL AY WRIGHT
Stephen Barker Turner, ACTOR
Scott Zielinski, LIGHTING DESIGNER
TEACHING ARTISTS
Elizabeth Carter, Scott Coopwood, Allysa
Evans, Brett Jones, ZZ Moor, Dan Saski, Anna
Schneiderman, Lauren Spencer, Trish Tillman,
Marissa Wolf, Clive Worsley, Elena Wright,
C L ASSROOM RESIDENCIES
Molly Aaronson-Gelb, Heidi Abbot, Elizabeth
Carter, Allysa Evans, Brit Frazier, Susan-Jane
Harrison, Laura Marlin, Erin Merritt, Ryan
O’Donnell, Carla Pantoja, Patrick Russell, Clair
Slattery, Tommy Statler, Anna Smith, Trish
Tillman, Wendy Wisely, Marissa Wolf, Elena
Wright, Elizabeth Vega, Kat Zdan, S UMMER
SHAKESPE ARE CONSERVATORY DIRECTORS AND
TE ACHERS
Derek Fischer, Anna Smith, Jacinta Sutphin, Trish
Tillman, Elena Wright, C L ASSES & AF TER SCHOOL
PROGR AMS
Katy Adcox, Brett Jones, S UMMER
SHAKESPE ARE
All listings current as of September 5, 2013
CONSERVATORY COORDINATORS
ARTISTIC & DRAMATURGY
Rebecca Novick, DIRECTOR OF
ARTISTIC
ENGAGEMENT
Philippa Kelly, RESIDENT DR AMATURG
Sonya Taylor, COMMUNIT Y PARTICIPATION
COORDINATOR
Clea Shapiro, ARTISTIC
ASSOCIATE
ARTISTIC LEARNING
Clive Worsley, DIRECTOR
Beverly Sotelo, ARTISTIC
OF ARTISTIC LE ARNING
LE ARNING PROGR AMS
MANAGER
Whitney Grace Krause, ARTISTIC
LE ARNING
Susie Falk MANAGING DIRECTOR
FINANCE AND ADMINISTRATION
Noralee Rockwell, DIRECTOR OF FINANCE
Joyce Fleming, DIRECTOR OF HUMAN RESOURCES
Jamie Buschbaum, OPER ATIONS MANAGER /
E XECUTIVE ASSISTANT
COORDINATOR
Marivie Koch, BUSINESS
PRODUCTION
Tirzah Tyler, PRODUCTION MANAGER
Chris Hammer, TECHNICAL DIRECTOR
Naomi Arnst, COSTUME DIRECTOR
DEVELOPMENT
Megan Barton, DIRECTOR OF DE VELOPMENT
Ian Larue, ANNUAL FUND MANAGER
Andrew Page, GR ANTS MANAGER
Shelly Jackson, SPECIAL E VENTS MANAGER
Renée Gholikely, DE VELOPMENT COORDINATOR
STAGE MANAGEMENT
Christina Hogan, Laxmi Kumaran, Karen Szpaller,
S TAGE MANAGERS
Cheryle Honerlah, Christina Larson, Cordelia
Miller, P RODUCTION ASSISTANTS
SCENERY
Colin Suemnicht, ASSISTANT TECHNICAL DIRECTOR
Patrick Fitzgerald, Erin Gibb, Megan Lush,
ARPENTERS
C
SCENIC ART
Letty Samonte, SCENIC CHARGE ARTIST
Sophia Fong, Shannon Walsh, O VERHIRE
PAINTERS
ELECTRICS
Del Medoff, MASTER ELECTRICIAN
Melina Cohen-Bramwell, SE ASON FOLLOWSPOT
Hamilton Guillén, LIGHTING RUN SUPERVISOR
SOUND
Will McCandless, AUDIO SYSTEMS CONSULTANT
Brendan Aanes, Lawton Lovely, Xochitl Loza,
IXERS
M
Christopher Lossius, SOUND BOARD OP
COSTUMES & WARDROBE
Jessa Dunlap, RENTALS MANAGER
Eva Herndon, DESIGN ASSISTANT
Liesl M. Seitz Buchbinder, R AISIN CUT TER /DR APER
JoAnne Martin, Karly Tufenkjian, F IRST HANDS
Linda Ely, Franzesca Mayer, Coeli Polanski,
S TITCHERS
Meave Kelly, Suzanne Ryan, V OLUNTEER STITCHERS
Jessa Dunlap, CR AF TSPERSON
Marcy Frank, CR AF TS OVERHIRE
Jessica Carter, WIG & MAKEUP DESIGNER
Shannon Dunbar, WARDROBE LE AD
OFFICE ASSISTANT
MARKETING & COMMUNICATIONS
Janet Magleby, DIRECTOR OF MARKE TING &
COMMUNICATION
Marilyn Langbehn, MARKE TING & PR MANAGER
Keith Spencer, PUBLICATIONS MANAGER
Callie Cullum, GR APHIC DESIGNER / WEBMASTER
PATRON SERVICES
Pam Webster, PATRON SERVICES MANAGER
Molly Conway, PATRON SERVICES ASSISTANT
MANAGER
Steven Bailey, Ashleigh Edelsohn, Nan Noonan,
Rhoda Slanger, Sheila Yee, P ATRON SERVICES
ASSOCIATES
BOX OFFICE & FRONT OF HOUSE
Derik Cowan, BOX OFFICE MANAGER
Kelvyn Mitchell, ASSISTANT BOX OFFICE MANAGER
Molly Conway, Kimberlee Hicks, Jasmine Malone,
Brittany White, B OX OFFICE ASSOCIATES
Michael Ross, HOUSE MANAGER
Jordan Battle, LE AD ASSISTANT HOUSE MANAGER
Carolyn Day, Heidi Hayame, Belgica Rodriquez,
H OUSE ASSOCIATES
PROPERTIES
Seren Helday, PROPERTIES MASTER
Sarah Spero, PROPERTIES ARTISAN
Brittany White, Sean Carroll, P ROPERTIES
OVERHIRES
FACILITIES
Trevor Carter, ENGINEER AND FACILITIES MANAGER
Brittany White, Noel Payne, M
AINTENANCE
TECHNICIANS
PRODUCTION PROGRAM
Volume 23, No. 1
