Download a PDF of the program

the berkeley rep magazine
2006–07 / issue 6
announcing five plays for 07– 08 page 6
voices from the past page 14
blue door program page 19
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PROLOGUE
opening a door to illumination
It is commonly stated that the goal of art is to illuminate:
to provide light and enlightenment so that we may see
things in a new way. Whether it be some aspect of our
humanity, our history or our experience, the serious artist
is always trying to reveal something to him or herself; to
bring forth something from the unconscious into the light
of consciousness. It is always an unpredictable act, often
risky and sometimes even dangerous, for we may not
want to see what the artist has chosen to reveal.
This season is filled with plays that attempt to fulfill
this higher task. From Passing Strange to The Pillowman
to Blue Door, we have chosen to present work that insists on exploring ideas
that have hitherto remained largely unaddressed. We do this knowing that
audience members have different boundaries and different appetites for
exploring subjects regarded as taboo. We are one of the few theatres in the
country, however, that can make a convincing case that our audience is
interested in taking such a journey.
In our latest production, Tanya Barfield plunges headlong into the
history, mythology and legacy of oppression inherited by African-American
men. Employing a vividly theatrical style which seeks to both enlighten and
entertain (two actors engaged in an epic depiction of one man’s lineage), Blue
Door opens up a window on the present by revealing the past. Rather than
presenting a simple, didactic portrait of one man’s suffering, the play attempts
to unearth the roots of racial alienation, the price of compromise and the
promise of empathy.
To direct this play we are very excited to welcome Mr. Delroy Lindo,
who for many years has earned extraordinary acclaim as an actor of stage
and screen. Delroy has been in dialogue with us for over three years about
wanting to be a part of the Berkeley Rep community, and this project felt like
a perfect way to deepen the conversation. His passion, his belief in the play
and his yearning to work with the actors to explore its nuances, all combine to
create the possibility of generating real insights into the subject matter.
We hope that your experience will be nothing less than illuminating.
IN THIS ISSUE
2006– 07 / number 6
prologue · 3
report · 5
theatre everyone can afford
announcing five plays for
our 40th birthday season
new for 07-08: improved pricing
a message for our subscribers...
not a subscriber yet? sign up now,
and we’ll give you a present
performance lab: an incredible
experiment in learning
expertise and flexibility, right on cue
feature · 14
voices from the past: an
interview with the playwright
playwright’s perspective
sankofa
program · 19
berkeley rep presents
blue door
profiles
staff · 26
contributors · 27
about berkeley rep · 30
Tony Taccone
Artistic Director
fyi · 31
the berkeley rep magazine is published
seven times per season.
editor megan wygant
art director cheshire dave
writers tanya barfield, lindey coates, sarah hart,
elisabeth millican, susie medak, jessica modrall,
tony taccone, megan wygant
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please contact ellen felker at 510.548.0725
or [email protected].
contact berkeley rep
box office: 510.647.2949
groups (15+): 510.647.2918
admin: 510.647.2900
school of theatre: 510.647.2972
click berkeleyrep.org
email [email protected]
2025 addison street / berkeley, ca 94704
2006 – 07 / number 6 · the berkeley rep magazine · 3
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April 2007
Volume 39, No. 6
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Paul Heppner
President & Publisher
Mike Hathaway
Vice President
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4 · the berkeley rep magazine · 2006 – 07 / number 6
report
news
around berkeley rep
theatre everyone can afford
A few of our subscribers have been attending Berkeley Rep
ever since we opened our doors in 1968, veteran theatregoers
who were delighted to have this feisty company starting up in
our community. However, many of the people who now join
us for every show were back then in college, newly married or
searching for that entry-level job which led to their dreams.
In those days, we performed in a storefront on College
Avenue. The roof occasionally leaked, the seats didn’t match,
the temperature was unreliable—but the work was adventuresome and delivered with missionary zeal. Over the years,
the seats have gotten more comfortable, and the temperature
is (usually) better. (Knock on wood, we’ll finally retire and replace the 25-year-old
air conditioner which ventilates our Thrust Stage this summer!). But one thing
has never disappeared: that missionary zeal.
