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A sneak peek at Tribes 9 · Dario Fo: An open revolutionary 18 · The program for Accidental Death of an Anarchist 27
THE BERKELEY REP M AGA ZINE
2 013 –14 · I S S U E 5
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I N T H I S I S SU E
B E R K E L E Y R E P P R E S E N T S ACCIDE NTAL DEATH OF AN ANARC HI ST · 27
M E E T T H E C A S T & C R E W · 28
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 35
A letter from the managing director · 7
Individual donors to the Annual Fund · 36
Memorial and tribute gifts · 39
9
Michael Leibert Society · 39
R E P ORT
Sneak peek at Tribes · 9
Face time with Tony · 10
A BOU T BE R K E L E Y R E P
Building an ensemble · 13
Staff and affiliations · 40
In honor of... · 15
Board of trustees and sustaining advisors · 41
FYI
18
F E AT U R E S
Dario Fo: An open revolutionary · 18
The accidental death of an
actual anarchist · 20
Everything you need to know about our box
office, gift shop, seating policies,
and more · 42
The clown jumped over the moon · 24
24
T H E B E R K E L E Y R E P M AG A Z I N E
201 3 –14 · I S S U E 5
The Berkeley Rep Magazine is published
at least seven times per season.
Editor
Karen McKevitt
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725 or
[email protected].
Art Director
Nora Merecicky
Graphic Designer
Jared Oates
Writers
Sam Basger
Daria Hepps
Pauline Luppert
Julie McCormick
Karen McKevitt
Alexandra Williams-Fleck
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email [email protected]
Fascinated with the astonishing natural beauty of Lake George in upstate
New York, Georgia O’Keeffe reveled in the discovery of new subject matter that
energized her signature modernist style. From magnified botanical compositions
to panoramic landscapes, this exhibition offers a deeper understanding of the
spirit of place that was essential to O’Keeffe’s artistic evolution.
This exhibition is organized by The Hyde Collection, Glens Falls, New
York, in association with the Georgia O’Keeffe Museum, Santa Fe,
New Mexico. The exhibition is supported by the National Endowment
for the Arts. The foundation sponsor is the Henry Luce Foundation.
F E B R UA RY 15— M AY 1 1 , 2 0 1 4
HE RB ST E X H I BI T I O N G A L L E R I E S
The presentation at the de Young is made possible by the Ednah Root Foundation, the
San Francisco Auxiliary of the Fine Arts Museums, and the Lisa and Douglas Goldman Fund.
Media Sponsors
Georgia O’Keeffe, Petunias, 1925. Oil on board. Fine Arts Museums of San Francisco, museum purchase,
gift of the M. H. de Young Family. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York
Golden Gate Park • deyoungmuseum.org
PROL OG U E
from the Artistic Director
I first met Dario Fo some 30 years ago. I picked
him up at the airport, and he immediately asked if I could take
him and his party (he never went anywhere without a large,
rambunctious entourage) to a restaurant. Any restaurant.
We went to a Chinese place in the Mission where the group
proceeded to consume mountains of food while shouting to/
at each other in Italian. People started to stare. Taking this
as a personal challenge, Dario stood up and took stock of
the room. To my shock and amazement, he began moving
from table to table, introducing himself in Italian and then
launching into a series of animal impressions. Donkeys, giraffes, dogs…by the time
he got to the baboons everyone in the place was howling. He took phone numbers,
told people about his show, and left to a standing ovation. It was one of the greatest,
spontaneous performances I have ever seen.
Fo’s plays (50 and counting!) bear that same distinction: you can read them all
you want, but they only come alive in performance. They are built around his persona
as a professional Fool, a court jester whose job is to expose the hypocrisy of the state
and to satirize all forms of corruption. The Fool speaks the truth when no other person dares to: he creates jokes that are based in reality and relentlessly ridicules those
who have lied, cheated, or killed to attain power. In that sense, the Fool is a teacher,
and the conspiratorial laughter he creates with the audience is both relieving and
alarming. Fo’s entire career has been dedicated to the creation of subversive laughter.
He has famously taken on politicians, the police, and, his personal favorite, the pope.
For his efforts he’s been vilified and adored, condemned as an outlaw and celebrated
as champion of the people. At one point the State Department labeled him as a dangerous criminal, and for many years he was barred from entering the United States.
Just before I met him, the ban was lifted and Fo was allowed to perform at theatres across the United States and at any restaurant he frequented. Accidental Death
of an Anarchist, written in 1970, was first produced in America in the mid-’80s and
has been performed the world over. This revival brings Steve Epp back to Berkeley,
himself a Fool of the first order. He teams up again with expert director Christopher
Bayes, who has spent a lifetime studying commedia dell’arte and observing the political machinations of our world. Together they reprise the story of a disastrous police
investigation, one that seems all too common today. They’ve armed the Fool (called
“maniac” in this play) with an updated political rant, just to make sure we’re all in on
the fun. Fresh from Yale Rep where the play enjoyed great run, we welcome them
back to Berkeley, along with the great Dario Fo.
Sincerely,
Tony Taccone
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201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 5
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Volume 46, No. 6
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FRI Mar 28 8PM
Stage and screen legend Liza Minnelli will
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PROL OG U E
from the Managing Director
When you walked into the lobby today, you
may have noticed posters for a play that hasn’t received much
attention to this point. Yes, Berkeley Rep is very pleased to
host the 10th-anniversary production of Brian Copeland’s Not
a Genuine Black Man in April. If we’ve piqued your interest
about this show, you may then have been struck by its location at the Osher Studio. What and where, you may ask, is
that? Well, if you’ve never seen Brian Copeland, a terrific Bay
Area artist, and if you’ve yet to see the Osher, then it’s probably time for you to see both!
Our Osher Studio may be the most significant new performance space in downtown Berkeley. Back in 2003, Berkeley Rep’s rehearsal halls and offices were in a rather
seedy building a block south of the Roda Theatre on Center Street. When that building
was slated for demolition to make way for apartments, Berkeley Rep was able to secure a 20-year lease—thanks to the City of Berkeley’s cultural facility height bonus—
in the new building. Berkeley Central opened last year with much-needed housing,
an art gallery curated by our colleagues at Kala Art Institute, and three new halls on
the first floor. Two of those halls became classrooms for the Berkeley Rep School of
Theatre, allowing us to offer our programs to even more adults and children. These
rooms are also used by other community arts organizations, including dance, music,
and theatre companies.
The Osher Studio is the third space at Berkeley Central. Intimate and informal,
this black box theatre is perfect for small arts organizations who can’t otherwise afford
to lease, equip, or maintain a downtown facility. Already the Osher Studio has hosted
performances by the Bay Area Children’s Theatre, Ragged Wing Ensemble, Danse
Lumière, Berkeley Symphony Orchestra, and now Brian Copeland.
One of theSFLG
best things
about Berkeley
Central is its Arts Passage, a covered walk101013
ACT 1_6v.pdf
way that connects Addison Street to Center Street. Located just across the street from
our box office, the Arts Passage will be open before and after all of Berkeley Rep’s
performances, making it easier and quicker for you to walk between the Theatre and
the parking lot on Center Street.
Our new spaces at Berkeley Central are an added boost to the already burgeoning arts scene in downtown Berkeley. We’re excited to offer a downtown performance
venue to the many small arts organizations in the East Bay and to expand our own
school programming— with an easily accessible Arts Passage to boot. Best of all,
our new Osher Studio allows us to present Brian Copeland’s seminal solo show Not a
Genuine Black Man to new audiences. We hope to see you there starting April 23.
SFLG 101013 Berkeley 1_6v.pdf
Warmly,
Susan Medak
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 7
SNEAK
PE E K!
Exciting auction lots include...
• Two tickets to Elton John’s 2015 Oscar Night Dinner and Party
• A private cocktail party with Hershey Felder
• A Chicago getaway with opening night tickets to Sting’s new musical
• A London West End theatre experience
• And much more!
Get your Glitz and Glam on for
Saturday, April 19, 2014
The Four Seasons Hotel San Francisco
SAVOR
World-class wines, craft spirits, and delectable hors d’œuvres
TOAST
Adventurous new plays from a Tony Award-winning theatre
FEAST
On a four-star gourmet dinner paired with stellar wines
BID
On spectacular experiences, vacation packages, wines, and restaurants
Adapted and directed by Emma Rice
Writers: Carl Grose and Anna Maria Murphy
West Coast premiere · Starts Nov 22
Call 510 647-2949 · Click berkeleyrep.org
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Tables: Footlight $7,500 · Spotlight $12,500 · Limelight $18,000
To reserve, contact Lily Yang at [email protected] or 510 647-2909
BERKELE YREP.ORG/OVATION
R E P ORT
Nina Raine
P H OTO BY J AC K L A D E N B U R G
Sneak peek: Tribes
BY KAREN MCKEVITT
Nina Raine’s Tribes premiered to great acclaim at
London’s Royal Court Theatre, then jumped across the pond, landed off
Broadway, and picked up a slew of nominations and awards—including the
2012 Drama Desk Award for Outstanding Play. Now it comes to Berkeley
Rep in a new production helmed by Cal Shakes’ Jonathan Moscone.
Brilliant, rich, daring, and rewarding—these are just a few adjectives
that the press has showered on Tribes, the story of a profoundly deaf man
learning to find his way in a world where everyone needs to be heard. In
this comic drama, Billy’s family is a highly intellectual and argumentative
bunch who all hear perfectly well (even if they don’t listen) and pretends
that he can too. Only able to read lips, Billy (played by a Deaf actor) finds
himself on a vast plain of loneliness—until he meets a girl.
While Tribes asks us to explore how we listen, it’s also been praised
for being “the real deal” for deaf audiences. Says Charlie Swinbourne of
London’s Guardian, “The great achievement of the play is to dramatise
something that is very hard to understand unless you have personal experience of it. What it’s like to be left out, as a child, then as an adult. Day in,
day out. Just because you cannot hear. Tribes gives deaf people a voice.”
Tribes begins April 11. ASL-interpreted
performances are Saturday, May 3 at
8pm and Saturday, May 10 at 2pm.
Open-captioned performances are
Thursday, May 8 at 8pm; Friday, May
9 at 8pm; and Sunday, May 11 at 2pm.
Reserve your seats at berkeleyrep.org,
or call the box office at 510 647-2949,
Tuesday through Sunday, noon to 7pm.
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 9
R E P ORT
Face time with Tony
B Y PAU L I N E LU P P E R T
Tony Taccone, Berkeley Rep’s Michael Leib-
ert artistic director, has a lot going on this year (as usual). He’s
scheduling plays for next season, and he’s got a few projects
already in the hopper for the season after that. He’s shepherding new-play development. He’s directing longtime collaborator
Tony Kushner’s latest opus, The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the Scriptures. He sees
a lot of plays and it’s part of his job to hang out with a bunch
of interesting artists (so he’s racking up frequent-flier miles).
In addition to his work at Berkeley Rep, he’s also co-written
a comedy with Dan Hoyle, Game On, which plays at San Jose
Repertory Theatre from March 27 to April 19, and he’s directing
Shakespeare’s The Tempest at Oregon Shakespeare Festival in
Ashland, which opened in February. Incredibly, I got him to sit
still for a few minutes to tell us more. 1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
Pauline Luppert: For those who don’t know a lot about what
goes into planning a season for the theatre, how do you do it?
Tony Taccone: First of all, the season never really stops
being planned. It’s a year-round activity. It’s not like, “Oh! Now
it’s time to plan a season.” It just doesn’t work like that. We’re
pretty involved, not just in the season after this one [2014–15],
but we’re already into 2015–16 with a couple of things. We have
lots of projects that are always floating around out there. Plays
come in, they go out. Some appear to be near to completion
and then they just disappear for all kinds of reasons. So, “How
do I plan a season?” is sort of like saying, “How do I live?” And it’s not just me. We all have our ears to the ground.
If you came to me and said, “Hey I saw this play, it’s amazing!”
we would check it out because especially since you don’t do it
frequently, I’d pay more attention to it. I mean, if you did it every day I’d be like, “Pauline’s got another idea for a play. Great.”
P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
[Rolling his eyes.] So, the ideas come from every which way. Now, with the reputation we have established, there are
a lot more plays coming to us that are great ideas. Whether or
not they can matriculate and be a production that we produce
is a different thing. There are a lot more really good ideas that
are in the pool than there were 10 years ago. I think that’s a testament to the work that we’ve done and
the reputation that we’ve built with regard to new work in particular but also as a home for artists. Our audience is regarded
as pretty special. The staff has a hugely great reputation—both
the technical staff and the administrative staff—as being really
supportive, and Berkeley Rep is known as a place where people
want to come and have a good time and do their work and do it
well. So, we’re being approached now by people who I couldn’t
imagine would approach us 10 years ago. Certainly, 20 years ago
it would have been absolutely impossible for me to imagine.
Who’s approached you that you couldn’t have imagined
10 or 20 years ago? For me it really changed—and I know
this is kind of totally oddball—but for me it
changed when Robin Williams called us
up a few years ago and said, “Hey, can
I try out some new material there at
Berkeley Rep?” That was so out of left
field to me. I was like, “Robin Williams
is thinking that Berkeley Rep would
be a good a place to try out his stuff?
That’s amazing!” Obviously, No Man’s Land, when
Stuart Thompson called us and said,
“Would you be interested in Ian McKellen and Patrick Stewart coming?” And I
was like, “Uh, well, yeah. That’d be good.”
But it all began earlier because we’ve been
moving plays to New York a lot over the last 10
years or so. Basically we’re on certain people’s radar that we
didn’t used to be on. I think we’re probably regarded as one of
just a handful of theatres in the United States where people
look first to see if we would have any interest in producing a
play of theirs, which is usually a play that they think is either
not quite ready or is edgy in some way. Our audience would be
up for it. And we would be up for it. We’re not scared of that.
In fact we sort of live for that because we traffic in different
vocabularies now aesthetically.
I think we’ve done a really good job of cultivating an atmosphere of openness. You can feel it. When you go to a lot of art
institutions or cultural institutions across the country, frequently people are buying a pretty firm expectation. And when the
art goes outside of the bounds of that expectation, people get
really upset. We have some of that too, but because we’ve done
so much new work, and because that is the norm, the “norm”
is not set here. There is now a feeling that when people come,
not only do they expect surprise, but actually a considerable
number of people are disappointed if they don’t get surprise.
That is phenomenal. I get as many letters of criticism for being conservative as I do for being radical or experimental or
avant-garde, or whatever term you want to use. That is deeply
gratifying to me. Are there particular festivals or smaller theatre companies
that you like to keep tabs on? I let Madeleine Oldham [resident dramaturg and director
of The Ground Floor] and the rest of the artistic staff and some
administrative staff get out there more often. That’s a bigger
thrill for them. Les Waters [former associate artistic director
at Berkeley Rep and current artistic director of Actors Theater
of Louisville] is at Louisville now and that’s a big festival. But
Madeleine is really all over that stuff. At this point in my life I have a lot of really good friends who
run theatres. What I will do is at a particular time in the year, I’ll
pick up the phone and make like 25 phone calls—not to people
like Oskar Eustis at The Public Theater who I’m in constant
contact with—but I’ll call Diane Paulus at American Repertory
Theatre, and I’ll call Gordon Edelstein at Long Wharf Theatre,
and I’ll call James Bundy at Yale, and I’ll call Martha Lavey at
Steppenwolf, and Robert Falls at the Goodman, Chris Ashley
at La Jolla Playhouse, and Michael Ritchie at the Mark Taper
Forum. I’ll also call companies. I’ll be in touch with
Moisés Kaufman at Tectonic Theater Project,
and Emma Rice at Kneehigh, and Mary Zimmerman at Lookingglass Theatre. It’s ongoing. I have a general map, not only of the
artists we’re always kind of following,
but to see who else is out there. So our
net is constantly cast out there. Berkeley Rep is
known as a place
where people want to
come and have a good
time and do their
work and do it well.
So how is it working with Tony
Kushner again? Well, you know, it’s like working
with a really old friend. I work with him
in a way that I don’t work with anyone
else because Tony is so clear about what
he sees when he writes a play. I give him
much greater rope—both in terms of the design
process and in terms of the rehearsal process to speak
and to interact both with actors and with designers. Most times
those roles are pretty circumscribed by tradition. A playwright
shows up for three days then goes away then comes back. With
Tony I feel like it’s in everyone’s interest to hear the full measure of
what he has to say because his particular intelligence is integrative and inclusive in a way that’s inspiring and disarming. I find that with Tony, I’m kind of a translator. An actor will
ask a question, and Tony will give a 20-minute answer that is
the most amazing answer, and then at the end of that I’ll say,
“That means you should cross left.” I’m frequently both including the spectrum of his ideas and then trying to simplify things
so people can play them. Tony’s work is very complicated. He
is a person that believes in complication because that’s how he
sees the world. And the world is a complicated place.
How much time in a year do you spend outside of Berkeley? On average, I probably take one trip a month. Sometimes
more. Sometimes less. In the last eight weeks I’ll have been to New York three
times. That’s a lot for me. I go for different things. This last week
I was there for the opening night of No Man’s Land, which was
a very short trip and I only saw one other show. Next week, I’m
CONTINUED ON NE X T PAGE
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1
ENGAGING MINDS. ENRICHING LIVES.
going for meetings at The Public with
different artistic directors around the
United States and for auditions for The
Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. The trip before that, I went for a
workshop of a show we may be producing next season. So there’s a lot of work
we’re doing that’s in process in New York
or sometimes in LA, but mostly in New
York. When I go to England I try to see
work. I don’t go there very much. A number of my colleagues go there a lot and
I’m envious of them, but for all of the
traveling I do I’m kind of a homebody.
Hotels lost their exotic interest to me a
long time ago—unless they’re in Hawaii
or in Cairo or someplace I’m vacationing
in and then they’re fantastic! When Berkeley Rep commissions
a play, like The House that will not
Stand, do you have a closer shepherding-like relationship with the project?
Absolutely. Yes, much closer.
Although, with The Ground Floor now,
we’re having more intimate creative
relationships with more people.
We offer hundreds of activities each month
to nurture both mind & body.
Take a Tour
Please contact Judy Vared at [email protected]
or (855) 556-4519 to arrange your personal tour.
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And what’s your role with The
Ground Floor?
