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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