Still, the world around us has changed. As costs escalated, our ticket prices
increased as well. Tickets to Berkeley Rep are certainly more affordable than
seeing a Broadway show, concert or many other cultural events—but the cost of
a full-price ticket here is still unfortunately out of reach for many of the people in
our community who are themselves in college, just starting families or launching
careers. Many of our longtime ticket holders have shared with me their concern
that we find ways to open our doors to new audiences.
And we’ve been doing just that in recent years. In 2001, when we opened the
Roda Theatre, we also established our “under 30” discount. The number of young
people taking advantage of that program has steadily grown, and now a full 12%
of our audience is composed of students and young people using these tickets. We
hope to see continued growth in that audience, but we feel we can do more. We
think our 40th birthday is the perfect occasion to launch our next step in creating
new opportunities for more diverse participation.
So I’m thrilled to say that we’re unveiling a new structure of tiered ticket prices.
It divides each of our theatres into three seating sections with different prices for
each section, bringing us in line with almost every other theatre in the industry
and, for that matter, with just about every other cultural venue out there. Most of our
current subscribers will not be impacted by this change, as you have always enjoyed
the best seats in the house and the price of those premium seats will not be reduced.
However, with this new structure, we’ll be able to offer lower-priced seats for every
performance, as well as discounted subscriptions for some seats.
Whether you are on a fixed income or on a limited budget, we think you’ll
find that we now have a price category that suits your capacity. So if cost is a
factor for you in considering next season, I encourage you to take a look at your
pricing options. And if you’re ready to join the growing list of families who make a
multigenerational commitment to Berkeley Rep, this may be the time to sign up.
Warmly,
Susie Medak
Managing Director
2006 – 07 / number 6 · the berkeley rep magazine · 5
Richard Hein
argonautika
announcing five plays for
our 40th birthday season
Here are five of the plays you’ll see on our stages next season. We still have
two shows which we’ll announce shortly. Stay tuned!
heartbreak house
by george bernard shaw / directed by les waters
roda theatre / main season
Artist, socialist, feminist, anti-war activist. Vegetarian, freethinker,
street-corner orator and all-around raconteur... If there’s one playwright who
belongs in Berkeley, it’s George Bernard Shaw. Maybe that’s why Shaw’s
words have graced our stage more than any author except Shakespeare. In
honor of the zesty classical tradition on which Berkeley Rep was founded,
Les Waters stages Heartbreak House for our 40th birthday. In this comedic
masterpiece, ridiculous aristocrats, eccentric suitors and iconoclastic women
grapple with unlikely romance and ironic wordplay in a world on the brink of
war. Shaw’s incisive wit and intellectual pyrotechnics light up the stage as his
irascible characters challenge social conventions, sexual mores, moral hypocrisy and
keong sim in after the quake
political folly. As with The Glass Menagerie,
Waters’ sure touch on a classic text makes the
script seem newly inked.
the steppenwolf theatre company’s production of
by haruki murakami
translated by jay rubin
adapted for the stage
and directed by frank galati
west coast premiere
thrust stage / main season
Director Frank Galati earned raves
for Ragtime and two Tony Awards for The
Grapes of Wrath. Writer Haruki Murakami
continued on page 8
6 · the berkeley rep magazine · 2006 – 07 / number 6
Michael Brosilow
after the quake
ZAGAT SURVEY - Best rating in Downtown Berkeley
®
Noah Alper,
AR
•r is
tor a n
te
B
REPORT
&
new for 07–08:
improved pricing
As Managing Director Susie
Medak writes on page five, we’re
unveiling a new pricing plan for
next season that makes Berkeley
Rep more affordable. We’re
dividing each theatre into three
seating sections: Premium, Section A and Section B. Premium
seat prices will go up. Section A
seats are almost entirely unchanged. Section B seats will
cost far less.
More than ever, your best
value is a subscription. You get
the consistently best seats at
the lowest prices—wherever
you sit. As always, you get a
discount when you bring friends.
As always, you can exchange
your tickets for another performance—for free. Now that ticket
prices will vary based on seat
location as well as performance
day, we can share Berkeley Rep
with a whole new audience. Who
do you know—friends, relatives
or associates—who’ll attend
Berkeley Rep more frequently?
a message for
our subscribers...
If you’ve already renewed for next
year, thank you. If you haven’t
renewed yet, you should have
recently received a renewal
package in the mail. Please renew
by May 20 to keep your same
seats for next season. We look
forward to having you with us.