You know, it’s been more than I
thought only because I’m really interested. It’s been really fun. You put interest
and fun together and people start hanging out. I didn’t expect to be so involved
and I love it. I think it’s a fantastic event
and a fantastic environment, you just
want to hang out because there’s a ton
of really interesting people that you’re
not going to get to see a whole lot of in
the rest of your life. So it’s really great
to have your imagination and your
mind stimulated. Look, we all need
sustenance. We need to be sustained.
And I think whenever you can get an
opportunity of something which can do
that, you gravitate toward that. It’s been
really cool.
Uh, yeah. Really cool, indeed.
1 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
R E P ORT
P H OTO S BY J A R ED OAT E S
Building an ensemble
Musical Theatre Scene Study teaches teens the art of collaboration
BY ALEXANDRA WILLIAMS-FLECK
Classes at the Berkeley Rep School of
Theatre tend to be non-musical in nature. But every Friday the
sound of young voices—some trained, others not—permeates the halls as 16 young students, eager to explore flats and
sharps, comedy and tragedy, embark upon a unique adventure:
Musical Theatre Scene Study. No parts have been assigned; all
roles are up for grabs as students home in on musical-theatre
process and technique. As a multimodal performance art, it
pushes students, requiring them to mold their talent as they
build solid foundations in singing, acting, and dance. And
though this may evoke visions of elaborate sets and chorus
lines, these bright young students are creating more than a
song-and-dance routine. They’re building an ensemble.
This is no simple feat with stylistically challenging songs
from popular musicals such as The Sound of Music, West Side
Story, and Les Misérables. Associate Director MaryBeth Cavanaugh describes the program as “Episodic in form and nonlinear.
The class is only once a week so there’s no time to put on a full
performance. But we pick selected scenes from a play that are
conducive to growing ensemble work.” Because singing is very
individual, the techniques taught are broadly designed to give
students the necessary tools to bring out their instrument,
their voice.
While some students have had vocal training, for others,
singing for an audience is one of the scariest things they will
ever do. To kick off this endeavor, musical theatre instructor
Rebecca Castelli—who’s been heading the class for almost a
decade—has students start at the beginning. She leads them
through a series of exercises that focus on building a strong
voice, including proper posture, projection, and releasing their
sound. These exercises are repeated weekly until they are
incorporated into the final performance.
Students also explore various exercises in acting and
movement. In one such exercise – “It’s Tuesday” – one student
makes a bland comment, while another must overreact both
vocally and physically. Another exercise, “Gibberish,” requires
students to connect to action verbs without actual words.
Students must communicate through action and tone, all while
speaking gibberish. These exercises teach students to commit
fully to the choices they make and the actions they take within
a scene.
As the weeks progress, students create a supportive and
trusting environment, and the initial fear of singing for others
is the first hurdle they overcome. Students set personal and
group goals, sharing their expectations for the next 10 weeks,
and Rebecca encourages them to express the difficulties
that come with making themselves vulnerable—feeling very
exposed—in front of others. Throughout their collaboration,
students are encouraged to take an active role in their learnCONTINUED ON NE X T PAGE
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3
KATHIE LONGINOTTI
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ing, from providing constructive and
positive feedback to having a say in
what is created. In this way students feel
valued and respected, and they have a
real sense of ownership of the work.
Each student brings a unique set
of skills to the table, and as they bond
over life as young adults and their
shared interest in performance, they
create a collaborative environment.
As students explore techniques for
preparing a scene and how to breathe
life into a play, they invest themselves
fully in their characters’ objectives. This
dedication not only brings them wholly
into the work, but also allows them to
properly support their scene partners,
so that when they take the stage, they
create a believable world through which
their characters navigate. And though
Rebecca is at the head of the class,
she looks to her students for further
steps. They make decisions about work
needed and choices to be made, and
they implement them as a group. This
gives students a strong sense of pride in
the work they produce.
Despite the rigorous nature of the
class, students repeat Musical Theatre
Scene Study an average of three to
four times, making it one of the more
popular programs at the School. In
addition to tackling the music, students
explore the finer points of costume and
prop assembly. By the end, teens have
delved deeply into the art of collaboration, emerging with firm-standing and
long-lasting relationships that persist
beyond the physical walls of the School.
As one student explains, “You make a
lot of connections with people, but at
the same time you get a lot out of it.
The experience you go through, from
beginning to end, from being cast to
performance, is really great and you
always have a lot of fun.”
This experience leaves students
with more than a song and a two-step.
They emerge with renewed confidence
in themselves and their ability to work
with others. Having learned to express
themselves in a trusting and open environment, they are now unafraid to be
the leader of the pack in other endeavors. As another student says, “It doesn’t
matter what anyone else thinks as long
as you’re happy with yourself. Don’t be
scared…Nothing can go wrong as long
as it’s right for you.”
R E P ORT
In honor of…
Gifts to Berkeley Rep that recognize a loved one or friend
BY DARIA HEPPS
Bill and Barbara Jones
P H OTO CO U R T E S Y O F B A R B A R A J O N E S
In every Berkeley Rep performance
playbill, we include a list of memorial and tribute gifts to the
Theatre. Each of these gifts, made in memory or in honor of a
friend, colleague, or loved one, tells a story. We decided to find
out what some of those stories were.
S H E I L A P UC K E T T
My mother, Jean Murphy, had always gone to theatre.
She was 95 when she moved from her home in San Diego into
the Redwoods, an assisted-living facility in Mill Valley. When
she asked my husband Myron and I where she should go for
theatre, we said Berkeley Rep. She organized a group of other
interested residents to attend matinees—eventually, the
group was so big that they had to get a bus! We saw the shows
before she did, so she would always call us to ask about them
and report back to get everyone’s enthusiasm up. She appreciated the wide variety of topics covered in Berkeley Rep’s plays,
and as an educator, she believed in what Berkeley Rep does for
young people. (I also worked in schools and had many students who participated in Berkeley Rep’s programs.)
She was 101 when she died, and four days before, she had
been at Berkeley Rep. I made a gift in her memory because
this was something she loved. I hope that when my friends or
people from the Redwoods see the program listing, they are
reminded of my mother and think, Oh, I could do that.
PE T E R M A I E R
My wife Melanie and I have been enthusiastic subscribers
for decades. We love the plays, and we know that ticket prices
don’t cover their cost, so we make an annual gift to subsidize
the theatre that we enjoy. Jill Fugaro is the wife of my physician, and when we heard that she was joining Berkeley Rep’s
board of directors, we thought that a gift in her honor would
pay tribute to my doctor and his family.
PAT A NG E L L
I met my future husband Gene Angell at UC Berkeley,
where we each received BAs and MAs in architecture. He
designed schools, libraries, stores, churches, apartments, residences, and theatres. For many years Gene and Ron Pratt designed sets for Bay Area theatres and often constructed them
also. He became acquainted with Michael Leibert (Berkeley
Rep’s founding artistic director), who was opening a small
storefront space on College Avenue which Mike called “The
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5
R E P ORT
B A R B A R A E . JON E S
My husband William E. Jones and I were subscribers from
College Avenue days, and the magic took hold! He was from
Oregon, and during our courtship days, he always used to tell
me about the wonderful theatre in Ashland. Music was his
first love, and we attended operas and symphonies together,
as well as live theatre—Ashland, Cal Shakes, and Berkeley Rep
were all important to us. Both my husband and I were educators. Our, and my, support of the arts is a continuation of our
interest in bringing good theatre and music to young people.
We both felt this was a key to the future of our culture. I will
continue to give in his name to places that we enjoyed together. Berkeley Rep gave us so much pleasure, and I hope that my
gift will inspire others to support Berkeley Rep with gifts of
their own.
See the full list of memorial and tribute gifts on page 39.
If you would like to make a gift in honor or in memory
of a friend or loved one, please visit berkeleyrep.org/
support or contact Joanna Taber at 510 647–2906 or
[email protected].
p h oto by J A r Ed oAt E s
Theater.” In 1979 Gene assisted Mike
in finding a suitable site for the new
Berkeley Repertory Theatre. That
year, construction was completed of
the building on Addison Street now
known as the Thrust Stage.
Gene spent the last 30 years of
his life chiefly as a theatre architect. His work includes Theatre on
the Square, California Repertory
Theatre, Spicebox Theatre, Berkeley
Shakespeare Festival (now California
Shakespeare Theater), Idaho Shakespeare Festival, Harbor Theatre, the
Eureka Theatre, Aurora Theatre, and
many theatre remodellings.
Gene and I had been subGene Angell
P H OTO CO U R T E S Y O F J I M W O O DY
scribers to Berkeley Rep since its
beginning. Gene died in 2007, and
I continue to subscribe. Each year I give to several of “Gene’s
Theatres” in his memory. Berkeley Rep is one.
Where creativit y breaks through
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Get to
know...
Kathleen Turner
“Turner is a marvel to watch as she takes on
the character of the sharp-tongued political
journalist Molly Ivins … This is a production
that needs to be seen!”
— B roa d way w o r ld
P h oTo By M a r k g a r v I n
universes
“high-energy, vibrant, roller
coaster ride — via dialogue,
monologue, poetry, music and
dance — of the rise and fall of the
Black Panther Party and
the young lords.”
—a s h l a n d da I ly T I d I n g s
Pa r T y P eo P l e (o s F, 2012). Ph oTo By J e n n y g r a h a M
Tartuffe
“a dark, intense, and vastly
entertaining version of Molierè’s
work…Three-hundred years after its
first opening night, Tartuffe still acts as
a potent warning.”
Tarell Alvin
McCraney
—s k y way n e w s
“McCraney writes the richest dialogue
of any scribe of his generation.”
— C h I C ag o T r I B u n e
P h oTo Co u r T e s y o F M aC F o u n d.o r g
Meow Meow
“Cabaret was always supposed to
be transgressive and subversive;
Meow Meow puts the beauty and the
beastliness of it back where it belongs:
out on the edge and in your face.”
— lo n d o n T I M e s
P h oTo By M ag n u s h a s T I n g s .Co M
P h oTo By M I C h a l da n I el
14–15
iNTRODUCiNG The 2014–15 sUbsCRipTiON seasON with two more plays to be announced!
Meow Meow in
an Audience with
Meow Meow
Directed by Emma Rice
Party People
By UNIVERSES (Steven
Sapp, Mildred Ruiz Sapp,
and William Ruiz, aka Ninja)
Developed and
directed by Liesl Tommy
Red Hot Patriot:
The Kick-Ass Wit of
Molly Ivins
By Margaret Engel and
Allison Engel
Directed by David Esbjornson
Starring Kathleen Turner
Tartuffe
Head of Passes
By Molierè
Adapted by David Ball
Directed by Dominique Serrand
By Tarell Alvin McCraney
Directed by Tina Landau
Call 510 647-2949
Click berkeleyrep.org
Super fans follow Berkeley Rep
for decades
DARIO FO:
BY BERYL BAKER
AN OPEN REVOLUTIONARY
BY SAM BASGER
In the early 1950s, as the country stirred
from its fascism-induced coma into a thriving republic, a young
revolutionary burst onto the stages of Northern Italy with
scathing satire. This was Dario Fo, on the cusp of a prolific
career and lifelong partnership with a sophisticated Milanese
actress, Franca Rame, who trod the same boards.
Fo was born to a working-class family in 1926 in San Giano
(or Sangiano), a small town on the shores of Lake Maggiore in
the region of Lombardia. Fo’s father was a railway stationmaster, while his mother is often described as a “peasant” who was
from a tradition of oral storytelling. Indeed it was his mother’s
father, known affectionately to the community as Bristin (which
loosely translates to “pepper seed”), who ushered Fo into the
enchanting world of the fabulatori, local people such as fishermen, glassblowers, or vendors who would peddle their sometimes grotesque, often political, and usually paradoxical tales in
public squares. Bristin would attract customers to his cart with
his wit and wonder, selling his wares with an air of showmanship that would prove instrumental in building the foundations
1 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
of narrative rhythm for Fo, whose first performances were versions of stories he had heard from the fabulatori.
As for any child growing up in Europe at that period of
time, Fo’s adolescence was dominated by the outbreak of the
Second World War. His studies in architecture at the Brera
Academy in Milan were interrupted when Fo was called up for
military duty in service to the army of the Salò Republic, a puppet state for Nazi Germany loosely controlled by Mussolini.
Deserting a cause he never believed in, Fo spent the last few
months of the war in hiding while also assisting his parents in
the Resistance movement, tending to wounded partisans and
helping Allied prisoners and Jewish refugees escape across the
nearby border of Switzerland.
Returning to the Academy after the war, Fo found he had
a diminished passion for architecture, and grew intoxicated
by the intellectual discourse, creative endeavors, and political
activism in the newly liberated Milan. He started reading Karl
Marx and Antonio Gramsci (whose key arguments included
the importance of intellectuals in creating a counter-current
P H O T O B Y B E R T M AT T S S O N
of thought which would eventually overcome the ideological dominance of the ruling class), in addition to playwrights
Bertolt Brecht and Federico García Lorca. He also began
associating with Communist Party members, painters, writers, and actors. Before long, Fo drifted into theatre, applying
his storytelling heritage and his aptitude for improvisation
to act in various sketches and revue shows in the late 1940s.
Under the influence of French farce, neo-realist cinema, and
the work of dramatist Eduardo de Filippo, he began to shape
his own aesthetic as an artist. Soon he retired his architectural
ambitions altogether, withdrawing from his degree only a few
exams shy of graduation.
Fo’s big break came in 1950, when he presented some of
his adapted stories to renowned actor Franco Parenti, including a comedic interpretation of the parable of Cain and Abel.
Impressed by Fo’s gifts, Parenti enthusiastically welcomed him
into his company. By the early 1950s, Fo’s series of comic performances collectively titled Poer Nano (translating to either
“poor lad,” “poor wretch,” or “poor little thing”) was playing
on larger stages, as well as being broadcast on the state radio
channel. Parenti’s variety show is where Fo first laid eyes on
Franca Rame, his future wife. Her photo in a company program
struck him deeply, and when he saw her in three-dimensional
form it only confirmed his suspicions: love at first sight. Not
knowing how to approach her, he instead decided to ignore
her in total, until she lost interest with that game and one day
pinned him against a wall and kissed him. The pair married in
1954 and had their only child, Jacopo, one year later.
Fo and Rame decided to move to Rome where they
pursued work in cinema, with Fo penning scripts and the two
acting alongside each other in front of the camera. Their time
working in film, however, was met with limited success and
questionable fulfillment, and they soon found themselves
headed back to Milan to establish their own theatre company,
Compagnia Fo-Rame. Rame herself was from a well-regarded
theatrical family, and Fo found inspiration from some of their
old material which required participation from the public,
stating in the stage directions that the audience “had to”
laugh or applaud at certain moments. An active audience was
important to Fo, and the farces were a prime way for him to
entertain them while also conveying his own political agendas
in a nondidactic form. From 1958, the company wrote and
produced comedies, such as Comica finale, taking their performances on extended tours around the country. This decade
became known as Fo’s “bourgeois period” where, despite a
little social prodding, his work was popular and even considered safe.
A marked change came for Fo in 1967 when his play, La
signora è da buttare (Throw the Lady Away), an attack on the
American involvement in Vietnam, raised public ire and was
met with heckles and even police involvement. Fo was threatened with arrest for some of the jokes deemed offensive to
Lyndon Johnson, a foreign head of state. This may have been
the catalyst for the dissolution of their company Compagnia FoRame and the formation of Nuova Scena, or New Scene. With
the socialist debates and student revolts of 1968, the political
climate in Italy was significantly different. Fo and Rame were
ready to break away from what was popular and bourgeois,
including their own company, despite the fact that by this time,
San Giano, Dario Fo’s birthplace
ITALY
M A P O F I TA LY—S I N G L E CO LO R BY F R EE V EC TO R M A P S .CO M
Fo was indisputably Italy’s most prominent playwright. It was
this “revolutionary period” that yielded the most well-known
works of Fo’s career, including Legami pure che tanto io spacco
tutto lo stesso (Tie Me Up But I’ll Still Smash Everything) which
condemned the Italian Communist Party for its compromises
with capitalism, Mistero buffo (Comic Mystery) which mocked
the church, Morte accidentale di un anarchico (Accidental Death
of an Anarchist), and Non si paga! Non si paga! (Can’t Pay! Won’t
Pay!), a critique on the exploitation of the proletariat.
This new rebellious direction was met with forcible censorship, violence, and it even prevented Fo from entering the
United States for an Italian theatre festival in 1980, when he
was denied visas by the Reagan administration on the grounds
of his “subversive” nature. Though, as scholars Farrell and
Scuderi point out, “there was nothing subversive, or at least
nothing covert, about Fo’s aims. He was as openly revolutionary as any man could be.”
Despite adversity, the work of Fo (and Rame) has retained
an undeniable relevance and lasting impact, which was truly
acknowledged with his receipt of the Nobel Prize for Literature in 1997. When accepting his award, about a quarter of his
speech consisted of him recounting a story that he heard from
a fabulatore when he was a child in San Giano. Coming full
circle to honor his roots, Fo never betrayed his humble origins
by becoming the cliché of the populist, pretentious artist; he
never sold his soul. Today, his work continues to demonstrate
that a revolution can be more than just a destructive uprising.
It can be open, it can be intellectual, and it can be fun.
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9
T H E A C C I D E N TA L D E AT H O F A N
A
T
AC U L
S
T
I
H
R
A
C
AN
BY JULIE MCCORMICK
2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
Overhead interior view of the main hall of
the Italian Banca Nazionale dell’Agricoltura
(National Bank of Agriculture) on December
13, 1969, after a powerful bomb exploded
there on the afternoon of December 12.
Dario Fo’s beloved farce satirizes a miscarriage of justice so
outrageous that all one can do is laugh. What makes it all
the more extraordinary is that it is based on true events.
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1
On December 12, 1969, a bomb exploded at the Piazza
Fontana in Milan, in the headquarters of the National Agricultural Bank. It was a devastating terrorist event that killed
16 people and may have injured more than 100. Two more
bombs went off simultaneously in Rome, and other undetonated explosives were found elsewhere in Milan. The Prime
Minister of Italy at the time, Mariano Rumor, said that the
explosions were “an act of barbarism which has no precedent
in the history of the country,” and gave the investigators the
permission “act with the maximum severity against those who
want to poison the peace of the Italian people.” The police
took his words to heart and immediately began detaining
suspects from local anarchist groups. The bbc estimates that
the Italian authorities ultimately made over 4,000 arrests in
conjunction with the attack.