Keith Spencer, EDITOR-IN- CHIEF
Callie Cullum, ART DIRECTOR
Janet Magleby, E XECUTIVE EDITOR
encore art sprograms.com 29
FYI
IMPORTANT INFORMATION FOR OUR PATRONS
CONTACT US
ACCESSIBILITY
Box Office: 510.548.9666 or [email protected]
(Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm)
Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710
Website: calshakes.org
Social Media: Facebook.com/calshakes Twitter.com/calshakes
Pinterest.com/calshakes
Group Sales (10+): 510.809.3290
General: 510.548.3422 or [email protected]
Program Advertising: Mike Hathaway, Encore Media Group,
800.308.2898 x105 or [email protected]
Facilities Rental: 510.548.3422 x123
Costume Rental: 510.548.3422 x111
Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and our
free shuttle.”
Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes. We
can also book seats, adjacent to yours, for up to three companions. (Make sure
to request this seating at time of purchase.)
Assistive Listening Devices: Available at no charge from the blanket kiosk on a
first-come, first-served basis.
Open-captioned Performances: Cal Shakes is proud to provide open captioning for patrons who are deaf or hard-of-hearing on the following dates: May 28
(A Raisin in the Sun), July 2 (The Comedy of Errors), August 6 (Pygmalion),
and September 10 (A Midsummer Night’s Dream). Open captioning utilizes an
unobtrusive screen at the front of the theater to display dialogue spoken during
a performance. No special equipment is required by patrons; one can simply
glance at the screen to read the text while watching the action on stage.
TICKETS AND SEATING
Ticket Exchange & Replacement: Subscribers and Flex Subscriber may
exchange tickets at no cost up to 24 hours in advance of the time and date
of their scheduled performance; single ticket holders may do so for a $10
fee. If you lose or misplace your tickets, the Box Office can arrange for
replacements at no extra charge.
Discounts: For information on discounted tickets for military, age 30 and
younger, and student/senior rush, visit calshakes.org/discounts.
20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance
this season, making it easier for more people to enjoy theater. Simply call
the Box Office between noon and 2pm the day of the show and ask to
purchase “20 for $20” tickets. (Subject to availability.)
Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections, you will need to bring your own chair or rent one from us. If you
choose to bring your own, it must be a low-backed beach chair with a
seat no more than six inches off the ground and a backrest no taller than
shoulder height. If you need to rent a chair from us, you’ll find them at the
upper entrance to the Terrace for just $3.
BRUNS AMPHITHEATER
100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing address)
Hours: Box office and grounds open two hours before performance time.
Come prepared for the outdoors: Blankets are available to the right of
the main Amphitheater entrance for a suggested $2 donation; please
dress warmly for cold nights and bring sunscreen and a hat for matinees.
To keep yellow jackets at bay, keep food covered whenever possible and
promptly dispose of trash and recyclables. We’ve also found fabric softener
dryer sheets work well to keep repel yellow jackets.
Take BART and our free shuttle: Cal Shakes provides free, wheelchair
lift-equipped shuttle service between the Orinda BART station and the
Theater beginning 2 hours prior to and at the end of each performance.
The shuttle runs approximately every 20 minutes; the final shuttle leaves
the Orinda BART station approximately 20 minutes before curtain. Orinda
BART pickup is in the BART parking lot to the right of the station exit;
after the show, catch the shuttle on the Sue & George Bruns Plaza.