Chef Domenico Testa
of Lazio, Italy
O
R
C
RAPHAEL
KOSHER
founder of Noah’s Bagels
Cucina Vegetariana Italiana
present . . . The Renaissance in Vegetarian Dining.
2132 Center St., Downtown Berkeley 510-644-9500
Validated parking at Oxford lot, Center Street garage and Allston Way garage. www.ristoranteraphael.com
Does your investment advisor
talk about performance? We do.
To start a conversation, call us at 510.433.1066.
Bell Investment Advisors, 1111 Broadway, Suite 2130, Oakland, CA 94607
www.bellinvest.com Minimum investment is $250,000 per account.
not a subscriber yet?
sign up now, and we’ll
give you a present
Subscribe for the five-play Main
Season or the seven-play Full
Season by May 20, and we’ll
reward you with free tickets to
this year’s final show, Oliver
Twist. Pick up a subscription
package in the lobby, or call the
box office at 510.647.2949 to
request yours today!
2006 – 07 / number 6 · the berkeley rep magazine · 7
REPORT
continued from page 6
earned Japan’s equivalent of the Pulitzer for such works as Kafka on the
Shore, Norwegian Wood, and The Wind-Up Bird Chronicle. Now the two
talents collide in after the quake, a bittersweet tale that measures love on
the Richter scale. It’s a play the New York Times calls “an elegant, economic, gently hypnotic piece of theater,” in which a timid man woos an
old flame, enchanting her anxious daughter with whimsical stories of a
six-foot frog’s fight to save Tokyo. In this poignant West Coast premiere,
we see that a storyteller can’t dispel the world’s woes, but he can teach a
child—and himself—how to face fear.
argonautika
conceived and directed by mary zimmerman
west coast premiere / roda theatre / main season
Tony Award winner Mary Zimmerman returns to Berkeley Rep for the
West Coast premiere of Argonautika. This time, the creator of Metamorphoses, Journey to the West, The Notebooks of Leonardo da Vinci and The Secret
in the Wings joins Jason on his ancient quest for the Golden Fleece—an epic
journey of love and loss, hubris and honor, danger and adventure. Jason
confronts giants, kings, sirens, nymphs, centaurs, sea monsters and one
heartsick sorceress. In her latest perilous voyage, Zimmerman shows us
that love is the bane of all mankind—and yet it’s all that we know of heaven
on this earth. The Chicago Tribune raves—it’s “a sizzling theatrical adventure, full of mythical flourish and dramatic excitement... smart, fresh, endlessly imaginative and thoroughly enjoyable.” Don’t miss it!
tragedy: a tragedy
by will eno / directed by les waters
american premiere / thrust stage / limited season
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“Will Eno is a Samuel Beckett for the Jon Stewart generation,” proclaims the New York Times, calling his off-Broadway hit Thom Pain (based
on nothing), an “acidly funny meditation on the indelible sorrows of life.”
Now Berkeley Rep presents the American premiere of Eno’s satire on the
media, Tragedy: a tragedy. The sun—despite its shining record—has finally
set. Reporters descend in a flurry of absurd questions and incoherent commentary, while the governor hysterically urges calm. As with his sold-out
runs of The Glass Menagerie and The Pillowman, director Les Waters wryly
mines the humor and heartache of Tragedy.
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8 · the berkeley rep magazine · 2006 – 07 / number 6
a new play
written and performed by danny hoch / directed by tony taccone
world premiere / thrust stage / limited season
Like Sarah Jones, Anna Deavere Smith and other solo performers who
brought stunning shows to our stage, Danny Hoch took Berkeley Rep by
storm with Jails, Hospitals & Hip-Hop. He went on to win an Obie Award for
that show and to start the Hip-Hop Theater Festival, which wows audiences
across America every year. Now Danny returns to unveil his latest work—a
one-man tour de force that captures the indelible characters of his neighborhood, where the melting pot is boiling over with ethnic and economic
tensions. Danny effortlessly transforms across the boundaries of race, age,
and gender, masterfully depicting a city in transition with compassionate
and hilarious results. This highly anticipated world premiere is expertly
staged by Artistic Director Tony Taccone.