One of these suspects was Giuseppe Pinelli, whose story
informs the plot of Fo’s play. A railroad worker and an active
member in his local anarchist chapter, Pinelli was arrested soon
after the bombing and interrogated for three days without
seeing a judge. At the end of the third day, he fell to his death
from a fourth-floor window at police headquarters. Though
the three police officers interrogating Pinelli were placed under
investigation, his death was ultimately determined to be of
“accidental” causes.
This is only one instance of the many questionable
circumstances surrounding the Piazza Fontana bombing. The
trials and investigations continued for decades, and the twists
and turns of justice along the way are worthy of their own
play, too. Anarchist Pietro Valpreda was held for three years
in preventative detention before finally being sentenced. It
was only after 16 years of appeals and several mistrials that his
name was cleared.
Originally, the investigations focused solely on Milanese
anarchist groups, but in the 1970s, three fascists working for
the Italian secret police were tried in absentia, found to be
guilty, and sentenced to life in prison. All three were later acquitted in the late 1980s. In 1998, evidence of foreign involvement emerged: a U.S. Navy officer, an Italian cia coordinator,
and an officer in the U.S.-nato intelligence network were all
implicated in the Piazza Fontana bombing, but none of them
were ultimately sentenced. In 2001, members of the Italian
right-wing political group Ordine Nuovo were convicted of the
During the Years
of
bombing, but those convictions were later overturned in 2004.
As of the last trial in 2005, no one had actually been found
guilty of the bombing.
The attacks and surrounding scandal were unfortunately
not isolated incidents of political unrest and government corruption. The decade following the Piazza Fontana bombing
(roughly 1969 to 1979) has come to be known as the Anni di
piombo, or the “Years of Lead.” Some suggest this name comes
from the sheer volume of bullets that were fired during this
time. There were constant confrontations between the various political factions in the country, instigated by decades of
unrest within Italy boiling to the surface.
During the postwar years, a boom in factory production drew families from the agricultural south up to the more
cosmopolitan and industrialized north in droves. Cities were
unready for this massive migration, and overcrowded slums
sprung up around urban areas overnight. At the same time, the
Communist Party gained more power in the central government and pushed for labor reform and more worker benefits.
These population shifts combined with union-associated costs
in the 1960s to create virulent inflation.
The economic downturn came to a head in the “hot autumn” of 1969, when workers and students went on strike and
occupied factories and classrooms, and mass demonstrations
swept throughout Northern Italy. But the protests were not
just about better wages and working conditions—they were
also about challenging the conservative status quo. The church
lost some of its cultural and political power as the general
population secularized. Regular church attendance fell in the
latter part of the 20th century, from about 70 percent in the
mid–1950s to about 30 percent in the 1980s. Old-fashioned
ideas about traditional family structures loosened as women
gained more social rights, education, and power in the workforce. (Women in Italy did not have the right to vote until 1960,
and the first divorce law was not passed until in 1970.)
During the Years of Lead, neo–Fascist and right-wing
groups sought to take power from the left and undermine the
Communist Party’s recent labor advances. Derailed trains and
terrorist bombs like the one at Piazza Fontana were blamed on
the left, but many were actually perpetrated by the right, often
in cahoots with the government. Atrocities were committed by
all sides, however; one of the most notable was the kidnapping
Lead , neo-Fascist and right-wing
groups sought to take power from the left and undermine the
Communist Party’s recent labor advances. Derailed trains and
terrorist bombs like the one at Piazza
Fontana
were blamed on the left, but many were actually perpetrated by the right, often
in cahoots with the government.
2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
and assassination of the Christian Democrat Prime Minister
Aldo Moro by the Red Brigades in 1978. Though this “strategy
of tension” was motivated by domestic angling for power,
there is evidence of international (read, American) interference
in a Cold War effort to wrest power away from communists.
Rather than bombs or bullets, theatre artists like Dario Fo
used their art to call attention to the hypocrisies of those in
power. He says about Accidental Death’s first appearance just a
few years after the Piazza Fontana bombing:
[The audience] split their sides laughing at the effects
produced by the comical and at the same time satirical
situations. But as the performance went on, they gradually came to see that they were laughing the whole time
at real events, events which were criminal and obscene in
their brutality: crimes of the state.
So the grins froze on their faces and in most cases
turned into a kind of grand guignol scream which had nothing liberating about it, nothing to make things palatable—
on the contrary, it made them impossible to swallow.
This style of provocative theatrical satire is not a relic of
the 1970s—it remains a sharp political tool even today. As Fo
observes, something about the form seems uniquely suited to
Italy: “because of a particular historical and cultural process,
the taste for satire touches a very deeply rooted feeling in the
Italian public…. The taste for satire was not suppressed even by
fascism—in fact it developed.”
And despite advantages in media technology, theatre
remains a preferred platform for political critique. Italian media
is highly regulated by the government. The major television
network, rai, is state-run, and former Prime Minister Silvio
Berlusconi also founded Mediaset, one of Europe’s largest
TV companies. Berlusconi, a billionaire media mogul who is
also the head of the right-wing political party Forza Italia,
has been accused of everything from tax evasion to bribery
and solicitation of underage prostitutes. When comedians or
satirists called attention to charges of corruption or outright
criminality in Berlusconi’s administration, their programs were
yanked from the airwaves. In November of 2004, comedian
Sabina Guzzanti launched a TV program called Raiot satirizing
the state-owned television network. Despite extremely high
numbers of viewers for its premiere episode, it was taken off of
the network, and Guzzanti has since turned her program into a
theatrical event.
Il Partito d’Amore (The Party of Love) is another example
of political critique moving from the screen to the stage. This
long-running piece used real transcripts of interviews and
parliamentary meetings to build its dialogue and ever-changing
script. The twist? The parts were performed by actual sitting
members of the Italian legislature.
If politicians can try their hands at comedy, then so too
can comedians try their hands at politics. After his pointed
barbs were banned from the small screen, stand-up comedian
Beppe Grillo took his political critiques to the streets and the
internet. His popularity both in Italy and abroad grew to the
point where he founded a new political movement in 2010—
the Five Star Movement. Using the internet and word-ofmouth, it has garnered enormous support from Italians fed up
with the corruption and excesses of the current government.
The movement does not affiliate itself with either the traditional left or the right, and demands answers to tough questions about corruption, the environment, Italy’s inclusion in the
EU, and the wars in Afghanistan and Iraq. In 2007, Grillo put
together the first “V-Day” rally (here, the “V” stands for vaffanculo, Italian for “fuck off” or “fuck you”), excoriating corrupt
politicians. Two million people showed up at the rally. During
the 2010 regional elections, four councilors associated with the
movement were elected, and in 2012 the movement received
the third-highest number of votes overall and won the mayoral
seat in Parma. It remains to be seen how the fledgling directdemocracy movement performs in office, but what is clear is
that the people of Italy are ready for a change.
If there is one thing that recent events have taught us,
it’s that history repeats itself. Though the exact circumstances might change over time, both our capacity for corruption
and the intense desire to bring it into the light remain intact.
We are all somehow implicated in the triumphs and failings
of our society, whether we are perpetrators or rebels or
indifferent bystanders, but it is the artist who has the unique
ability to hold up a mirror to our greatest flaws and make us
truly see them.
Rather than bombs or bullets , theatre artists like
Dario
Fo used their art to call attention to the
hypocrisies of those in power.
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3
E
D
P
OV ER
M
U
J
N
THE
W
O
L
MO
C
E
ON
TH
BY SAM BASGER
Christopher Bayes: director, actor, designer, composer,
clown. No, he doesn’t do birthday parties. Rather, he has
embraced the art of clowning and commedia dell’arte —an
Italian style of improvised comedy using masks that portray
archetypal characters —since his time with the internationally
acclaimed Theatre de la Jeune Lune, training with alumni of the
prestigious Lecoq School in Paris. For Bayes, this fascination
with physical exploration, the freedom to play and create
with one’s body, has prompted fruitful collaborations between
artists and innovative experiences for audiences. Juggling his
busy schedule, Mr. Bayes took a moment to chat with us about
how his career so far has led from Molière to Italian madmen,
while instructing a few fledgling clowns in between.
24 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
Gesture and language
spring from the same
source. I guess “the source”
is the need to tell a story or
the attempt to illuminate
something about the
human experience.
How would you describe the
world of Accidental Death of an
Anarchist?
The play is built on a farce
structure and takes place in two
identical rooms. One is on the first
floor and one is on the fourth. It is
written to be played on one set and
takes place in 1970. For me, who grew up
in the ’60s and ’70s it had a kind of sitcom
feel, like Barney Miller gone terribly wrong or
The Honeymooners or I Love Lucy gone completely
psycho. So we used this feeling as a kind of inspiration for
the design elements. It feels very much of its time but also
it is very clear that we are doing a period play in the present
moment. There is a kind of acknowledgement of the theatrical conceit.
Why this play and why now?
We have been wanting to do this play for a few years but
couldn’t seem to get the rights. So we did Servant of Two Masters instead, which ended up touring the country and playing in
five regional theatres over the last four years. Finally we managed to get the rights to do Anarchist and it has been a delight
to work on it. I don’t think that there is a particular moment
in time that we said, “Oh look at all of this corruption…. we
need to do Dario Fo!” Corruption and cover-ups never seem to
stop. They just seem to get stupider because we have grown to
expect them.
What makes a clown?
The clown is an innocent, a beautiful creature full of hope
and playfulness that springs from the backstage world of our
imagination. The clown is the unsocialized self sent to show us
the poetry and beauty that we have given away by becoming
organized and responsible adults. It reminds us of possibility of
play and the gleeful disaster.
Can you teach someone to be funny?
Yes. I do it every day.
When did you know that physical comedy would become
an area of focus for you? How did you discover your aptitude for it?
I don’t really know. When I began as an actor almost all of
my training had been in Stanislavsky-based work. Somehow
it never seemed completely satisfying to me. I always felt like
a bit of a liar. Then I began exploring some more physically
based work—Noh theatre and the teachings of Jacques Lecoq.
All of the sudden the world of the theatre, the architecture,
and the actor-audience relationship began to make sense. The
world of the Clown and Commedia came alive for me. And
people began to laugh at my idiotic
shenanigans. All of the sudden
I felt a kind of ownership of the
work in a way that I had never felt
before. There is also something
about the abandon and fearlessness
that physical comedy requires that
appealed to me as a kind of celebration of the theatrical conversation. It
is a kind of call and response that brings
everyone together in the room. I think that we
go to the theatre for that kind of experience.
How did your relationship with physicality affect your connection with verbal language?
It all travels together. Gesture and language spring from
the same source. I guess “the source” is the need to tell a
story or the attempt to illuminate something about the human
experience. If a story is told with more physicality it becomes a
more visceral experience. Verbal storytelling tends to be more
of a cerebral experience.
What was your greatest experience in a theatre?
Perhaps being brought up onstage for the curtain call on
the opening night of Servant of Two Masters. I hadn’t taken a
curtain call in 20 years. The audience looks so beautiful from up
there. Especially when they are standing up and clapping with
big smiles on their faces. I got to take a bow with my dear friend
and co-conspirator of 30 years Steve Epp and a miraculous company of actors. It was a total surprise and very moving.
What makes theatre fun?
Fun makes theatre fun. When the actors are having fun,
when we all feel a bit naughty or break some of the rules. Surprise. Or simply giving the gift of our performance away with a
kind of reckless, gleeful abandon.
Can you name some of the artists that inspire you?
Elmer Fudd, Don Knotts, Roberto Benigni, Stan Laurel,
George Carl, Terry Gilliam, Tom Waits, Jerry Garcia, Magritte, Mozart, The Lopsided Caravan of Misfit Toys, Eli and
Cosmo. Annie.
What’s next for Christopher Bayes?
My big summer workshops are coming up in June.
It’s an entire month of Clown and Commedia training in
Brooklyn. I am always inspired by the courage that it takes
for these actors just to get in the room. And then…who
knows…perhaps Anarchist will travel more, or Servant of Two
Masters may come back, or Doctor in Spite of Himself may
go somewhere exciting. Or perhaps something entirely new
and altogether surprising.
2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5
Next at berkeley rep
“It’s the best-written, best-plotted, deepest, most daring—and funniest—
new play in recent years.” —wall s tree t journal
NEXT UP TRIBES
by
Nina Raine
diRected by
Jonathan Moscone
p r o d u C t i o n Co - S p o n S o r
Starts April 11 · Call 510 647-2949 · Click berkeleyrep.org
Bank of the West
SeASon SponSorS
Berkeley Repertory Theatre, in a co-production
with Yale Repertory Theatre, presents
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R
SUSAN M E DAK , M ANAGIN G D IREC TO R
(MORTE ACCIDENTALE DI UN ANARCHICO)
WRIT TEN BY DARIO FO
ADAP TED BY GAVIN RICHARDS
FROM A TR ANSL ATION BY
GILLIAN HANNA
DIREC TED BY CHRISTOPHER BAYES
M ARCH 7–APRIL 20, 2014
RODA THE ATRE · M AIN SE A SON
Accidental Death of an Anarchist is made possible thanks to the
generous support of
S E A S O N PRO D U CE R
The Strauch Kulhanjian Family
PRO D U CE R S
Thalia Dorwick
David & Vicki Fleishhacker
A S S O CIAT E PRO D U CE R S
William Espey & Margaret Hart Edwards
John & Carol Field
Hitz Foundation
Steven & Patrece Mills
Kaye & Randy Rosso
CAST
Superintendent Liam Craig*
Maniac Steven Epp*
Feletti Renata Friedman*
Pissani Allen Gilmore*
Constables Eugene Ma*
Bertozzo Jesse J. Perez*
Musicians Aaron Halva and
Travis Hendrix
PRODUC TION S TAFF
Music Direction Aaron Halva
Composers Aaron Halva and
Nathan A. Roberts
Scenic Design Kate Noll
Costume Design Elivia Bovenzi
Lighting Design Oliver Wason
Sound Design Nathan A. Roberts and
Charles Coes
Projection Design Michael F Bergmann
SEASON SPONSORS
Vocal Coach Walton Wilson
Production Dramaturg Samantha Lazar
Casting Director Tara Rubin
Stage Manager Kimberly Mark Webb*
*Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage
Managers in the United States.
Partial support of open captioning is provided by Theatre Development Fund.
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
BE R K E L E Y R E P PR E S E N T S
Liam Craig
SUPERINTENDENT
Liam previously appeared at Berkeley
Rep in A Doctor in Spite
of Himself, which he
previously performed
at Yale Rep along with
The Servant of Two
Masters, both directed
by Chris Bayes. His New
York credits include
the Broadway production of Boeing-Boeing
(understudying and performing the role of
Robert) and off-Broadway productions of
The Internationalist (Vineyard Theatre), Aunt
Dan and Lemon (the New Group), Two Noble
Kinsmen (The Public Theater), and Don Juan
(Theatre for a New Audience). His regional
theatre credits include The Happy Ones (Magic
Theatre), The Government Inspector (the Shakespeare Theatre Company), The Wild Duck (Bard
Summerscape), A Christmas Story (Actors Theatre of Louisville), The Scene (Hartford Stage
and the Alley Theatre), The Lady from the Sea
(Intiman Theatre), and Henry V (Shakespeare
on the Sound). His television and film credits
include Unforgettable, Mercy, Rescue Me,
Boston Legal, Law & Order, Law & Order: Special
Victims Unit, Late Night with Conan O’Brien,
and The Royal Tenenbaums. Liam received his
BA in English and theatre studies from Yale
College and his mfa from nyu’s Tisch School
of the Arts Graduate Acting Program.
Steven Epp
M A N I AC
Steven had appeared at
Berkeley Rep in A Doctor in Spite of Himself,
Figaro, The Miser, The
Green Bird, and Don
Juan Giovanni. He was
an actor, writer, and
co-artistic director at
Theatre de la Jeune
Lune, winner of the
2005 Tony Award for Outstanding Regional
Theatre, from 1983 to 2008. Title roles there
included Tartuffe, Crusoe, Hamlet, Gulliver,
Figaro, and The Miser, as well as major roles
in Yang Zen Froggs, Romeo and Juliet, Cyrano,
Children of Paradise, Scapin, Germinal, Don
Juan Giovanni, The Three Musketeers, Twelfth
Night, The Magic Flute, The Hunchback of Notre
Dame, The Seagull, and The Little Prince. His
Yale Rep appearances include Theatre de la
Jeune Lune’s Children of Paradise: Shooting a
Dream (1993), Truffaldino in The Servant of Two
Masters (2010), and Sganarelle in A Doctor in
Spite of Himself (2011). His other theatre credits
include productions at the Guthrie Theater, La
Jolla Playhouse, Trinity Repertory Company,
Spoleto Festival, American Repertory Theater,
Actors Theatre of Louisville, the Alley Theatre,
2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
profiles
Intiman Theatre, Center Stage, off-Broadway’s
the New Victory Theater, the Shakespeare
Theatre Company, PlayMakers, Seattle Repertory Theatre, and ArtsEmerson World Stages.
Steven is the co-artistic director of the Moving
Company. Steven holds a degree in theatre
and history from Gustavus Adolphus College.
He was a 1999 Fox Fellow, a 2009 McKnight
Theatre Artist Fellow, and a Beinecke Fellow at
Yale School of Drama. He lives in Minneapolis
with his wife and three children.
The Misanthrope, Turnbo in Jitney, and he just
completed a run as Hedley in Seven Guitars,
all at Court Theatre in Chicago. Other favorite
roles include Othello and Iago in Othello,
Bynum in Joe Turner’s Come and Gone, Cyrano
in Cyrano de Bergerac, James Hewlett in The
African Company Presents Richard the Third,
and Sizwe Banzi in Sizwe Banzi Is Dead.