AMPHITHEATER ETIQUETTE
Arrive on time: Latecomers will be seated at an appropriate interval at the
House Manager’s discretion.
Silence all electronic devices before the performance begins.
Recording: The video and/or audio recording of this performance by any means
whatsoever are strictly prohibited.
Keep the aisles clear during the performance.
Do not take photos of the performance. The use of any type of camera, video
or audio recorder in the amphitheater is strictly prohibited. Such devices may
be confiscated at the House Manager’s discretion.
Observe all signage including directional signage on the grounds. It is posted
for your safety.
Smoking is restricted to area designated: Look for the bench and ashtray on
the plaza across from the café. Electronic cigarettes are allowed in the groves,
plaza, and anywhere on the grounds with the exception of the Amphitheater.
Be scentsitive: Perfumes or scented lotions may cause discomfort to other
patrons and may attract yellow jackets. Please keep use to a minimum.
Picnicking: You’re welcome to enjoy food and beverages during the performance, but please be courteous to others. Unwrap all items before the performance begins or at intermission so as not to disturb your fellow patrons.
ENVIRONMENTAL STEWARDSHIP
Recycling: Please use the labeled recycling bins to discard glass, aluminum,
plastic, and paper; a portion of the proceeds from the value of our recycled
materials is donated to area schools.
Solar: Cal Shakes is one of largest solar-powered outdoor professional theaters
in the country. The 144 260-watt panels and four 9000-watt inverters of our
Turn Key 37.4 kilowatt DC solar electric system are designed to supply up to
98% of the power needs to the Bruns Amphitheater.
Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon
Simpson Center’s living roof boasts native, drought-resistant plants.
EVACUATION PLAN
SHARON SIMPSON CENTER AMENITIES
Café by Classic Catering: Offering a wide selection of gourmet meals,
wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens
two hours before the performance and at intermission. Catering is available for groups (10+) and special events; call 925.939.9224.
Restrooms: Located to the left of the Café. (Additional restrooms are
located in the Upper Grove.)
First Aid: For assistance, please go to the House Management Office,
located inside to the left of the restrooms.
Emergency Phone: Since we ask all patrons to silence cell phones
during performances, you may leave the House Office phone number
(925.254.2395) as your contact number during a performance.
STAGE
EXIT
EXIT
EXIT
P
EXIT
EXIT ROUTE
PRIMARY AREA OF REFUGE
(MEETING PLACE FOR ALL
AUDIENCE MEMBERS)
UPPER
GROVE
30 CALIFORNIA SHAKESPEARE THEATER
WWW.CALSHAKES.ORG
THE SHARON SIMPSON
CENTER
SECONDARY AREA OF REFUGE
FIRE HYDRANTS
LORRAINE HANSBERRY’S
DreamS
PLAYWRIGHT
Lorraine Hansberry
AND DREAMS
Deferred
On April 1, 1960, playwright Lorraine Hansberry scrawled
a list of her “likes” and “dislikes” on a legal pad. This
offhand scrawl is remarkable for the great insight it
provides into Hansberry’s desires, fantasies, and feelings at
the moment of composition—“Shakespeare,” “Eartha Kitt”
and “being alone” are all listed as things she likes, while
“what has happened to Sidney Poitier,” “racism,” and “my
loneliness” she includes as “dislike.” (“My homosexuality”
appears twice, in both columns.)
We asked director Patricia McGregor and actor
Margo Hall to write their own lists of likes and dislikes,
in the spirit of Hansberry’s piece. We also solicited our
fans on Facebook and Twitter to do the same. If you’d like
to contribute, we encourage you to submit your likes and
dislikes to the ongoing list. Just tweet at @calshakes on
Twitter with the hashtag #likes, #dislikes or #dreams.
DIRECTOR
PATRICIA MCGREGOR
Cal Shakes fans:
@Zendaya
#likes: sunsets, glamour, feeling fierce... #dislikes: ignorance,
judgments, hatred. #dreams: living my life!
@xo_nautica
#likes: family, clothes, & roller coasters. #dislikes: rats, pie, &
bullying #dreams: Be successful at everything I put my mind to.
@darceloverazor
#likes: fashion, singing, family, acting, puppies. #dislikes: bullies,
fear, racism. #dreams: be a successful singer and actress!
@megananomous
ACTOR
MARGO HALL
#likes: horseback riding, music, dancing. #dislikes: folding fitted
sheets, hate of any kind. #dreams: everyone to love each other
@singingspice
#dream: to be a part of something someone will remember for
the rest of their lives
@livelongjne
#dreams: I hope to write something - someday - that will put a
smile on Lorraine Hansberry’s face. She inspires me. Reading
her words gave me a much needed push, and I want to live and breathe - “young, gifted, and Black.” :-)
encore art sprograms.com 31