calendar
april
6 Blue Door previews
begin, 8pm
6 –7 Target® Teen One-Act
Festival, 8pmÈ
9 Page to Stage, 7pm
10 Blue Door docent presentations
begin, every Tue and Thu, 7pm
11 Blue Door opening night, 8pm
12 Blue Door night/OUT, 8pm
13 Target® Teen Night, 6:30pmÈ
20 The Narsai Toast, 5:30pm∑
26 Blue Door student matinee,
12pmÈ
26 Blue Door post-show
discussion, 8pm
may
1 Teen Council Meeting, 5pmÈ
6 Target® Family Series, 11amÈ
8 Blue Door post-show
discussion, 8pm
9 On the Town, Who’s Afraid of
Virginia Woolf? ∑
10 Blue Door student matinee,
12pmÈ
10 Corporate Partner Night,
Oliver Twist, 6pm ∑
11 Blue Door post-show
discussion, 8pm
11 Oliver Twist previews begin,
8pm
11 Target® Teen Night, Oliver Twist,
6:30pmÈ
16 Oliver Twist opening night, 8pm
20 Blue Door final
performance, 7pm
23 Oliver Twist student matinee,
12pmÈ
31 Oliver Twist post-show
discussion, 8pm
encore masthead
È
∑
Berkeley Rep School of Theatre
Berkeley Rep donor event
explore imagine create year-round
classes for youth, teens and adults
begin in april, june, september and january
now registering: summer
theatre intensive for middleand high-school students
jun 18 – jul 13 / jul 16 – aug 10
financial aid available for youth and teen classes
berkeley rep
school of theatre
visit berkeleyrep.org/school,
email [email protected]
or call 510.647.2972
the mosse foundation for the arts and education
berkeley rep is starting
a book club!
Join us for literary discussions
before you see the show. Our first
meeting takes place Tue, June
5 at 6pm. We’ll discuss John
Waller’s The Real Oliver Twist,
with conversation moderated by
Berkeley Rep Literary Manager
Madeleine Oldham. Make it an
entire evening: attend the book
club at 6pm, a docent presentation
at 7pm and Oliver Twist at 8pm.
Learn more at berkeleyrep.org—
click on “events.”
2006 – 07 / number 6 · the berkeley rep magazine · 9
Berkeley High students in a Performance Lab
workshop for Culture Clash’s Zorro in Hell
report
in high school
classrooms
around the
bay area,
Berkeley Rep teaching artists have
partnered with English, history and
drama teachers to help students
explore Blue Door—not simply as a
piece of dramatic literature, but as a
living work of art. The partnership
program is called Performance Lab,
and this year, in its third incarnation, residencies focus on one of
three plays from Berkeley Rep’s
season: Mother Courage, Blue Door
or Oliver Twist. Students study the
play’s historical, social and cultural
context, attend a student matinee
at Berkeley Rep, participate in a
discussion with the cast—and then
present a creation of their own: a
culminating event which expresses
their take on the original play. This
season, Performance Lab will
reach 34 classrooms in ten public
schools. Participants will number
just over 800.
hands-on experiences
performance lab: an
incredible experiment
in learning
BY ELISA BETH M I LLICA N A N D J ESSICA MODR A LL
“You really enriched the learning of these students
and their high school experience... this whole project
at Berkeley Rep and the involvement of high schools
throughout the region is a testament to your social
responsibility and awareness. This is what a communitybased theatre should be.”
—Rick Ayers, former head of Communication Arts
and Sciences, Berkeley High School
“Performance Lab is a program
that not only exposes students to
productions on the Berkeley Rep
stage, but gives them the tools and
opportunity to respond to these
plays artistically,” says Dave Maier,
Berkeley Rep outreach coordinator.
“Our teaching artists are professional actors, dancers, hip-hop artists and fight directors—they bring
their expertise to the classroom,
and work together with the teacher
to create a curriculum that suits the
needs of the class.” Culminating
events reflect these unique combinations of creativity, interest and
skill. This season, Amador Valley
High School used Mother Courage
as a lens through which to explore
their own perceptions of war in an
original performance. “They were
able to express their feelings of war
fast facts
In its first three years, Performance Lab has
through the music, dance and song
that they created; I believe that was
very powerful,” an observer says.