Renata Friedman
Raised amongst polkas
and hymns in Iowa,
Aaron has since studied
music in Cuba, Puerto
Rico, Argentina, Greece,
and Spain. He was last
seen at Berkeley Rep
in A Doctor in Spite of
Himself (also at Intiman Theatre and Yale
Repertory Theatre). His New York theatre
credits include Red Noses by Peter Barnes,
Four by Feydeau, The Bourgeois Gentleman, The
Molière One Acts, Monsieur de Pourceaugnac,
and The Love of Three Oranges by Carlo Gozzi
(the Juilliard School); The Imaginary Invalid by
Molière, The New Place by Carlo Goldoni, We
Won’t Pay! We Won’t Pay! by Dario Fo, and a
new adaptation of Molière’s The Reluctant
Doctor of Love (New York University’s Tisch
School of the Arts Graduate Acting Program).
Regional credits include The Servant of Two
Masters (Yale Repertory Theatre, the Guthrie
Theater, ArtsEmerson, the Shakespeare Theatre Company, and Seattle Repertory Theatre)
and The Molière Impromptu (Trinity Repertory
Company). He also appeared in Ballywoonde
at the Edinburgh Fringe Festival. Aaron’s film
credits include Wall Street: Money Never Sleeps,
as leader and arranger for Cuban music
group Nu D’Lux.
FELET TI
Renata previously
appeared at Berkeley
Rep in A Doctor in
Spite of Himself. Her
other Bay Area credits
include Upright Grand
at TheatreWorks and
Sleeping Rough at TheatreWorks New Works
Festival. In New York,
she’s appeared at Page 73, the New Victory
Theatre, Aquila Theatre Company, Fringenyc,
and Fringe Encores. She has also appeared in
shows throughout the country at Yale Repertory Theatre, Actors Theatre of Louisville,
Milwaukee Repertory Theater, the Humana
Festival, Illusion Theater (Minneapolis), Barrington Stage Company, jaw (Portland Center
Stage), Aquila Theatre national tour, the Icicle
Creek Theater Festival at A Contemporary
Theatre, the Orchard Project, and nearly a dozen productions in Seattle at Intiman Theatre,
Seattle Repertory Theatre, act, and Seattle
Children’s Theatre. A graduate of New York
University, Renata is a 2011 Gregory Award
nominee for Outstanding Actress and Seattle
Magazine’s 2011 Actress of the Year.
Allen Gilmore
PISSANI
Allen is happy to
return to Berkeley Rep,
where he appeared
in A Doctor in Spite of
Himself, directed by
Chris Bayes, and The
Arabian Nights and
Argonautika, directed
by Mary Zimmerman.
Other collaborations
with director Chris Bayes include The Servant
of Two Masters at the Guthrie Theater and Yale
Repertory Theatre, the Shakespeare Theatre
Company, ArtsEmerson, and most recently
Seattle Repertory Theatre; Scapin at the Idaho
Shakespeare Festival, Intiman Theatre, and
Court Theatre; The Comedy of Errors at Idaho
Shakespeare Festival; Endgame at Court Theatre; and A Doctor in Spite of Himself at Intiman
Theatre. He recently performed as Arsinoe in
Aaron Halva
MUSIC DIREC TOR,
COMPOSER, MUSICIAN
Eugene Ma
C O N S TA B L E S
Eugene is a multidisciplinary theatremaker
based in New York. As
an actor, he just finished
playing Silvio in Chris
Bayes’ production of
The Servant of Two Masters at Seattle Repertory
Theatre. He has also
been seen performing
at venues like La MaMa Experimental Theatre
Club, Mabou Mines, the old Ohio Theater in
Soho, Joe’s Pub, jack, the Stone, a loft in Williamsburg, Greenwood Cemetery, and even an
art gallery in Budapest, working with the likes
of Josh Fox, Orlando Pabotoy, Alan Tudyk,
and the late Ruth Maleczech. As a director,
Eugene’s recent credits include Mike Lew’s
Ten Page Manifesto, Shane Sakhrani’s Hero
Hindustani, Molière’s The Imaginary Invalid,
Mark Ravenhill’s pool (no water), and Thornton
Wilder’s Childhood (as a clown show). Last
year, he served as the composer and musician
for All Which Way and That at Yale School of
Drama, and composed and performed his
Drama Desk–nominated “Silent Film” score
for The Man Who Laughs at Urban Stages. A
recent graduate of Tisch School of the Arts at
nyu, Eugene is currently an apprentice teacher
in physical comedy under Chris Bayes at Yale
School of Drama and the Juilliard School.
Jesse J. Perez
BERTOZZO
Jesse has been seen
at Berkeley Rep in The
Arabian Nights and Argonautika, both directed
by Mary Zimmerman.
His Yale Rep credits
include In a Year with
13 Moons (2013), The
Servant of Two Masters
(2010), Lulu (2007),
The Cherry Orchard (2005), and The Taming
of the Shrew (2003). He has also appeared
in New York shows such as Triple Happiness
(Second Stage Theatre), Barrio Girl (Summer
Play Festival), Recent Tragic Events (Playwrights
Horizons), In the Penal Colony (Classic Stage
Company), Up Against the Wind (New York
Theatre Workshop), and Lucia di Lammermoor
(the Metropolitan Opera). Jesse’s regional theatre productions include A Midsummer Night’s
Dream, Othello, and Much Ado About Nothing
(Shakespeare on the Sound); Hard Weather
Boating Party (Humana Festival of New Plays);
Argonautika, Lookingglass Alice, and Cascabel
(Lookingglass); Pericles and Candide (the
Goodman Theatre, the Shakespeare Theatre
Company); The Servant of Two Masters (the
Shakespeare Theatre, the Guthrie Theater);
and Hamlet (McCarter Theatre Center). His
film and television credits include American
Splendor, Enter Nowhere, Playing God, Kazaam,
Person of Interest, Life on Mars, Law & Order,
Law & Order: svu, The Job, and Third Watch.
Jesse is a graduate of the Juilliard School.
Christopher Bayes
DIREC TOR
Chris began his theatre career with the Tony
Award–winning Theatre de la Jeune Lune,
where he worked for five years as an actor,
director, composer, designer, and artistic associate. In 1989 he joined the acting company of
the Guthrie Theater for over 20 productions,
including The Tempest, King Lear, Marat/Sade,
The Triumph of Love, and his one-man show
This Ridiculous Dreaming, based on Boll’s novel
The Clown. His directing credits include Accidental Death of an Anarchist at Yale Repertory
Theatre, as well as productions at Berkeley
Rep (A Doctor in Spite of Himself, co-produced
with Yale Repertory Theatre), Intiman Theatre,
Seattle Repertory Theatre, Court Theatre, Trinity Repertory Company, Touchstone Theater,
and Idaho Shakespeare Festival. His New York
work includes here Arts Center, Performance
Space 122, Dixon Place, the Flea Theater, The
Public Theater, the Juilliard School, nyu’s
Graduate Acting Program, and the Atlantic
Theater Company, where he designed the
movement/choreography for John Guare’s
new evening of short plays 3 Kinds of Exile. He
served as movement director and creator of
additional movement for the Broadway and
national touring productions of The 39 Steps
(the Roundabout’s American Airlines, Cort,
and Helen Hayes theatres). He is a 1999/2000
Fox Fellow. He has served on the faculty of
the Juilliard School and nyu’s Graduate Acting
Program, was the head of movement and
physical theater at The Brown/Trinity Consortium, and has taught workshops for Cirque
du Soleil, the Big Apple Circus, The Public
Theater’s Shakespeare Lab, and Williamstown
Theatre Festival, among others. He is currently
a professor at Yale School of Drama and head
of physical acting.
Kate Noll
SCENIC DESIGNER
Kate is a third-year mfa candidate at Yale
School of Drama, where her credits include
set design for Cloud Nine and costume design
for House Beast. Her other credits include
Yale Cabaret, where she designed sets for Rey
Planta, Funnyhouse of a Negro, The Fatal Eggs,
Ermyntrude & Esmeralda, and costumes for
Ain’t Gonna Make It and The Bird Bath. She was
also the resident designer for the 2013 Summer Cabaret, designing sets for Tartuffe, Miss
Julie, The Shoemaker’s Prodigious Wife, Heart’s
Extraordinary Performance.
Proudly serving Berkeley, Albany, Kensington, El Cerrito, Emeryville,
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Debi Fitzgerrell
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201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9
BE R K E L E Y R E P PR E S E N T S
Desire, Drunk Enough to Say I Love You, and
costumes for In the Bar at a Tokyo Hotel. Previously she assisted artist and director Doug
Fitch with his Cunning Little Vixen for the New
York Philharmonic, The Abduction from the
Seraglio for the Teatro del Lago in Chile, and a
new production of Peter and the Wolf. She has
been a resident set designer at the Sundance
Directors Lab, where she workshopped the
films Little Birds, My Brother the Devil, and
Beasts of the Southern Wild. She has lived in
New York, Amsterdam, and Rome, where
she practiced as a studio artist, stylist, and
production designer for TV and film. Kate is a
graduate of the Rhode Island School of Design
with a degree in painting.
Elivia Bovenzi
COSTUME DESIGNER
Elivia is a third-year mfa candidate at Yale
School of Drama, where her costume design
credits include King Richard 2 and Cloud Nine.
Other credits include The Yiddish King Lear
(Yale Cabaret), Doctor Faustus Lights the Lights
(assistant costume designer, Yale School of
Drama), and Good Goods (assistant costume
designer, Yale Repertory Theatre). She also
designed costumes for Abyss, an epic classical
music and dance performance created by
Stephen Feigenbaum and Charlie Polinger,
performed at Yale College. Prior to her time
at Yale, Elivia worked as resident costume
designer for Russell Sage College in New York,
where she designed costumes for Peter Pan:
The Musical, Urinetown, The Heiress, A Piece of
My Heart, and Whose Life Is It Anyway? Prior to
becoming a costume designer, Elivia studied
acting and holds a BS in musical theatre from
Russell Sage College.
Oliver Wason
LIGHTING DESIGNER
Oliver designs lighting for theatre, dance,
music, and most anything else. He is a current
mfa candidate at the Yale School of Drama
where he is in his final year. In New York his
work has been seen at here Arts Center, the
Incubator Arts Project, the Spoon Theater,
Paradise Factory, the csv Cultural Center, La
MaMa Experimental Theatre Club, and the
Cherry Pit, among others. He was an assistant
designer on productions with Playwrights
Horizons, Second Stage, the Public Theater,
Naked Angels, Page 73, Clubbed Thumb, and
Lincoln Center. He is designing the upcoming
production of A Little Night Music at Berkshire
Theatre Festival. Visit oliverwason.com.
Nathan A. Roberts
COMPOSER, SOUND DESIGNER
Nathan is a multi-instrumentalist who
specializes in creating original music and
soundscapes for plays, often live on stage. He
was a musician and sound designer for Yale
Rep’s The Servant of Two Masters and has been
3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
enjoying designing sound for that production’s reincarnations at Seattle Repertory
Theatre, ArtsEmerson, the Guthrie Theater,
and the Shakespeare Theatre Company. His
other recent credits include original sound
and music for On Borrowed Time and Electric
Baby (Two River Theater Company), Our
Town (Ford’s Theatre), Twelfth Night and The
Tempest (Hartford Stage), and live foley for It’s
a Wonderful Life (Long Wharf Theatre). He also
designs and builds musical instruments, with a
special emphasis on flutes and hurdy-gurdies.
Nathan received his mfa from Yale School of
Drama and is a member of the theatre studies
faculty at Yale College.
Charles Coes
SOUND DESIGNER
Charles’ New York credits include Wanda’s
Monster, Louis Armstrong: Jazz Ambassador,
The Butterfly, Dreams of the Washer King, The
Shot, The Realm, User 927, Up Up Down Down,
and Stand Tall. Regional theatre credits include
Passion Play at Yale Repertory Theatre; My
Wonderful Day at the Wilma Theater; One
Slight Hitch at Williamstown Theatre Festival;
Parade at Ford’s Theatre; The Servant of Two
Masters at the Shakespeare Theatre Company,
the Guthrie Theater, ArtsEmerson, and Seattle
Repertory Theatre; Annie and The Sound of
Music at North Shore Music Theatre; and Electric Baby and On Borrowed Time at Two River
Theater Company. He has also worked on art
installations with Anne Hamilton, Abelardo
Morell, and Luis Roldan, as well as aerial and
aquatic spectaculars on Oasis of the Seas, Allure
of the Seas, and other Royal Caribbean ships.
He has served as an associate on the Broadway productions of Peter and the Starcatcher,
Vanya and Sonia and Masha and Spike, Grace,
Chinglish, In the Next Room (or the vibrator
play), The Glass Menagerie, and Macbeth. He
received his mfa from Yale School of Drama.
Michael F Bergmann
PROJEC TION DESIGNER
Michael is a third-year mfa candidate at Yale
School of Drama, where he has designed
Accidental Death of an Anarchist (Yale Repertory Theatre), Iphigenia Among the Stars, and
Fox Play. He served as assistant projection
designer on In a Year With 13 Moons at Yale
Repertory Theatre and The Seagull and Angels
in America, Part Two: Perestroika at the School
of Drama. His other projection design credits
include Creation 2011, Dracula, and Cat Club
at Yale Cabaret; and Terre Rouge and The
Marriage of Bette and Boo at Théâtre Glendon.
He has consulted on numerous productions
at the Yale Cabaret and other theatres. His
other credits include directing Mute at the
Toronto Fringe Festival and This Still Night at
the Prague Fringe Festival, producing a variety
of theatre and film projects including Under
Milk Wood and Leer at Abrams Studio, and
profiles
the short An Encounter. A proud Canadian,
Michael holds a bfa from Ryerson University
in Toronto and is an Eldon Elder fellow at Yale.
Visit bergarts.com.
Samantha Lazar
P R O D U C T I O N D R A M AT U R G
Samantha is a second-year mfa candidate
at Yale School of Drama, where she served
as dramaturg for The Cold in My Eye. She has
worked in various capacities at Yale Cabaret,
where her credits include MilkMilkLemonade,
The Twins Would Like to Say, and Crave. Prior to
going to Yale, she worked as a dramaturg and
set designer in Philadelphia, where favorite
credits include Red (Philadelphia Theatre
Company), Ubu Roi (Renegade Classic Theatre), and Becky Shaw (Montgomery Theater).
She has written performance reviews and
criticism for Philadelphia-based publications
and is currently a managing editor of Theater
magazine. She holds a BA from the University
of Pennsylvania.
Kimberly Mark Webb
S TAG E M A N AG E R
Kimberly’s credits at Berkeley Rep include
more than 75 productions over the last 30-plus
years. His other work includes productions
for Center Theatre Group, New York’s Joyce
Festival, the Huntington Theatre Company, La
Jolla Playhouse, Williamstown Theatre Festival,
American Conservatory Theater, and Kansas
City Repertory Theatre. Kimberly served as
production stage manager at Theatre Three in
Dallas for six years.
Tara Rubin Casting
CASTING DIREC TOR
Tara has been casting at Yale Rep since 2004.
Her upcoming Broadway projects include
Bullets Over Broadway and Aladdin, and past
Broadway productions include A Time To Kill;
Big Fish; The Heiress; One Man, Two Guvnors
(U.S. casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises;
A Little Night Music; Billy Elliot; Shrek; Guys
and Dolls; The Farnsworth Invention; Young
Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The
25th Annual Putman County Spelling Bee; The
Producers; Mamma Mia!; The Phantom of the
Opera; and Contact. She has cast for the offBroadway shows Love, Loss, and What I Wore
and Old Jews Telling Jokes. Tara has also worked
for the Kennedy Center, La Jolla Playhouse,
Dallas Theater Center, the Old Globe, Westport Country Playhouse, and Bucks County
Playhouse. Her film work includes Lucky Stiff
and The Producers.
Walton Wilson
VO C A L C OAC H
Walton is head of voice and speech at Yale
School of Drama. He was trained and desig-
nated as a voice teacher by master teacher
Kristin Linklater and was trained and certified
as an associate teacher by master teacher
Catherine Fitzmaurice. He also studied with
Richard Armstrong, Meredith Monk, and
Patsy Rodenburg. As a voice/dialect coach, his
New York credits include The Violet Hour and
Golden Child on Broadway, the world premiere
productions of The Laramie Project and The
Laramie Project: 10 Years Later, and Endangered
Species. Regional credits include productions
at Actors Theatre of Louisville, American Repertory Theater, Long Wharf Theatre, McCarter
Theatre Center, Shakespeare & Company, and
Williamstown Theatre Festival. At Yale Rep, he
has served as voice and dialect coach for In a
Year with 13 Moons, A Doctor in Spite of Himself,
Autumn Sonata, Battle of Black and Dogs, Notes
from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables,
The Cherry Orchard, The Intelligent Design of
Jenny Chow, The Black Monk, Medea/Macbeth/
Cinderella, Betty’s Summer Vacation, The Birds,
and Richard III.
Yale Rep
CO -PRODUCER
Yale Repertory Theatre has produced well
over 100 premieres — including two Pulitzer Prize winners and four other nominated
finalists — by emerging and established
playwrights. Eleven Yale Rep productions have
advanced to Broadway, garnering more than
40 Tony Award nominations and eight Tony
Awards. Yale Rep is also the recipient of the
Tony Award for Outstanding Regional Theatre.
Professional assignments at Yale Rep are
integral components of the program at Yale
School of Drama, the nation’s leading graduate theatre training conservatory. Established
in 2008, Yale’s Binger Center for New Theatre
is an artist-driven initiative that devotes major
resources to the commissioning, development,
and production of new plays and musicals at
Yale Rep and across the country. The Binger
Center has supported the work of more
than 40 commissioned artists and the world
premieres and subsequent productions of
15 new American plays and musicals. Recent
and upcoming Yale–commissioned world
premieres include Amy Herzog’s Belleville
and The Realistic Joneses by Will Eno (opening
on Broadway this spring), cited among the
year’s Top Ten by The New York Times in 2011
and 2012 respectively, and this season’s These
Papers Bullets, adapted by Rolin Jones from
William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong. Visit
yalerep.org/center.
Take the Theatre
home with you!
The Hoag Theatre Store is
better than ever, featuring our
new tablet holder and exclusive
items from our staff artisans.
Wonderful gifts for you and the
theatre-lovers in your life!
Tony Taccone
MICHAEL LEIBERT
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director
of Berkeley Rep, the Tony Award–winning
nonprofit has earned a reputation as an
international leader in innovative theatre. In
those 16 years, Berkeley Rep has presented
more than 70 world, American, and West
Coast premieres and sent 22 shows to New
York, two to London, and now one to Hong
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 1
BE R K E L E Y R E P PR E S E N T S
Kong. Tony has staged more than 35 plays in
Berkeley, including new work from Culture
Clash, Rinde Eckert, David Edgar, Danny Hoch,
Geoff Hoyle, Quincy Long, Itamar Moses,
and Lemony Snicket. He directed the shows
that transferred to London, Continental Divide
and Tiny Kushner, and two that landed on
Broadway as well: Bridge & Tunnel and Wishful
Drinking. Tony commissioned Tony Kushner’s
legendary Angels in America, co-directed its
world premiere, and this season marks his
eighth collaboration with Kushner when he
directs The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the
Scriptures. Tony’s regional credits include
Actors Theatre of Louisville, Arena Stage,
Center Theatre Group, the Eureka Theatre,
the Guthrie Theater, the Huntington Theatre
Company, Oregon Shakespeare Festival, The
Public Theater, and Seattle Repertory Theatre.
As a playwright, Tony recently debuted Ghost
Light and Rita Moreno: Life Without Makeup.
His latest play, Game On, written with Dan
Hoyle, will premiere in April 2014 at San Jose
Repertory Theatre. In 2012, Tony received
the Margo Jones Award for “demonstrating a
significant impact, understanding, and affirmation of playwriting, with a commitment to the
living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration and operations of the Theatre. She has
served as president of the League of Resident
Theatres (lort) and treasurer of Theatre
Communications Group, organizations that
represent the interests of nonprofit theatres
across the nation. Susan chaired two panels
for the Massachusetts Arts Council and has
also served on program panels for Arts Midwest, the Joyce Foundation, and the National
Endowment for the Arts. Closer to home,
Susan chairs the Downtown Berkeley Business
Improvement District and serves as president
of the Downtown Berkeley Association. She
is the founding chair of the Berkeley Arts in
Education Steering Committee for Berkeley
Unified School District and the Berkeley
Cultural Trust. She was awarded the 2012
Benjamin Ide Wheeler Medal by the Berkeley
Community Fund. Susan serves on the faculty
of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild
and Trekking Society. She lives in Berkeley with
her husband.
Karen Racanelli
G E N E R A L M A N AG E R
Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley
Rep’s programs for education provided live
theatre for more than 20,000 students annually. In 1995, she became general manager, and
3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
since then has overseen the day-to-day operations of the Theatre. She has represented the
League of Resident Theatres during negotiations with both Actors’ Equity Association and
the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep,
Karen worked for Theatre Bay Area as director
of theatre services and as an independent
producer at several Bay Area theatre companies. She has served on the boards of Climate
Theater, Overtone Theatre Company, Park Day
School, and the Julia Morgan Center. Karen is
married to arts attorney MJ Bogatin.
Liesl Tommy
A S S O C I AT E D I R E C T O R
After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic
team at Berkeley Rep in 2013. She is an awardwinning director whose world premieres
include Party People by Universes at Oregon
Shakespeare Festival, The White Man—A
Complex Declaration of Love by Joan Rang
with DanskDansk Theatre in Denmark, Peggy
Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/Canadian
Stage Toronto, Eclipsed by Danai Gurira at Yale
Repertory Theatre and Woolly Mammoth
Theatre Company, The Good Negro by Tracey
Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa
Davis at the Contemporary American Theatre
Festival, Angela’s Mixtape by Eisa Davis at Synchronicity Performance Group, New Georges,
and Bus and Family Ties at the Play Company
for the Romania Kiss Me! Festival. Liesl’s other
credits include California Shakespeare Theater,
Huntington Theatre Company, Center Stage
in Baltimore, Sundance East Africa, Manda
Island, Kenya, Oregon Shakespeare Festival,
La Jolla Playhouse, and Huntington Theatre
Company, among others. Liesl serves as the
program associate at Sundance Institute
Theatre Program, focusing on its activities
in East Africa, and she was recently made an
artist trustee with the Sundance Institute’s
board of trustees. She was awarded the inaugural Susan Stroman Directing Award from
the Vineyard Theatre, the nea/tcg Directors
Grant, and the New York Theatre Workshop
Casting/Directing Fellowship. She is a native
of Cape Town, South Africa.
Madeleine Oldham
R E S I D E N T D R A M AT U R G/ D I R E C T O R ,
T H E G R O U N D F LO O R
Madeleine is the director of Berkeley Rep’s
recently launched Ground Floor and the
Theatre’s resident dramaturg. She oversees
commissioning and new play development,
and dramaturged the world premiere productions of Passing Strange and In the Next
Room (or the vibrator play), among others. As
literary manager and associate dramaturg at
Center Stage in Baltimore, she produced the
profiles
First Look reading series and headed up its
young audience initiative. Before moving to
Baltimore, she was the literary manager at
Seattle Children’s Theatre, where she oversaw
an extensive commissioning program. She also
acted as assistant and interim literary manager
at Intiman Theatre in Seattle. Madeleine
served for four years on the executive committee of Literary Managers and Dramaturgs
of the Americas and has also worked with
act (Seattle), Austin Scriptworks, Crowded
Fire, the Eugene O’Neill Theatre Center, the
Kennedy Center, New Dramatists, Playwrights
Center, and Portland Center Stage.
Amy Potozkin
A R T I S T I C A S S O C I AT E /
CASTING DIREC TOR
A native New Yorker, Amy moved west
in 1990 when she was hired to work for
Berkeley Rep. Through the years she has also
had the pleasure of casting projects for act
(Seattle), Arizona Theatre Company, Aurora
Theatre Company, B Street Theatre, Bay Area
Playwrights Festival, Dallas Theater Center,
Marin Theatre Company, the Marsh, San Jose
Repertory Theatre, Social Impact Productions
Inc., and Traveling Jewish Theatre. Amy cast
roles for various indie films: Conceiving Ada,
starring Tilda Swinton; Haiku Tunnel and the
upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond
Redemption by Britta Sjogren. Amy received
her mfa from Brandeis University, where she
was also an artist in residence. She has been a
coach to hundreds of actors, teaches acting at
Mills College, and leads workshops at Berkeley
Rep’s School of Theatre and numerous other
venues in the Bay Area. Amy is a member of
csa, the Casting Society of America.
Michael Suenkel
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley
Rep as the stage management intern for the
1984–85 season and is now in his 20th year
as production stage manager. Some of his
favorite shows include 36 Views, Endgame,
Eurydice, Hydriotaphia, and Mad Forest. He has
also worked with the Barbican in London, the
Huntington Theatre Company, the Juste Pour
Rire Festival in Montreal, La Jolla Playhouse,
Pittsburgh Public Theater, The Public Theater
and Second Stage Theater in New York, and
Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s The Late
Henry Moss.
The Strauch Kulhanjian Family
SEASON PRODUCERS
Roger Strauch is a former president of
Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is
chairman of the Roda Group (rodagroup.com),
a venture-development company based in
Berkeley, focused on cleantech investments,
best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq:
szym, solazyme.com). Roger is chairman of
the board of CoolSystems, a medical technology company, and a member of UC Berkeley
Engineering Dean’s college advisory board.
He is chairman of the board of trustees for
the Mathematical Sciences Research Institute
(msri); a member of the board of Northside
Center, a mental-health services agency based
in Harlem, New York City; and a co-founder
of the William Saroyan Program in Armenian
Studies at Cal. His wife, Julie A. Kulhanjian, is
an attending physician at Oakland Children’s
Hospital. They have three children.
Thalia Dorwick
PRODUCER
Thalia became involved with the theatre when,
at age 12, she wrote, produced, and starred in
a Girl Scout play. Fortunately, she has been
only a spectator since then. She is currently
the president of Berkeley Rep’s board of trustees, and she also directs the Theatre’s docent
program. She serves as a vice president of the
board of trustees of Case Western Reserve
University. She has a Ph.D in Spanish, taught
at the university level for many years, and is
the co-author of a number of Spanish textbooks. She retired in 2004 as editor-in-chief of
McGraw-Hill Higher Education’s Humanities,
Social Sciences, and World Languages group.
David and Vicki Fleishhacker
PRODUCERS
David and Vicki Fleishhacker’s families trace
their California roots back to the 1860s. Both
have been involved in amateur theatre for
decades. Vicki has long been active and performed with Children’s Theatre Association of
San Francisco productions, most recently in
Cinderella. David appeared in over a dozen musical productions as actor, singer, and lyricist,
most recently in 42nd Street Moon’s Of Thee I
Sing. He is currently on the board of Berkeley
Rep and the San Francisco Symphony Youth
Orchestra. David’s parents met in amateur theatre, and his father was instrumental in bringing American Conservatory Theater to San
Francisco. Other family members have served
on the boards of act and Magic Theatre. A New Way of Understanding the Human Mind
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BART
SEASON SPONSOR
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even more communities and continue to offer
an ecofriendly alternative to cars. For more
info, visit bart.gov.
San Francisco Chronicle
SEASON SPONSOR
“Very funny!... Copeland is a winning, magnetic performer.
More than that he’s got an important tale to tell!”
— s f ch ro n i cle
The San Francisco Chronicle is the largest
newspaper in Northern California and the
second largest on the West Coast. Acquired by
Hearst Corporation in 2000, the San Francisco
Chronicle was founded in 1865 by Charles and
Michael de Young and has been awarded six
Pulitzer Prizes for journalistic excellence. The
Chronicle is committed to coverage of local
issues and those topics with national impact.
SFGate.com publishes San Francisco Chronicle
news coverage and features online, and adds
more features not available in the print version, such as breaking news, reader forums,
photo galleries, multimedia presentations, as
well as real estate, classified, recruitment, and
auto databases. Combined with SFGate.com,
the San Francisco Chronicle reaches 1.7 million
Bay Area adults each week.
Wells Fargo
SEASON SPONSOR
As a top corporate giver to Bay Area nonprofits for many years, Wells Fargo recognizes
Berkeley Repertory Theatre for its leadership
in supporting the performing arts and its
programs. As the oldest and largest financial
services company headquartered in California,
Wells Fargo has top financial professionals
providing business banking, investments, brokerage, trust, mortgage, insurance, commercial
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Written and performed by Brian Copeland
Directed by David Ford
Special Presentation · Osher Studio
STARTS APRIL 23
Additional Staff
Assistant Director
Jack Tamburri
Deck Crew
Sofia Dertimanis
Matt Reynolds
Thomas Weaver
Scene Shop
Ross Copeland
Patrick Keene
Geoffery Nolan Libby
Read Tuddenham
Stage Carpenter
Courtney McCrary
Call 510 647-2949
Click berkeleyrep.org
3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
We acknowledge the following Annual Fund supporters whose contributions
from November 2012 through January 2014 helped to make possible
the Theatre’s artistic and community outreach programs.
CON T R I BU TOR S
institutional supporters
G IF T S O F $ 100,000 AN D AB OVE
G IF T S O F $2 5,000 –49,999
G IF T S O F $5,000 –9,999
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
Anonymous
The Ira and Leonore Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
Anonymous
Berkeley Civic Arts Program
East Bay Community Foundation
Ann and Gordon Getty Foundation
Ramsay Family Foundation
G IF T S O F $50,000 –99,999
Koret Foundation
The Kenneth Rainin Foundation
The Bernard Osher Foundation
National Endowment for the Arts
COR P OR AT E S P ON S OR S
S E A SO N S P O N SO R S
G IF T S O F $10,000 –24,999
G IF T S O F $12 ,000 –24,999
Bank of the West
Mechanics Bank Wealth Management
The Morrison & Foerster Foundation
Union Bank
G IF T S O F $6,000 –11,999
G IF T S O F $2 5,000 –49,999
Armanino llp
Chevron
Deloitte
Meyer Sound
Oliver & Company
Panoramic Interests
Peet’s Coffee & Tea
Schoenberg Family Law Group
ubs
U.S. Bank
G IF T S O F $750 –4,999
Alameda County Arts Commission/artsfund
Joyce & William Brantman Foundation
Civic Foundation
Dramatist’s Guild Fund
The Entrekin Foundation
jec Foundation
G IF T S O F $3,000 –5,999
4U Sports
Bayer usa Foundation
Gallagher Risk Management Services
The Safeway Foundation
G IF T S O F $1, 500 –2 ,999
Bingham McCutchen llp
BluesCruise.com
Macy’s
G IF T S O F $500 –1,499
Grizzly Peak Winery
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program
offers excellent opportunities to network, entertain clients, reward employees,
increase visibility, and support the arts and arts education in the community.
For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S
M AT C H I NG G I F T S
act Catering
Angeline’s Louisiana Kitchen
Aurora Catering
Autumn Press
Back to Earth Organic Catering
Belli Osteria
Bistro Liaison
Bobby G’s Pizzeria
Bogatin, Corman & Gold
build Pizzeria
Café Clem
Comal
Cyprus
Distillery No. 209
Domaine Carneros by Taittinger
Donkey & Goat Winery
East Bay Spice Company
etc Catering
Eureka!
Four Seasons Hotel San Francisco
five
Gather Restaurant
Green Waste Recycle Yard
Greene Radovsky Malone Share &
Hennigh llp
Hotel Shattuck Plaza
Hugh Groman Catering
Jazzcaffè
Kevin Berne Images
La Mediterranee
La Note
Latham & Watkins, llp
Match Vineyards
Mint Leaf
Patricia Motzkin Architecture
Paul Hastings
Phil’s Sliders
Picante
PiQ
Pyramid Alehouse
Quady Winery
Raymond Vineyards
Revival Bar + Kitchen
Ricola usa
St. George Spirits
Sweet Adeline
Tres Agaves
Turkish Kitchen
Venus Restaurant
Zut! on 4th
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
Pro-bono legal services are
generously provided by
Latham & Watkins, llp.
The following companies have matched their employees’
contributions to Berkeley Rep. Please call the
Development Department at 510 647-2906 to find out if
your company matches gifts.
Adobe Systems Inc. · Advent Software · Alexander &
Baldwin · American Express · Apple · Argonaut Group, Inc.
· at&t · Bank of America · Bechtel Corporation · BlackRock
· Bristol Myers Squibb · Charles Schwab & Co, Inc ·
Chevron Corporation · Clorox · Constellation Energy ·
Franklin Templeton · Gap · Google · Hewlett Packard · ibm
Corporation · JD Fine and Company · John Wiley & Sons,
Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore
National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson
Navigation Company · Microsoft · Morrison & Foerster ·
Motorola Mobility · mrw & Associates llc · norcal
Mutual Insurance Company · Oracle Corporation ·
Perforce · Ruppenthal Foundation for the Arts · Salesforce.
com · The Doctors Company · The Walt Disney Company ·
visa u.s.a., Inc. · Willis Lease Finance Corporation
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 35
CON T R I BU TOR S
donors to the annual fund
LEG E N D
K
in-kind gift
M
Great theatre is made possible by the generosity of our community.
We gratefully acknowledge the following contributors to
Berkeley Rep, who champion the Theatre’s artistic and outreach
programs. To make your gift and join this distinguished group, visit
berkeleyrep.org/give or call 510 647-2906.
matching gift
P RODUC E R C I RC L E
S E A S O N PRO D U CE R S
$ 10 0,0 0 0 +
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Guy Tiphane
Gail & Arne Wagner
Barry Lawson Williams & Lalita Tademy
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PRO D U CE R S
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PRE S ID E N T S
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Edith Barschi
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Grey Maus(e)
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Riva Rubnitz
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D IREC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (9)
Pat Angell
Marcia & George Argyris
Martha & Bruce Atwater
Nina Auerbach
Don & Gerry Beers M
David Beery & Norman Abramson
Caroline Booth
Linda Brandenburger
Broitman-Basri Family
Thomas & Tecoah Bruce
Kerry Tepperman Campbell
Ronnie Caplane
Stephen K. Cassidy & Rebecca L. Powlan
Paula Champagne & David Watson
LinChiat Chang K
The Cheitlin Family
Julie Harkness Cooke
Penny Cooper & Rena Rosenwasser
Ed Cullen & Ann O'Connor
James Cuthbertson
John & Stephanie Dains
Ira Dearing
Ilana DeBare & Sam Schuchat
Francine & Beppe Di Palma
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Becky Draper
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Lisa & Dave Finer
Ann & Shawn Fischer Hecht
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A S S O CIAT E PRO D U CE R S
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Paul Friedman & Diane Manley M
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Gail & Bob Hetler
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The Hornthal Family Foundation
Rick Hoskins & Lynne Frame
Paula Hughmanick & Steven Berger
George & Leslie Hume
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Herrick and Elaine Jackson,
The Connemara Fund
Beth & Fred Karren
Doug & Cessna Kaye
Rosalind & Sung-Hou Kim
Michael Kossman
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Helen E. Land
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William & Adair Langston
Randy Laroche & David Laudon
Louise Laufersweiler & Warren Sharp
Andrew Leavitt & Catherine Lewis
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Jennifer S. Lindsay
Tom Lockard & Alix Marduel
Jonathan Logan
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Janet & Michael McCutcheon
Karen & John McGuinn
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Jonathan & Hillary Reinis
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
Carole Robinson & Zane O. Gresham
Deborah Romer & William Tucker
Marc Roth
Boyard & Anne Rowe
Enid & Alan Rubin
Gaile B. Russ
Dace P. Rutland
Mitzi Sales & John Argue
Lisa Salomon & Scott Forrest
Monica Salusky & John K. Sutherland
Jeane & Roger Samuelsen
Stephen C. Schaefer
Jackie & Paul Schaeffer
Joyce & Jim Schnobrich
Stephen Schoen & Margot Fraser
Mark Shusterman, M.D.