“The success of the program
lies in the creativity of the students,
the classroom teacher, the teaching
artist and these world-class works
of art,” Maier continues. “Students
see that the themes of the plays we
produce have resonance in their
lives. The potential within these
works of art is endless: students
have written and performed plays,
made short films, designed board
games and more. It is really exciting to see what they create.”
• Held free-of-charge residencies for 12 local public schools:
Albany High School
Amador Valley High School (Pleasanton)
Berkeley High Arts and Humanities Academy
Berkeley High Communication Arts and Sciences
Berkeley High School
Encinal High School (Alameda)
Las Lomas High School (Walnut Creek)
Lighthouse Community Charter School (Oakland)
Miramonte High School (Orinda)
Mt. Eden High School (Hayward)
San Lorenzo High School
Skyline High School (Oakland)
• Served nearly 1,000 participating students
• Employed 16 professional teaching artists
In Fall 2006
• Eight teaching artists clocked over 6,900 contact hours in 15 classrooms
• 300 Performance Lab students attended Mother Courage
a bridge to more art
Performance Lab builds upon
our existing programs, including student matinees, teacher
training workshops and outreach
visits to classrooms, to generate
an extended arts experience that
provides ongoing contact with students. Performance Lab allows us
to make a deeper impact at public
schools, expose a greater number
of students to more live theatre and
introduce teens across the Bay to
Berkeley Rep’s programs. Following a Performance Lab experience,
participants have increased their
involvement in the arts by signing up for classes, joining the Teen
Council, attending Target® Teen
Night and participating in the Target® Teen One-Act Festival. During Performance Lab workshops,
Berkeley Rep identifies and awards
talented students with merit-based
scholarships for our Summer
Theatre Intensive program, helping to remove economic barriers to
participation in the arts.
enriching lives
Performance Lab provides a multifaceted theatrical experience that
encourages students to engage
intellectually, emotionally and
creatively with a piece of art and to
think critically about its meaning.
The process becomes both academically and personally rewarding. “I
funders
The generosity of the following funders enables Berkeley Rep to provide
Performance Lab residencies to public schools this 2006/07 season:
Bank of the West
California Arts Council
Marion Greene
Walter & Elise Haas Fund
In Dulci Jubilo
Thomas J. Long Foundation
Morrison & Foerster Foundation
The Mosse Foundation for Education and the Arts
Oakland Fund for the Arts
The San Francisco Foundation
Felicia Woytak and Steve Rasmussen
truly came out of my shell a little,”
an Amador Valley student says. “It’s
something I haven’t been able to
do before.” And, as a student from
Lighthouse Community Charter
School wrote to Teaching Artist
Gendell Hernandez following the
Mother Courage Performance Lab,
“You gave us time to think about
how violence may affect our community, and how we, as a community, can change how violence can
affect us all. I know you have made
a major impact upon my life...and
upon my fellow classmates. Your
work with us has given us an interesting way to think about our community by putting it into theatre.”
Another student wrote, “Thank you
so much for coming here. I hope to
take all these skills with me the rest
of my life.”
Our greatest hope is that the
students participating in Performance Lab will be touched and inspired by theatre, forging a lifelong
connection with the art form.
The Berkeley Rep School of Theatre
hosts extensive programming for youth,
teens and adults both on-site and in area
schools. For more information please
visit berkeleyrep.org/school.
By supporting Berkley Rep’s Annual
Fund, you help bring arts education and
outreach programs like Performance
Lab to Bay Area schools. We thank all
of our current donors, and encourage
every Berkeley Rep patron to make a
gift today. Call 510.647.2907 or donate
online at berkeleyrep.org/give. It really
does matter.
2006 – 07 / number 6 · the berkeley rep magazine · 11
REPORT
Berkeley Rep’s stage management and operations department: (top row, l to r) Leslie Radin,
Rachel Motz, Michael Suenkel, Cynthia Cahill; (bottom row, l to r) Peter Royston, Alex Marshall,
Frank Corso, Megan McClintock, Julia Englehorn
expertise and flexibility,
right on cue
berkeley rep’s stage managers
explain what it takes to run a show
W W W . V I S I T H A L F M O O N B AY . O R G
Discover everything
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all in one charming seaside village,
just 30 minutes from San Francisco
Beaches • Giant Redwoods
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Whale Watching • Galleries
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Boutiques • Dining Scene
Wine Tasting • Tide Pooling
Bird Watching • Spas
Lovely Inns • Luxury Resorts
Affordable Comfy Lodges & Motels
12 · the berkeley rep magazine · 2006 – 07 / number 6
BY LI N DSEY COAT ES
Multi-tasking is a skill that most of us use on a daily basis, but stage managers
give the activity a completely new meaning. Each stage manager has his or her
own unique style, but all must maintain a thorough knowledge of the rehearsal, production and performance processes so that they can fulfill their duties.
Berkeley Rep Production Stage Manager Michael Suenkel describes
stage managers as “the go-between for virtually everyone who works on
the show—from the artistic director down to the volunteer ushers. Our role
allows us to see the “big picture” in a way that I think few others working in
a theatre really can. In the rehearsal hall with the actors, we’re the no-nonsense pragmatists; in the production meeting with the technicians, we’re
part of the crazy artists.” The responsibilities of a stage manager are countless, but their knowledge and love of theater continue to grow.
Michael, who has been with Berkeley Rep for 21 years and served as
the production stage manager for 14 seasons, revels in the variety of opportunities that his job provides. “The thing I like most about stage managing
in a repertory theatre is the education it affords,” says Michael. “With each
new show I immerse myself in a completely different world and learn so
much about such a wide variety of topics. I feel like I’ve never left school;
like I’m always in a new seminar on something interesting.”
Berkeley Rep Stage Manager Cynthia (Cyd) Cahill agrees, adding that
clear communication is key to this position, especially when a performance
goes awry.
During one performance of The Pillowman, an earthquake shook the
Thrust Stage and created a stir in the Theatre. Cyd had just taken over the
stage management position for the show’s extended run so that Michael
could begin rehearsals for Blue Door. “The actor crossed the stage, a light
shook and the earthquake happened during a blackout cue. We went to the
previous light cue to check the set,
the actor joked that this was not
part of the show and we went to the
next light cue and moved on.” This
happened on Cyd’s first night calling the show. “What you get really
good at is problem-solving,” she
said. “But keep in mind [the show]
is a live organism, and it continues
to evolve.”
Fulfilling all of these roles in the
production process may not appeal
to most, but Berkeley Rep’s stage
management intern, Rachel Motz,
revels in having the opportunity to
learn more about her craft and to
find her own management style. Rachel said, “I really enjoy being in the
rehearsal room and seeing a show
REALTOR®, mentor and some would say, developer.
The way Bonnie Spindler works goes well
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a detail of the Pillowman script marked up
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develop, knowing how it got to be
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know the cast and crew as well.”
While stage managers are
usually not seen by the audience at
a performance, their efforts are visible in so many aspects of the show.
“It is said that good stage management is invisible,” says Michael. “If
you go see a show and never think
about the stage manager—if the
curtain goes up on time, if the actors all make their entrances, if the
lights go up and down as designed,
if the scenery shifts gracefully and
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2006 – 07 / number 6 · the berkeley rep magazine · 13
BY M A DELEIN E OLDH A M
“It is a peculiar sensation, this double-consciousness, this sense of
always looking at one’s self through the eyes of others, of measuring
one’s soul by the tape of a world that looks on in amused contempt
and pity. One ever feels his twoness—an American, a Negro; two
warring souls, two thoughts, two unreconciled strivings; two warring
ideals in one dark body, whose dogged strength alone keeps it from
being torn asunder.” —W.E.B. DuBois
voices from the past
an interview with the playwright
BY SA R A H H A RT
Sarah Hart: What was your impulse in writing Blue Door? Did you have a
story you wanted to tell?
Tanya Barfield: I started with the history. The character of Simon
spoke to me first. I was moved by the myriad oral histories that I’d
read. I wrote reams of material that never made it into the play. Then
I thought, well, in order for this to be a play, Simon must have someone who needs to hear his story. That’s how the character of Lewis was
formed—and I find the issues Lewis faces very compelling.
How did you start your research?
I read a lot of the wpa [Works Progress Administration] interviews.
There’s recorded music from the period, the Alan Lomax collection.
There are oral histories online. I think I read just about every book on
slavery that’s ever been written. Then I became interested in the dilemmas facing blacks during Reconstruction (that in many ways were much
more complicated than slavery). I read about chain gangs and early Jim
Crow laws. I also read a lot of folktales.