Edie Silber & Steve Bomse
Beryl & Ivor Silver
Amrita Singhal & Michael Tubach
Kae Skeels
Sherry & David Smith
Stephen & Cindy Snow
Louis & Bonnie Spiesberger K
Stephen Stublarec & Debra S. Belaga
Andrew & Jody Taylor
Deborah Taylor
Alison Teeman & Michael Yovino-Young
Susan & David Terris
Ama Torrance & David Davies
Bernard & Denise Tyson
Buddy & Jodi Warner
Jonathan & Kiyo Weiss
Beth Weissman
Jim & Maria Weller
Grace Williams
Patricia & Jeffrey Williams
Charles & Nancy Wolfram
Ron & Anita Wornick
Sam & Joyce Zanze
Jane Zuercher
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
CON T R I BU TOR S
donors to the annual fund
PL AY W RI G H T S
$ 1,0 0 0 –1, 49 9
Anonymous (7) · Peggy & Don Alter · Juli
Betwee · Brian Bock and Susan Rosin ·
Harry Bremond & Peggy Forbes · Fred Brown
& Barbara Kong Brown · Paula Carrell · Stan &
Stephanie Casper · Naveen Chandra & James
Lengel · Ed & Lisa Chilton · Terin Christensen
· Richard & Linnea Christiani · Katherine Copic
& Daniel Spoonhower M · Barbara & Tim Daniels
M K · Ric de Barros · Alecia E. DeCoudreaux ·
Harry & Susan Dennis · Corinne & Mike
Doyle · Debra Engel · Susan English & Michael
Kalkstein · Bill & Susan Epstein · Gary
Facente · Paul Feigenbaum & Judy Kemeny
· Frannie Fleishhacker · Nancy H. Francis
· Lisa Franzel & Rod Mickels · Christopher
R. Frosta M · Judith & Alex Glass · Phyllis &
Eugene Gottfried · Diana Grand & Jon Holman
· Douglas Hardman & Karla Martin · Jennifer
Heyneman Sousae · Adrienne Hirt & Jeffrey
Rodman · Elaine Hitchcock · Barry & Jackie
Hoffner · Randall Johnson · Barbara E. Jones ·
Tom & Mary Anne Jorde · Seymour Kaufman
& Kerstin Edgerton · Christopher Killian &
Carole Ungvarsky · Mary S. Kimbal · Steve
Kispersky · R. Jay & Eileen Love · J.E. Luckett
· Bruce Maigatter & Pamela Partlow · Joan &
Roger Mann · Larry & Corinne Marcus · John E.
Matthews · Erin McCune & Nicholas Virene
· Daniel & Beverlee McFadden · John G. McGehee · Steven McGlocklin · Kirk McKusick &
Eric Allman · Dennis & Eloise Middleton · Marc
Elliott Mosko · Timothy Muller · Margo Murray
· Claire Noonan & Peter Landsberger · Pier &
Barbara Oddone · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · David
& Julieta Peterson · Gregory C. Potts · Andrew
Raskopf · Charles R. Rice · Edward & Jeanette
We gratefully recognize
the following members
of the Annual Fund
whose contributions were
received from December
2013 to January 2014
S U PP O R T E R S
$ 2 5 0 –49 9
Anonymous (16) · Terry Pink Alexander & John
Blaustein · Gay & Alan Auerbach · Barbara
Jones & Massey J. Bambara · Susan & Barry
Baskin · Richard & Ann Batman · Leslie & Jack
Batson · Barbara Beck · Steven & Cynthia
Beckendorf · Dorothy & Ervin Behrin · Steve
Benting & Margaret Warton · Naomi Black ·
The Blackman Family · Judith Bliss & Gerald
Huff · Barbara & Ray Breslau · Eugenia Brin
· Francis Brooks · Jill Bryans · Lawrence
& Marilyn Capitelli · Prudence Carter &
Marianne Balin · Barbara & John Crary · Rev.
Don & Lil Cunningham · Martha Eckert ·
Meredith & Harry Endsley · Malcolm D. Ewen
· Ms. Barbara Fenichel · Sheilah & Harry Fish ·
Daniel Friedland & Azlynda Alim · Mary & Stan
Friedman · Dr. Garwood Gee & Ms. Kathleen
Fong · Arlene Getz · Glennis Lees & Michael
Glazeski · Gail Gordon & Jack Joseph · Bonnie
& Sy Grossman · R. Glenn & Ann Hammonds
· Julie & Paul Harkness · Richard L. Hay · Joyce
& Jack Sweitzer · Dorothy & Michael Herman
· Lorraine Honig · Terry Huggins · Michael
Ingerman & Madeleine Sloane · Roy Johnson
· Amalia Kessler & Adam Talcott · James R.
Kidder · Mary Ann Kiely · Allen King · Beverly
Roach · Horacio Rodriguez · Sheli Rosenberg ·
Rob & Eileen Ruby · John Sanger · Susie Sargent
& Michael Webb K · Seiger Family Foundation ·
Neal Shorstein, MD & Christopher Doane ·
Dave & Lori Simpson · George & Camilla
Smith· Annie Stenzel · Tim Stevenson & David
Lincoln King · Nancy & Fred Teichert · Pate
& Judy Thomson · Deborah & Bob Van Nest ·
Wendy Willrich · Steven & Linda Wolan · Lee
Yearley & Sally Gressens · Sam & Joyce Zanze
AC TO R S
$500–999
Anonymous (16) · Robert & Evelyn Apte ·
Fred & Kathleen Allen · Gertrude & Robert
Allen · Shellye L. Archambeau & Clarence
Scott · Naomi Auerbach & Ted Landau ·
Steven & Barbara Aumer-Vail · Todd & Diane
Baker · Jonathan Berk & Rebecca Schwartz ·
Richard & Kathy Berman · Robert Berman &
Jane Ginsburg · Caroline Beverstock · Steve
Bischoff · Patti Bittenbender · Nancy Blachman & David desJardins · Dr. Kevin & Mrs. Riva
Bobrowsky · Fraser Bonnell · Claudia Bravo &
Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett
· Robert & Janet Campbell M · Doug Carlston &
Kathy Williams · Bruce Carlton · Davis Carniglia
& Claire Baker · John Carr · Carolle J. Carter &
Jess Kitchens · Michael C. Chang · Jeff Chanin
& Karen Lovdahl · Kim & Dawn Chase · Patty
Chin · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy
· Robert & Blair Cooter · Dee Cosetto · John &
Izzie Crane · Copley Crosby · Teri Cullen · Robert & Loni Dantzler · Pat & Steve Davis · Abby
& Ross Davisson · Daryl Dichek & Kenneth
Smith · Edmund DuBois · Drs. Nancy Ebbert &
Phillips Kivel · Larry & Ruth Kurmel · Regina
Lackner · Lisa Lázár · John Leys · Carolyn
Maples · Aliza & Peter Metzner ·
Spencer & Roberta Michels · Theresa Nelson
& Bernard Smits · Joseph & Berna Neumiller
· Don Nix · Bruce & Risa Nye · James F. Pine
· Lewis Perry · Beth Polland · Fred & Susan
Pownall · Chuck & Kati Quibell · Paco Ramirez
· David & Mary Ramos · Lucas Reiner &
Maud Winchester · Joan & Al Rendon · Helen
Richardson · Galen Rosenberg & Denise
Barnett · Fred & Dolores Rudow · Dan Scharlin
& Sara Katz · Jack & Margaret Schieble · Linda
Schurer · Audrey & Bob Sockolov · Hans
Stahlschmidt · Terry & Berenice Sullivan · Greg
& Mary Tarczynski · Marsha G. Torkelson ·
Emily & Bob Warden · Arthur Weil · Harvey &
Rhona Weinstein · Dick & Beany Wezelman ·
Dick White · Ann Willoughby · Moe & Becky
Wright · Barak Yedidia
CO N T RIB U TO R S
$ 15 0 –2 49
Anonymous (18) · Marcia Abrams · Charles
& Joyce Anderson · Martha Conklin & Roger
Bales · Frank & Lee Battat · Hebe & James Beard
· Tracey Borst & Robert Menicucci · Tracy Brog
· Pamela & Christopher Cain · William Chalkley
· Rex Chase · Marilyn Berg Cooper · Priscilla
K. Cooper · Jim & Jeanette Cottle · Mike &
Pam Crane · Roberta D’Anneo & Scot Terry ·
Gail DeBoer · Jane Decker · Suzanne & Bruce
Degen · Jacqueline Desoer · David Deutscher
· Marvin Diamond · Karen & David Dolder ·
Kathy Down & Greg Kelly · Laura DowningLee & Marty Lee · Cheryl & Matthew Eccles
· Brigitte & Louis Fisher · William & Andrea
Foley · Catherine E. Fox · Patricia Fox · Michael
& Sabina Frank · Kelli M. Frostad · Robert &
Linda Garb · David Gaskin & Phillip McPher-
Adam Rochmes · Anita C. Eblé · Burton Peek
Edwards & Lynne Dal Poggetto · Sue & Peter
Elkind · Roger & Jane Emanuel · Gini Erck &
David Petta · Patrick Flannery · Michael &
Victoria Flora · Donald & Dava Freed · Stewart
& Joyce Freedman · Kate & Ted Freeland · Paul
Gill & Stephanie D’Arnall · Paul Goldstein
& Dena Mossar · Robert Goldstein & Anna
Mantell · Jane Gottesman & Geoffrey Biddle ·
Dan Granoff · Sheldon & Judy Greene · Don
& Becky Grether · Dan & Linda Guerra · Eric
and Elaine Hahn · Ann Harriman · Robert L.
Harris & Glenda Newell-Harris · Kate Hartley &
Mike Kass · Geoffrey & Marin-Shawn Haynes
· Diane Hembry · Bill Hendricks · Daria Hepps
· Irene & Robert Hepps · Judith Holland · Morgan Hough · Leonard & Flora Isaacson · Mr. &
Mrs. Edwin Ives · Ken & Judith Johnson · Marc
& Lisa Jones · Helmut H. Kapczynski & Colleen
Neff · Roy Kaplan · Lisa & John Katovich K ·
Dennis Kaump · Jeff Klingman & Deborah
Sedberry · Joan & David Komaromi · Janet
Kornegay & Dan Sykes · Jennifer Kuenster &
George Miers · Charles Kuglen · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio ·
Thomas LaQueur · Mr. & Mrs. Richard Larsen
· Ray Lifchez · Dottie Lofstrom · James Lyons ·
Judy MacDonald Johnston · Sarah McArthur
& Michael LeValley · Betsy McDaniel · Tania
& David Madfes · Sue & Phil Marineau · Sarah
McArthur & Michael LeValley · Betsy McDaniel · Marie S. McEnnis · Sean McKenna · Alison
McLean · Ash McNeely · Ruth Medak · Mary &
Gene Metz · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian
& Britt-Marie Morris · Jerry Mosher · Moule
Family Fund · Lance Nagel · Ron Nakayama ·
Kris Carpenter Negulescu · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung
Nguyen · Jennifer Puck & Robert Nussbaum ·
Judith Ogle · Nancy Park · Pherwani Family ·
Malcolm & Ann Plant · Andrea Plastas · Gary F.
Pokorny · Charles Pollack & Joanna Cooper ·
Fred & Judy Porta · Donovan & Anna Prostrollo
· Dan & Lois Purkett · Kathleen Quenneville K
· Sheldon & Catherine Ramsay · Ian Reinhard ·
Paul & Margaret Robbins · Joshua Robison ·
Joan Roebuck & Anne McGrew · Deborah
Dashow Ruth · Dairne Ryan · June & Bob
Safran · Dorothy R. Saxe · Laurel Scheinman
· Bob & Gloria Schiller · Mark Schoenrock
& Claudia Fenelon · Teddy & Bruce Schwab
· Brenda Buckhold Shank, M.D., Ph.D. ·
Margaret Sheehy · Mary Shisler K · Steve &
Susan Shortell · Suzanne Slyman · Jerry & Dick
Smallwood · Ed & Ellen Smith · Mark Smith
& Pam Calloway · Sigrid Snider · Christina
Spaulding · Robert & Naomi Stamper · Ms.
Joelle Steefel · Herbert Steierman · Gary
& Jana Stein · Lynn M. & A. Justin Sterling ·
Monroe W. Strickberger · Shayla Su M · Ellen
Sussman & Neal Rothman · Jeff & Catherine
Thermond · Michael Tilson Thomas & Joshua
Robison · Prof. Jeremy Thorner & Dr. Carol
Mimura · Karen Tiedemann & Geoff Piller ·
William van Dyk & Margi Sullivan · Gerald &
Ruth Vurek · Louise & Larry Walker · Wendy
Ward · Dena & Wayne Watson-Lamprey ·
Michael Weinberger & Julianne Lindemann ·
Carmi Weininger · Sallie Weissinger · Diane &
Scott Wieser · Dr. Ben & Mrs. Carolyn Werner
· Oliver Williamson · Fred Winslow & Barbara
Baratta · Robert & Myrna Witt · Carol Katigbak Wong · Ron & Anita Wornick · Kent Wright
K · Margaret Wu & Ciara Cox
son · Kathleen Gesley · Jennifer & Wayne
Getz · Louise Gill · David & Michele Glass · Ian
M. Goldstein · Barry & Erica Goode · John &
Diane Gossard · Linda Graham · Sarah Greene
· Kevin Hagerty & Candace del Portillo · Rosalind Hamar · Janice Hammond · Lisa Hane
· April Hansen · Bruce & Donna Hartman ·
Linda Higueras · Douglas Hill & Jae Scharlin ·
Barbara Hirschler · Marilynn Hodgson · Jackie
& Bob Hoffman · Carolyn Holm · Hiedeh
Honari · Eleanor Hopewell · Bronwen & Neil
Horton · Joanne & Roy Howard · Douglas
Jensen · Margaret E. Jones · Ruth & Ben Joseph
· Pauline Jue · Charles & Laurie Kahn · Brian &
Edith Kearney · Cheryl Kojina & Kevin McNair ·
Glenn Krasner · David Lesnini · Jill L’Esperance ·
Karl & Betsy Livengood · Martie Conner · Sara
McAulay & Elsa Garcia Pandavenes · Caroline
McCall & Eric Martin · Susan & Nick McCully ·
The Medress Family Fund of the Jewish Community Foundation · Amelie Mel de Fontenay
& John Stenzel · Howard & Nancy Mel · Richard Miller · Will & Sally Moore · Gregg & Ruth
Morris · Cheryl Mouton · Albert Nahman · Jan
O’Brien · Steven J. O’Donnell · Gene & Helen
Oliver · Charles Olson & Yoko Watanabe ·
David Pasta · P. David & Mary Alyce Pearson
· Maren Pedersen · Barbara Pereira · Barbara
Peterson · Arthur Reingold & Gail Bolan ·
Laura Richardson · Wesley Richert · Marc
A. Rieffel · The Rev. Dr. Bonnie Ring · Ruth
Rosen & David Galin · Barbara Rosenblum ·
Kay Vinson Ruhland · Bruce Saldinger · Jaimie
Sanford and Ted Storey · Thomas Savignano
· Diane Schreiber & Bryan McElderry · Emily
Sexton · Dr. & Mrs. Gary Shrago · Richard
Silberman · Michael & Marsha Silberstein ·
Hugh & Aletha Silcox · Debbie Smith · Anne &
Robert Spears · Mervyn Stein · Kathy Morgan
Stewart · Kay H. Taber · Steven & Heidi Tanner
· Dr. & Mrs. Joseph Terdiman · Henry & Susan
Veit · Arthur & Susan Walenta · Susan D. Ward
· Tania Weingart · Claudia Wilken & John M.
True · Ken Wiseman · Susan York
FRIE N D S
$ 75 –149
Anonymous (44) · Robert & Karen Abra ·
Barry & Joanne Adcock · Mark Addleman ·
Susan Adler · Gene & Penny Zee Agatstein
· Mark Amaro · Don Amsbaugh · Jeff Angell
& Joan King-Angell · Carmen Aydelott · Jennifer Bain · Raymond Baker · David Barker &
Margaret Mason · Kent Barnes · Lindy Barocchi
· Stu & Louise Beattie · Richard & Carol Bee
· Laura Belfiglio-Gold · Barbara Benware ·
Thomas G. Bertken · Steven Bertozzi · Laura
Blair & Mitchell Zeemont · Kate Bloomer ·
Joel & Rochelle Blumenfeld · Daniel Bobrow
· Bonnie Bogue · Beril Bohrer · Beverley Bolt
· Angela Bortugno · Mary Ellen & George
Boyet · Peter & Jean Bradshaw · Esta Brand ·
Robert & Barbara Brandriff · Elizabeth Breslin
· Donald Brown · Dupsi Brown-Kuria · Helen
Bulwik · Jean Burke · Ted Burton · Ann Butcher
· Dennis Carrington · Anne Cawood · Jan &
Isabel Chernoff · Michael Cichon · Brenda L.
Cipriano · Marc & Jennifer Cohen · Teresa Countryman · Earl Crispell · Kerry & Lynn Curtis ·
Mr. & Mrs. Stefan Dasho · Mavis Delacroix ·
Carrice Delo · Jacqueline deSouza · Laura &
Todd Dillard · O’Neil & Marcia S. Dillon · Steve
Doherty · John & Betsy Donnelly · Charles &
Jean Dormann · Anne Dorsey · Randy Earle ·
Maria & Peter Eberle · Michelle B. Edwards ·
Lara Eidemiller · David Eimerl · Joseph & Judith
Epstein · Bill & Kathleen Failing · Caryll Farrer
· Mr. & Mrs. Carl Farrington · Linda Feldman
· Lisa Feldstein & Max Drukman · Cherielyn
Ferguson · Laurel Ferns · Victor & Regina
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7
CON T R I BU TOR S
donors to the annual fund
Fields · Rena & Jeff Fox · Molly Fraker · Peter &
Ayelet Frank · Christie Fraser · Dick Friedman
· Carlos Fuenzalida · Kate Funk · David & Susan
Garfin · Kevan Garrett · Valerie Garry · Serina
Garst · Jenny Geraty · Ellen Geringer & Chris
Tarp · Marlyn Gershuny · David Gibson · Toby
& George Gidal · Patty Glikbarg · Michael
Goldbach & Zahra Mahloudji · Dr. & Mrs.