You wrote the songs. Do you have a musical background?
None. Well, my father was an amateur jazz musician, but I’m not
particularly musical. I did a lot of musical research until I felt I could
write songs that were authentic to each period. The Yoruba song was
tricky, because I don’t speak Yoruba. My dramaturg at Sundance, Chris
Sumption, said, “Well, I’ll order you a Yoruba dictionary online and we’ll
have it FedExed.” And it came, but it was only Yoruba to English—no
English to Yoruba. So I literally read every page of the dictionary to look
This interview was first published in the Dec 2006 issue
of American Theatre. Reprinted with permission.
2006 – 07 / number 6 · the berkeley rep magazine · 15
for the words that I wanted. Then when I was at South
Coast, the director, Leah Gardiner, had a friend who
spoke Yoruba and he was willing to look at it and correct the grammar and stuff like that.
Where did you come across the image of the blue door?
I wrote the book for a children’s musical about a
young boy who escapes from slavery and joins the first
black regiment in the Union army. That was my first
foray into historical plays. I learned a lot about Gullah
beliefs from writing that play, but since it’s a children’s
play, you can’t put in everything you’d like to. The
Gullah were an isolated culture on the Sea Islands, off
the coast of South Carolina and Georgia. There were
problems with mosquitoes and other pestilence that
the white slave masters didn’t want to expose themselves to. So the isolated slaves
were allowed to keep much of their
indigenous culture that mainland
slaves could not. That culture is
still alive today. It’s a link between
Africa and America. There’s a
belief in Gullah culture that if you
paint your door blue, you keep
away the evil spirits, which are
called haints. I always felt that
the haints—which are described
like ghosts—were the white slave
masters or kkk. Then we started
rehearsal. Leigh Silverman, our
director at Playwrights Horizons,
had visited Israel and had gone
to this spiritual city Safed, where
kabbalah originated. Many of the
doors are painted blue there for a
similar reason. When I visited India, in Jodhpur, which they call the
blue city, all the doors are painted
blue for protective purposes. I’ve
heard of another such city in Tunisia. It seems that cultures tend to
share certain mythologies.
This play is about legacy, and Lewis has no son or daughter. Did you see him as an end point?
I saw him as an end point because there’s an immediacy and an urgency for him to have to look back. And
if he had a child, there could be the hope that that child
would look back.
How did you choose the Million Man March as the catalyst
for Lewis’s wife leaving him?
I was talking to various black men and there were a
lot of divergent opinions about the Million Man March.
Some were very positive and some weren’t so positive—vast differences in how people felt about it that
I didn’t realize at the time. It seemed believable to me
that Lewis would feel that way—and also, it seemed
like a funny starting point.
“Humor and songs
have both been major
coping mechanisms
for oppression. It was
important to me that
that was represented I
never knew that I had a
funny bone. My parents
have always said, ‘You’re
so serious.’ But when
I studied with Chris
Durang, he would always
laugh at what I wrote.
I began to bring more
comedy into my writing.”
Did you give yourself an education in
mathematics?
I did. That was the most difficult research of all.
When I was in high school my mother made me take
advanced math and physics, even though I was hopelessly bad at both of them. But I think taking those
classes formed a curiosity or an inkling that I didn’t
realize at the time. I read a lot about studies of time.
And I had different mathematicians look the play over
because I really wanted to make sure that what Lewis
talks about was accurate, credible. I had Lewis teaching
the Philosophy of Mathematics, which I thought I made
up, and then I asked one of these mathematicians if
there’s really such a thing as philosophy of math and he
said, “Absolutely.”
16 · the berkeley rep magazine · 2006 – 07 / number 6
One of the most striking things
about Lewis as a character and
about the play is the humor.
Humor is so important in
the black community. Humor
and songs have both been major
coping mechanisms for oppression. It was important to me that
that was represented. I never
knew that I had a funny bone. My
parents have always said, “You’re
so serious.” But when I studied
with Chris Durang [at Juilliard],
he would always laugh at what
I wrote. I began to bring more
comedy into my writing.
Did you plan to grow up and be a
writer?