Arnold Goldschlager · Keith Goldstein &
Donna Warrington · Alison Gopnik · Sue
& Eric Gordon · Gilbert & Sally Gradinger
· James Graham · Dorothy Greene · Mary
Hackenbracht · Eric Hahn · Randall Ham &
Linda Wilford · Jeffrey M. Hamerling · Frede
S. Hammes · Richard & Sylvia Hammond ·
Michael & Grace Hardie · Dr. & Mrs. Alan
Harley · Dee Hartzog · Amanda Hawes ·
Margaret E. Hegg · Bill & Judy Hein · David
Heller · Karen Hemmeter · Carol & Tony
Henning · Philippe Henri · Kristi Hernandez ·
Nancy Herrera · Carole S. Hickman · Suzanne
Hildenbrand · Lisa Hirsch · Joanna Hoffman ·
Kristina Holland · Rosalie Holtz · Barry Hovis
· Brian Howell · David Hunn · Doris Iaroli ·
Linda Infelise · Lynn Ireland · Vickie Ishimaru ·
Jacqueline Ivens · Christine Izaret · Jacqueline
Jackson · Ken Jaffee · Virginia & Robin Jaquith
· Diana Jaye · The Jenkins Family · Grace
Jimenez · Barbara Job · Carolyn Jones · Keasley,
Autumn, Emerson & Elliott Jones · Sheila Kahan & Judith Bloom · David Salk & Leah Kaizer ·
Cynthia Katona · Allen & Samantha Katz · Jean
Kay · James & Celia Kelly · Margaret Kendall ·
Ben Kerns · Dr. Kay Kleinerman · Ed Klinenberg
& Anne McCune · Dan Klitsner · Susan Kolb ·
Neil & Peggy Kostick · Judith Lamberti, MD ·
Katherine Land · Lynn Landor · Joan Larson ·
Paula Lavine · Joan & Gary Lawrence · Emily
Lee · Marguerite Lee & Martha Richards · Dr.
Welton Lee · Sharon Legenza · Hayne & Catherine Leland · Ronald & Shoshana Levy · Colleen Lewis · Mark & Roberta Linsky · Annette
C. Lipkin · Jean P. Lipton · Kim Liu · Kris Loberg
· Dan & Emily Loeb · Steve & Linda Lustig ·
Babette Maccoby · Janet & Marcos Maestre ·
Sushma Magnuson · Hugh & Carol Maiocco ·
Bonnie Malicki · Michael & Loxie Manchester ·
Josephine Maxon · Richard McDougald & Jean
Sanchirico · Daniel McGill · Steve & Patricia
McMahon · Leon McNeedly · Brian McRee ·
Phyllis Menefee · Harry J. Mersmann · Karin
Meyer & John Woodfill · David & Jane Meyers
· Terry Meyers-Gibbins & John Gibbins · Carrol Mills · Stephanie Mooers · Peggy & John
Mooney · Thomas C. Moore · Marie A. Moran
· Susanna Morin-Groom · Cheryl Morris ·
Ms. Linda Moulton · Ethel Mussen · Melissa
Nelken · Emily Newhouse · Kate Newkumet ·
Lisa Norris · E. E. & Deborah Nosowsky · Peter
Nussbaum & Aleta Wallace · Gloria O’Dell ·
Gail Offen-Brown · Susan Ohanian · Linda
Oliver · Susan Olney · Megan O’Reilly-Lewis
· Alberto Ortega · Ralph Pais & Gayl Huston
· David Presti & Kristi Panik · Roz Parenti ·
Meta Pasternak · Robert & Audrey Pedrin ·
Julia Pellegrini · Nancy Pemberton · Wendy
Peterson · John R. Petrovsky · Anthony &
Sarah Petru · Charles & Linda Phillips · Kathleen Pierce · Gail & Gerald Pogoriler · Riess
& Tara Potterveld · Darlene Quinn · Nancy A.
Rader · Daniel & Barbara Radin · Ann & Don
Rathjen · William Rawson · Rose Ray & Robert
Kroll · Erica Rayas · Martina Reaves · Rachel
Resnikoff · Irene Riemann · Ronald Rogness ·
Helen & Garrett Romain · Alison Ross · David
Buxbaum & Daniele Rossdeutscher · Marjorie
Roth · Phyllis & David Rothman · Janice Roudebush · Dr. & Mrs. Richard Rozen · Eleanor Rush
& Jim Puskar · Allan Sagle · Edna C. San Juan ·
Stuart Sapadin · Michael J. Savage · Herminia
S. Sayre · Carolyn Scarola · Wendy Scheck ·
Nathaniel Schmelzer · Otto Schnepp · Dana &
Peggy Shultz · Amy Segal · Jennifer Seid · John
& Lucille Serwa · Connie & Gary Shapiro · Craig
Shear · Bronwen Shears-MacNab · Carole
Sheft · Elizabeth T. Shun · Jill & Richard Sideman · Lucinda Sikes · Sharon Silva · Margaret
Skornia · Gary Smith & Marian Kohlstedt ·
Ann M. Smulka & Bob Blackburn · Barbara
Spack · Karen Spalding · Clinton Simpson III
· Marietta Stuart · Dan Sullivan · Charles &
Linda Swift · Jane Swinerton · La Vonne Taft
· Joyce Tayer · Michael & Katherine Taylor ·
Dan & Mila Thomas · Carol Thompson · Marta
Tobey · Janis Turner · Lisa Valentine · Ms. Sheila
Valorose · Vicky Van Dewark · Barbara &
William Vaughan · Mary Wadsworth · Adrian
Walker · Bing Wang · Virginia Warnes · David
Warren · Michael Watts · Phoebe Watts · Donna & Stewart Weinberg · Cliff Weingus & Mary
Callahan · Mark Whatley & Danuta Zaroda ·
Evan White · Barry & Bonnie Willdorf · Randall
Wilson · Tim Wise · Viviana Wolinsky · Ronald
& Lona Wyatt · Carolyn & Larry Zaroff ·
Emily Zell
PAT RO N S
$ 1 –74
Anonymous (4) · Jennifer Abrams · David
Abramsky · Marilyn Acosta · Joy Addison · Joe
& Esther Adler · Anna Leah Ah & Will Green ·
Peter Akraboff · Jennie Alexander · Laraine
Allen · Jean Alspaugh · Suzette Anderson ·
Gayle Ansell · Peter & Margaret Armstrong ·
Justina Ashley · Richard & Debbie Ault · David
& Vivian Auslander · Andrei Badulescu · Teddi
& David Baggins · Dr. Tanya N. Baker & Mr.
Jamie Heans · Vanessa Baker · Daniel Barash ·
Maureen Barbeau · June Barbera · Kathleen
Barrows · Ann Basart · Susanne Baum · Joan
Baylie & James Mullins · Francine Beall ·
Phyllis Beals · Wendy Bear · Linda & Bob
Beckstrom · Natasha Beery & William B.
McCoy · Julie Beley · Joanne Bell · Natasha
Bell · Mary Lou & Thomas Bell · Alice Benet ·
Sylvia M. Bennett · Erica Benson · Ronald D.
Berg · James Bergeron · Brenda L. Berlin ·
Maxine Berzok · Judi R. Berzon · Jayaram Bhat ·
Frances Birnbaum · Faxon Bishop · Carol
Bledsoe & William Pursley · Al & Anne-Marie
Bloch · Donald & Marleen Blomberg · Jennifer
Boehler & Mark Anderson · John Bongiovanni ·
Randi Boorstein · Dvora & Neil Boorstyn ·
Karen & Steven Bovarnick · Bertram & Bernice
Bradley · Sarah Brann · John Briggs · Eric Brink
& Gayle Vassar · William & Ellen Broaders ·
Mary & Peter Brooks · Devi K. Brown ·
Kathleen Brown · Ken Bruckmeier · Pamela S.
Burdman · Mary Burkhard · Dave & Diana
Butler · Judith & Burton Calder · Adrienne
Calomino · Candy Capogrossi · Elaine Caret ·
Elena Caruthers · Julia Casella · John
Cassingham · Harrison Chang · Ruth Chang ·
Jan Cheng · Yuteh Cheng · Bessie Chin · W.
Morris Chubb · Civiane Chung · Melania
Ciapponi · Patricia Clark · Marjorie Cleland ·
Mrs. Barrett N. Coates · Rosemary Coburn ·
Eleanor D. Cohen · Lisa Cohen · Ronnie &
Stuart Cohen · Ernestine Cohn · Michael Cohn ·
Barbara Cohrssen-Powell · Joan Cole · Bridget
Collins · Serge Colombeau · Thelma Colvin ·
Leslie Connelly · C. Rebecca Contopoulos ·
Wendy Cooper · William Corley · Sally Cotton ·
Susan & Don Couch · Carolyn Cox · Aimee
Crawford · William Creighton · Sean Culman ·
Judith Daar · Ralph Damato · Yang Dan ·
Deborah Davis · Doris Davis · Lisa
Dawson-Steffen · Patricia de Jong · Donna De
Souza · Gail Debellis · Robin Delaney ·
Jacqueline M. DeNevers · Sonya Derian ·
Jacqueline A. Devine · Hiram & Nora DeWitt ·
Dirk Dino · Kathleen Doherty · Marjorie
Donalds · John Dunkelberg & Nancy Wolfe ·
Jeanne Dunn · Robert Durling · Alice Earl ·
William Edens · Renee Eisenbruch · Selena Ellis
· Eric & Debra Ellisen · Jane Ellison · Zoe Elton ·
Marjorie Esquivil · James Evans · Leslie
Eveland · Miranda & John Ewell · Roy Eyal · Jeff
3 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
Falick · Richard Falk & Francine Falk-Allen ·
Elizabeth Fallon · Al & Sue Farmer · Nicole C.
Fee · Ted Feldsher & Sally McLaughlin · Lois C.
Feller · Nancy Fenton · Dorothy Fernandez &
Lisa Stenmark · George Ferrick · Julian Field ·
Emily Filloy · Laura Finkler & Larry Walter ·
Karen Firestein · Debra Fitzgerald · Craig
Flanery & Birgit Danila · Richard Foote ·
Marilyn Foreman · Leigh & Nancy Forsberg ·
Jules & Rose Fraden · Miriam & Gerald
Friedkin · Leslie Fuchs · Clare Gallagher ·
Angie Garling · Ms. Antoinette Gathy · Janice
& Chuck Gebhardt · Sam Gerson & Shelley
Nathans · Mitchell Gitin · Barbara Goddard ·
Tolga Goktekin · David Gold · Arthur & Carol
Goldman · Helen Goldsmith & Paul Garson
Heller · Ilene Gordon · Will Gould · Elizabeth
Grant · Elaine Graves · Tam & Larry Gray ·
Lorri Gray · Miriam Green · Sherry Green ·
Rosemary H. Greenberg · Elizabeth Greene ·
Zachary Griffith · Tom & Emily Griswold ·
Michael Grove · Donna M. Guenther, MD ·
Sibylle Gurler · Sarajane Hakenen · Bruce Hall ·
Katherine Hamel · Darcy Hamilton · Chris
Hannafan · Carmel Hara · Molly HardestyMoore · Ann F. Hasse · Lizbeth Hasse · Gary
Hayter & Sandra Fox · Alan & Carol Heald ·
Dottie Henderson · John Henkel · Stanley &
Maria Hertz · Florence Higa · Bob R. Hill · Lois
Hillman · Barbara Hirsch · Paul Hirsch ·
Barbara Hirschfeld · Mr. and Mrs. Peter
Hoban · James & Deanne Hoekstra · Ms. Rae
Holzman & Mr. Paul Juarez · Susannah Hong ·
Robin Huntington · George & Charlotte
Huntley · Rebecca Husband · Patricia A. Hyde ·
Patricia James · Risa Jaroslow · Marisita & Tu
Jarvis · Blandine Jerome · Lauren & Tim
Johnson · Sally Johnson · Lynn Jones · Kathy
Juarez · Lucas O. Juon · Margaret Kadoyama ·
Nancy M. Kalterdills · Nancy & Muigai Karigaca
· Heidi Marie Kate · Randy H. Katz · Ellen
Kaufman & David Weiner · Marjorie &
Theodore Keeler · Jack Kenny · Javad Khakbaz ·
Gurukaur Khalsa · Shakir Khan · Deirdre
Kidder · Angeli Kirk · Suzanne Kirk · Howard
Kirsch · William G. Klink · Delianne Koops ·
Gerda Korner · Susan Kraft · Carolyn Krieg ·
Elroy & Dee Kursh · Mario E. Lamorte · Lanny J.
Lampl & Sharon Hunter · Lorraine Land ·
Elizabeth Langlois · Fred Lebe · Bo Lee ·
Kewchang Lee, M.D. & Kevin DeYager ·
Sandra Leib · Carole Levenson · Myra
Levenson · Debra J. Levin · Nancy
Levine-Jordano · Jonathan Levitt · Sherman Lew
· Mel & Bettie Lichtman · Sheila Lichtman ·
Terry Ligocki · Kevin Ligutom · Vivian Lily ·
Barbara Loften · Tom Logan · Agnes Lord ·
Valentina Loreto · Lori & Jeffrey Lowenthal ·
Barbara Lustig · Lea Lyon · Diana Lyster ·
Margaret MacDonald · Linda Mackinson · Joen
Madonna · Joe-Ann Malta-Weingard · Elaine
Marlow · Laurie Matt · Claire Max · Paul &
Claire Maxwell · Perry McCarty Jr · Ray &
Mary McDevitt · Jim McDonald & Myrna
David · David McGrath · Andrew & Susan
McKee · Frank McKeown · Catherine McLane ·
Debra McMahon · Paula McNally · Loran
Mebine · Steven Medbery · Herb & Marilyn
Meltzer · Amy Merrill · Jane Meyer · Seth
Mickenberg · Henry Mindlin · Alyson Mitchell ·
Heidi C. Mock · Charles Mohn · Joseph Mollick
· Susan Montauk · Ronald Moore · Mark
Morris · Mark Morris · Phyllis Morrison · Neil
Morse · Sherry Morse · Suzanne Moullen ·
Elisabeth A. Moulthrop · Mandy M. Murphy ·
Stephanie Myers · Christopher Nassopoulos ·
Thomas Neale · Arvalea Nelson · Barbara
Nelson & Stephen Wright · Karen Nelson ·
Darko Neuschul · Dr. & Mrs. Ernest Newbrun ·
Judi Balter-Newell · Sora Lei Newman · Hanh
Nguyen · Ms. Beverly A. Nidick · Nathan Noris
& Kathryn Delwiche · Jennifer Norris · Ann Nye
· Kathleen Nyhan · Susan Obayashi · Melissa
O’Connor · Jim Oliver · Mary O’Malley · David
& Mary O’Neill · Phyllis M. Orlando · Kristina
Osborn · Jayne Oshiro · Gary Ow · Patricia
Padgett · Jiro Palmieri · Lindsey Pannell · Jacob
& Genna Panzarella · Herman D. Papa · Laura
Buzzo Paratore · William A. Pease · Judith
Pelzner · Vera Penzl · Star Pepper · Linda
Perkins · Mark Perlroth · Michael & Laura
Perucchi · Elise Peterson Marks & Jeffrey
Peterson · Dat Pham · Susan T. Pierpoint ·
Therese Pipe · Robert Pola · Stephen Popper
& Elizabeth Joyce · Sarah Shea Potts · Bobbie
Preddy · Richard Prescott · Rich Price · Gabriel
Proo · Paul & Christine Prusiner · Holly Raan ·
Judith Rabbie · Veronica Rabuy · Cynthia
Rahav · Daniel Ramirez · Teresa Ramirez · Ann
& Joseph Ranish · Jennifer Rankin · Charles
Raymond & Nancy Nagramada · Liz & Alan
Rebensdorf · Monica Reesor · Ann Regan ·
Maureen Reilly · Stephanie Reisfeld · Mayra
Renderos · Kala Renz · Dr. William E. Rhea ·
John R. Rhodes · Sandra Ried · Katherine
Riemer · Margaret Riley & Kevin Depew ·
Susan Robertson · Carol Robinson · Frederick
Rogers · Martin Rokeach · Lisa Romano · Maria
& Ron Romano · Marc Rosaaen · Ed Rose · Ms.
Mary Rudser · Carol Sabin · Mark & Judi Sachs
· Lawrence Saidman · Judy Salpeter · Suzanne
Samberg · Jennifer Sanchez · Mary Sanders ·
Jonathan & Kris Sandoe · Shelley J. Sandusky ·
Jullie Sautman · Cyrille Sauvain · Deborah
Schantz · Beth Schiller · Robert Schmitt · Jean
& Alan Schoenfeld · Henry R. Schott &
Marilyn Little · Garth Schultz · Steven Schultz
& Nancy Ulmer · Miriam Schwartz · Roberta
Sears · Rita Senel · Ronald Shalhoup · Ruth
Shapiro · Marilyn Shaul · Bonnie Shaw · Alice
Sheehan · Adam Sherman · John Sherman ·
Kristen Sidell & Paul Abboud · Sheila Siegel ·
Caroline Sikorsky · Wendy Silvani · John
Simonds · Katherine Sims · Rochelle Sklansky ·
Bridget Smith · Diane Smith · Maggie R. Smith ·
Suzanne Smithhammerli · Donna Smith-Harrison & Samuel Harrison · Lyrinda Snyderman ·
Pamela Sogge · Sharyn Solish & Michael Siegel
· Anthony & Carol Somkin · Leon Somplinsky ·
Mary Ellen Southard · Claudia Spain · Rhonda
Spencer · Dan Stamper-Kern · William Statsky
· Jan & Jay Stecher · Carole Stein · Alan & Sala
Steinbach · Bob & Clara Stern · Mimi
Sternberg · Blake D. Stevenson · Mary Alice &
Walt Stevenson · Corinne Stewart · Cynthia &
David Stone · Sara Stone · Arlene Stucky ·
Patricia Sullivan · Joan Sussman · Susie Sutch ·
Cyle Swanstrom · Ian Swinson · Sandra Takagi ·
Mark Tanaka · Giovanna Tanzillo · William &
Deborah Tarran · Delia Taylor · Gifford Teeple
· Mary Teichmann · Catherine Bailey & Jack
Telian · Kathy Tennant · Steve Thomasberger ·
Karl Thon · Dana Tillson · Oscia Timschell ·
Frederick P. Tollini Ph.D. · Ed & Barbara
Tonningsen · Joanne Trezek · David Trubitt ·
Hong Tsui · Liz Varnhagen · Mary Vaskas &
Sandra Roth · Elena Vasquez · Henry Velasco ·
Abegail Ventura · Paul Veres · Jose Vergara ·
Elizabeth Vezzani · Nanette Voluntine · Ann
Wagner · Wendy Walker · Norma Walkley ·
Simone Wang · Marion C. Warner · Timothy
Washburn · Margo Watson · Sana &
Christopher Webb · Sharon Weinberg · Janet
S. Wells · Barbara Wiggin · Maureen & Russell
Wikander · Christine Wilder-Abrams · Alice
Wilkins · Matthew J. Williams · Kent Wisner ·
Patricia Wood · Helen Wu · Larry & Mary
Yabroff · Dr. & Mrs. Mark J. Yanover ·
Donald Zimmerman
CON T R I BU TOR S
donors to the annual fund
Sustaining members
as of January 2014:
Anonymous (4)
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Carole B. Berg
Linda Brandenburger
Jill Bryans
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Bill & Susan Epstein
William Espey & Margaret
Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey & Deana Freedman
Dr. John Frykman
Paul T. Friedman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Mary & Nicholas Graves
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez
Suzanne & Charles McCulloch
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Toni Mester
Shirley & Joe Nedham
Pam & Mitch Nichter
Sharon Ott
Amy Pearl Parodi
Gladys Perez-Mendez
Barbara Peterson
Regina Phelps
Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Michael & Sue Steinberg
Karen Stevenson
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust
— Weil Family
Grace Williams
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Helen Barber
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or [email protected].
M E MOR I A L A N D
T R I BU T E G I F T S
The following members
of the Berkeley Rep
community made
gifts in memory and
in honor of friends,
colleagues, and loved
ones from November
2012 to January 2014.
In Memory of Helen Barber
Shirley & Lew Albright
Dr. & Mrs. Thomas Barber
Clark & Francine Burnham
Charles & Melanie Callander
John & Barbara Callander
Lucy Campbell
Chan & Susan Chuongvan
Anne M. Coffey
Eugene Coffey
Michael & Sheila Cooper
Marilyn DeLorenzo
Gini Erck & David Petta
K. Bruce & Lois Friedman
Kenneth W. Gerver
Richard & Gretchen Grant
The Bonkettes
Larry & Susan Halperin
Mrs. Barbara Heard
Josh & Faye Jacobs
Donald Jacobus
Stewart A. Judson
Allen & Kathleen Lauer
John & Joni Lawler
Nancy & George Leitmann
Norman & Florence Lind
Melinda Mendelson
Laura W. Moran
Carla R. Petievich
Elizabeth Pigford
Dr. & Mrs. Andrew Pollak
Nancy Reynolds
Julianne H. Rumsey
Paul Sack
Mitzi Sales & John Argue
Jonathan & Sheryl Schreiber
The Swain Family
Edward & Susan Waller
W. Clark Wurzberger
In honor of Susan Medak
Terry Pink & John Blaustein
Doug & Leni Herst
Joanne Medak
In honor of Marge Randolph
Bill & Susan Epstein
Nina & Claude Gruen
In honor of Leonard X Rosenberg
Benita & Burton Boxerman
Sheli Rosenberg
In honor of Marcia Smolens
Jay & Susan Mall
Susan Medak & Greg Murphy
Anonymous, in honor of
Julie & Patrick Kennedy
Anonymous, in memory of Sky Parsons
Pat Angell, in memory of Gene Angell
Kristen Badgley, in memory of
Helen Joo’s mother
Barbara Beck, in memory of Jeff Beck
Steven Bertozzi, in honor of Jane and Mike Larkin
Allan & Muriel Brotsky, in memory of
Dr. Leonard Gordon
Jane Buerger, in memory of Judith A. Schmitz
Gary & Diana Cramer, in memory of
Doris Titus
Anita & Herbert Danielsen, in honor of
Sara Danielsen & Sean Tarrant
Elizabeth Anne Doyle, in memory of
John Doyle
Melinda A. Drayton, in honor of
Nandi Drayton
Wendy Dwyer, in honor of The Dwyer Family
Debra Engel, in honor of Barry Williams &
Lalita Tademy
Brooke Facente, in honor of
Jane and Gary Facente
Mr. & Mrs. Fink, in honor of Rachel Fink
Don & Janie Friend, in honor of
Bill & Candy Falik
William Goodell, in memory of
Carol G. Goodell
Richard & Sylvia Hammond, in honor of
Leo Blitz & Family
Linda Headrick, in honor of Ann Brannen
David Hester & Karen Jannetti Hester,
in honor of Anna M. Morrison
Juraj & Elisabeth Hostynek, in honor of
Andrej Hostynek
Barbara E. Jones in memory of
William E. Jones
Tom & Mary Anne Jorde, in honor of
Pat Sakai & Dick Shapiro
Roy Kaplan, in memory of Barbara Kaplan
Julie Kastrup, in memory of Dan Murphy
Lynn Eve Komaromi, in honor of the
Berkeley Rep Staff
Debie Krueger, in memory of Alex Maffei
Elroy & Dee Kursh, in honor of Thalia Dorwick
Regina Lackner, in memory of Ruth Eis
Bo Lee, in honor of Dudley & Hetty Lee
Jonathan Levitt, in honor of Felicia Rose Levitt
Sherman Lew, in honor of H.G. Lew
Mary & Terry MacRae, in honor of
the Libitzkys
Peter & Melanie Maier, in honor of Jill Fugaro
Chris Mehling, in honor of Wendy Williams
Carrol Mills, in memory of Stan Eremia
Geri Monheimer, in honor of Sharon and
Randy Kinkade
Susan Montauk, in memory of
Clare Montauk
Thomas Neale, in memory of Jean Culhane
Pier & Barbara Oddone, in memory of
Michael Leibert
David Pasta, in memory of Gloria Guth
Lise Pearlman, in memory of
Amalia Pearlman
Elizabeth & Ted Peña, in honor of Oscar Peña,
with thanks to Ben Hanna
Barbara Pereira, in honor of Ian & Alec
McEachern
Paul & Kerry Perez, in honor of Dixon Long
Laurel Przybylski, in memory of
Maryann Herber
Sheila & Myron Puckett, in memory of
Jean Murphy
Lois & Dan Purkett, in honor of Merton Johnson
& Mary Rowe M
Veronica Rabuy, in honor of Zoe Inciong
Maya Rath, in honor of
Shirley & Philip Schild
Ronald Rogness, in honor of Phyllis Rogness
Deborah Dashow Ruth, in memory of
Leo P. Ruth
Veronica Schwalbach, in memory of
Catherine Day
Ethan & Kira Silverman, in honor of Ross &
Sandy McCandless
Heather Sirk, in honor of Emily Small-Coffaro
Katrina & John Staten, in memory of
Wallace Johnson
Prof. Jeremy Thorner & Dr. Carol Mimura,
in memory of James Toshiaki Mimura
Marion C. Warner, in memory of Charles
Warner
Raymond Weisberg, in memory of
Marilyn Weisberg
Ms. H. Leabah Winter, in memory of
Barry Dorfman, MD
The Zeiger Family, in memory of
Phyllis Sagle
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9
A BOU T BE R K E L E Y R E P
staff and affiliations
Michael Leibert Artistic Director
Tony Taccone
A R T I S T IC
Associate Director
Liesl Tommy
Artistic Associate
& Casting Director
Amy Potozkin
Artistic Associate
Mina Morita
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Associate
Julie McCormick
Artists under Commission
David Adjmi
Glen Berger
Jackie Sibblies Drury
& Brian Carpenter
Rinne Groff
Dominic Orlando
KJ Sanchez
Naomi Wallace
P RODUC T ION
Production Manager
Tom Pearl
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Cynthia Cahill
Leslie M. Radin
Karen Szpaller
Kimberly Mark Webb
Production Assistants
Megan McClintock
Amanda Warner
S TAG E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P ROP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Associate Technical Director
Colin Babcock
Shop Foreman
Sam McKnight
Master Carpenter
E.T. Hazzard
Carpenter
Jamaica Montgomery-Glenn
S C E N IC A R T
Charge Scenic Artist
Lisa Lázár
Managing Director
Susan Medak
COSTUMES
Costume Director
Maggi Yule
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Assistant Costume Designer
Amy Bobeda
E L E C T R IC S
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
S OU N D
Sound Supervisor
James Ballen
Sound Engineer
Angela Don
A DM I N I S T R AT ION
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Karena Fiorenza Ingersoll
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Associate General Manager/
Human Resources Manager
David Lorenc
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of
Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Campaign Manager
Libbie Hodas
Institutional Grants Manager
Bethany Herron
Special Events Manager
Lily Yang
Individual Giving Associate
Joanna Taber
Development Database
Coordinator
Jane Voytek
Development Associate
Beryl Baker
4 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
General Manager
Karen Racanelli
PAT RON S E R V IC E S
Patron Services Manager
Katrena Jackson
House Manager
Debra Selman
Assistant House Managers
Natalie Bulkley · Aleta George ·
Emily Hartman · Ayanna Makalani ·
Anthony Miller · Read Tuddenham
Concessionaires
Leah Barish · Laurie Barnes ·
Natalie Bulkley · Samantha Burse ·
Emily Fassler · Renee Gholikely ·
Alana Godner-Abravanel · Wendi
Gross · Emily Hartman · Mary
Kay Hickox ·  Kimberly “Mik”
Jew · Maria Jimenez · Nima
Khoshnevis-Rad · Devon
Labelle · Margot Leonard · Hanna
Lennett · Jamie McClave · Sarah
Nowicki · Jenny Ortiz · Benjamin
Sandberg · Amanda Spector · 
Andrew Susskind · Read
Tuddenham · Nancy Villatoro
Usher Coordinators
Nelson & Marilyn Goodman
B OX OF F IC E
Ticket Services Manager
Destiny Askin
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
Christina Cone · Samanta Cubias · 
Sherice Jones · Eliza Oakley · Aaron
Walburg · Amanda Warner · Crystal
Whybark
M A R K E T I NG &
C OM M U N IC AT ION S
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations
Voleine Amilcar
Art Director
Nora Merecicky
Video & Multimedia Producer
Pauline Luppert
Communications Manager
Karen McKevitt
Marketing Manager
Kyle Sircus
Audience Development Manager
Sarah Nowicki
Webmaster
Christina Cone
Program Advertising
Ellen Felker
OP E R AT ION S
Interim Facilities Director
Lauren Shorofsky
Building Engineer
Thomas Tran
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Sonny Hudson · Sophie Li · Carlos
Mendoza · Jesus Rodriguez · LeRoy
Thomas
BERKELEY REP
S C HO OL OF T H E AT R E
Director of the School of Theatre
Rachel L. Fink
Associate Director
MaryBeth Cavanaugh
Jan & Howard Oringer
Outreach Coordinator
Dave Maier
Community Programs Manager
Benjamin Hanna
School Administrator
Kashara Robinson
Registrar
Katie Riemann
Faculty
Alva Ackley · Jeffrey Bihr · Erica
Blue · Rebecca Castelli · Jiwong
Chong · Iu-Hui Chua · Laura
Derry · Deborah Eubanks · Lucille
Freedman · Christine Germain ·
Nancy Gold · Gary Graves · Marvin
Greene · Gendell Hing-Hernández
· Andrew Hurteau · Aaron Jessup ·
Ben Johnson · Dave Maier · Julian
López-Morillas · Patricia Miller ·
Edward Morgan · Michael Navarra ·
Madeleine Oldham · Slater Penney
· Marty Pistone · Diane Rachel ·
Rebecca Stockley · Bruce Williams
Outreach Teaching Artists
Michael Barr · Mariah Castle ·
Gendell Hing-Hernández · Ben
Johnson · Hannah Lennett · Marilet
Martinez · Jack Nicolaus · Sarita
Ocón · Carla Pantoja · Patrick
Russell · Tommy Shepherd · Reggie
White · Elena Wright
Teacher Advisory Council
Molly Aaronson-Gelb · Julie Boe ·
Amy Crawford · Beth Daly · Jan
Hunter · Marianne Philipp · Richard
Silberg · John Warren · Jordan Winer
Docent Committee
Thalia Dorwick, Director
Matty Bloom, Core content
Nancy Fenton, Procedures
Jean Holmes, Visuals
Charlotte Martinelli, Off-site
contact & recruitment
Accidental Death of an Anarchist
Docents
Charlotte Martinelli, Lead docent
Sandy Greenberg
Jean Holmes
Dee Kursh
Karen McKevitt
Joan Sullivan
Alexandra Williams-Fleck
201 3–14 B E R K E L E Y R E P
F E L L OW S H I P S
Bret C. Harte Young
Director Fellow
Jacob Harvey
Company/Theatre
Management Fellow
Rae Surbagh
Costume Fellow
Franzesca Mayer
Development Fellow
Annalise Baird
Education Fellows
Gabriella Mingoia
Alexandra Williams-Fleck
Graphic Design Fellow
Jared Oates
Harry Weininger Sound Fellow
Sarah Jacquez
Lighting / Electrics Fellow
Jack Horwitch
Marketing &
Communications Fellow
Telma Sheppard
Peter F. Sloss Literary/
Dramaturgy Fellow
Sam Basger
Production Management Fellow
Emily Fassler
Properties Fellow
Ashley Nguyen
Scenic Art Fellow
Gena Whitman
Scenic Construction Fellow
Claudia Peterson
Stage Management Fellow
Sofie Miller
Affiliations
The director is a member of the Society of
Stage Directors and Choreographers, Inc.,
an independent national labor union. The
Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by
United Scenic Artists Local usa-829, iatse.
BOA R D OF T RU ST E E S
Thalia Dorwick, PhD
PRE S ID E N T
Helen Meyer
VI CE PRE S ID E N T
Jill Fugaro
VI CE PRE S ID E N T
Emily Shanks
T RE A S U R E R
Scott R. Haber
S ECRE TA RY
Roger A. Strauch
CH AIR , T RU S T E E S CO M M IT T E E
William T. Espey
CH AIR , AU D IT CO M M IT T E E
Marjorie Randolph
I M M E D IAT E PA S T PR E S ID E N T
PA S T PRE S ID E N T S
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
B OA R D M E M B E R S
Carrie Avery
Becky Bleich
Martha Ehmann Conte
David Cox
Robin Edwards
William Falik
Lisa Finer
David Fleishhacker
Paul T. Friedman
Bruce Golden
David Hoffman
Carole S. Krumland
Dale Rogers Marshall
Sandra R. McCandless
Julie M. McCray
Susan Medak
Pamela Nichter
Stewart Owen
Leonard X Rosenberg
Jack Schafer
Richard Shapiro
Jean Z. Strunsky
Tony Taccone
Gail Wagner
Felicia Woytak
S U S TAIN IN G A DVI S O R S
Carole B. Berg
Rena Bransten
Stephen K. Cassidy
Diana J. Cohen
John Field
Kerry Francis
Nicholas M. Graves
Richard F. Hoskins
Dugan Moore
Pat Rougeau
Richard A. Rubin
Patricia Sakai
Michael Steinberg
Michael Strunsky
Martin Zankel
Visit our
neW bar
f e at u r i n g
cr af t cock tail s
c u r at e d b y
Founding Director Michael W. Leibert
Producing Director, 1968–83
201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1
FYI
Latecomers
Please arrive on time. There is no late seating, except at the discretion of the house manager.
Connect with us online!
Theatre info
Considerations
Visit our website berkeleyrep.org
You can buy tickets and plan your visit,
read our blog, watch video, sign up for
classes, donate to the Theatre, and explore
Berkeley Rep.
Emergency exits
Please note the nearest exit. In an emergency,
walk—do not run —to the nearest exit.
Accessibility
Both theatres offer wheelchair seating and
special services for those with vision- or
hearing-impairment. Assistive listening
devices are available at no charge in both
theatre lobbies. Scripts for the hearing
impaired are available in the box office.
Open captioning is available for at least one
performance of every season production.
No food or glassware in the house
Beverages in cans, bottles, or cups with
lids are allowed.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Recycle and compost your waste
Help us be more green by using the
recycling and compost containers found
throughout the Theatre.
Phones / electronics / recordings
Please make sure your cell phone, pager,
or watch alarm will not beep. Doctors may
check pagers with the house manager and
give seat location for messages. Use of
recording equipment or taking of photographs in the theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look at the
set, but please don’t step onto the stage.
Some of the props can be fragile, and are
placed precisely.
No children under 7
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre.
No babes in arms.
facebook.com/
berkeleyrep
@berkeleyrep
foursquare.com/
berkeleyrep
yelp.com/
berkeleyrep
We’re mobile!
Download our free iPhone or Google Play
app — or visit our mobile site —to buy
tickets, read the buzz, watch video, and
plan your visit.
Android
iPhone
Tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
42 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5
Educators
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Theatre store
Berkeley Rep merchandise and show-related
books are available in the Hoag Theatre
Store in the Roda Theatre.
Theatre maps
stage
T H RU S T
Ticket exchange
Only subscribers may exchange their tickets
for another performance of the same show.
Exchanges can be made online until midnight (or 7pm by phone) the day preceding
the scheduled performance. Exchanges are
made on a seat-available basis.
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647‑2949; email [email protected];
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
stage
seating sections:
RO DA
• premium • a • b
stage
stage
stage
seating sections:
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They can be impassioned. Funny. Enlightening.
Or inspiring.
They can open doors. And build relationships.
Some can even change the world.
At Wells Fargo, we believe you can never underestimate
the power of a conversation.
It’s how we learn. How we grow. And how ideas spread.
It’s at the heart of everything we do.
We ask questions. We listen to your answers.
We help you take the right steps
to move ahead with confidence.
So when the conversation turns to your financial goals,
turn to us.
Call, click, or stop by to start a conversation today.
W E L L S FA R G O . C O M
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Jewelle and James Gibbs, joined in 2010
Our Life Here
BLENDS
Art, Academia, And Family.
Jewelle and James Gibbs, professors from Cal and Stanford, know how to artfully
blend their love of research, travel, family, and art. And they could write a book
on it. In fact, they’ve edited and authored six books and traveled to over fifty
countries. Collectively, the Gibbs are writing their next, best chapters at St. Paul’s
Towers. To learn more, or for your personal visit, please call 510.891.8542.
Collecting African
art is a passion.
100 Bay Place Oakland, CA 94610
stpaulstowers-esc.org
A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 011400627 COA #92 EPSP653-01II 013114