I started out wanting to be an
actor—mostly because I had no
idea living playwrights existed. I
came from a non-theatrical family
and I thought all plays were written by dead people. I was at nyu
undergrad for acting, then I did
solo performance, which was how
I started writing. Leigh Silverman
workshopped my first play with me, and she said, “Why
don’t you apply to Juilliard?”
Who are some of your influences as a playwright?
Oh, that’s such a hard question. I think that I am
inspired by productions. When thinking about Blue
Door, three plays come to mind: Athol Fugard’s Blood
Knot, then [Michael Frayn’s] Copenhagen, then the
recent production of [Lee Blessing’s] Going to St. Ives at
Primary Stages. Though I’d already written Blue Door
when I saw St. Ives, I felt encouraged by it. I admire my
contemporaries Lynn Nottage and Kia Corthron. I still
think about a production of [Maria Irene] Fornes’s Mud
directed by Kate Whoriskey when we were at nyu.
playwright’s perspective
Writing Blue Door was the act of exploring forgotten territory. I began the writing out of frustration over the predominant stereotypes of African Americans in the entertainment industry: endless depictions of ghetto culture. In reality, the majority of African Americans happen to be middle-class—yet this is rarely represented on the stage and screen. A one-sided image of Black
People in the Hood is being marketed to America (not to mention people around the globe) as
one of the only pictures of blacks in this country. In addition, the long legacy of African-American identity is often suppressed by the predominant feeling that being a descendant of a slave
is shameful—yet being a misogynistic rap artist idealizing violence is not. Why? This question
swirls around in my head as I look at my own family and personal community
and see that we are a bunch of smart people—rarely central characters on
the American stage (not to mention TV or the movies). And when we are on
TV, it is often as a reactionary puppet regurgitating a conservative political
ideology that I personally see as a direct assault on the black community.
So, at first, it was frustration that spurred me to write Blue Door. I thought
about the myriad issues facing non-ghetto blacks and I eventually honed in
on the complicated problem of success and assimilation. At the same time, I
felt myself pulled by the histories of our people. I set about researching slave
narratives, West African griots (of which many American slaves were cultural
descendants) and African-American folktales. I crafted monologues inspired
by the long tradition of storytelling in the American black community, dating
back to our West African ancestors. Due to the fact that it was illegal to teach
a slave to read or write, it was through storytelling and song that our people’s
communal identity and history has been preserved. Not that oral history is
uniquely African American, of course. The Odyssey, The Iliad and the Scandinavian Sagas are only a few famous examples from other cultures. But today,
it seems that the oral histories and magical folktales of African Americans are
being forgotten. And this cultural amnesia has not been entirely foisted on us
by whites, but by our own shame and internalized racism.
It is my hope that many of the themes explored in Blue Door are ones
which people of any culture can relate to. After all, we all have ancestors.
Every culture has a legacy from which it’s birthed. I think it is part of human nature to be pulled
by our ancestors, to feel their watchful spirits, to wish we knew their stories, to both scorn and
adore them. In times of crisis (when our own self threatens to fragment), we might wonder if our
ancestors could answer the basic question of identity. In this vast and complicated universe:
who am I? It is only through memory that the soul of an ancestor is kept alive. If we forget our
past, do we in some way forget ourselves?
Blue Door is the play that emerged from these questions. It is a very personal exploration,
my own theatrical meditation on “blackness,” identity and ancestral heritage. Or, more simply
put, the story of a man in the throes of insomnia. This is his night journey.
“We all have
ancestors. I
think it is part of
human nature
to be pulled by
our ancestors, to
feel their watchful
spirits, to wish we
knew their stories,
to both scorn and
adore them.”
Tanya Barfield
July 2006
What about audience? Rex asks Lewis about his audience.
Lewis’s dilemma—which was really another inspiration for the play—is W.E.B. DuBois’s comment about otherness—always looking at yourself through the eyes of
the other. That’s what’s happening to Lewis. He’s always
looking at himself through the eyes of white people.
There’s the inside joke about most theatres having more
white subscribers than black, but that’s just the winkwink. Hopefully if the play were produced a number of
years from now, that part of the joke wouldn’t land.
The final nudge for his night of reckoning comes from his
wife, who is a white woman.
The final nudge comes from his wife, but the
entry to the journey of this night comes from [his
brother] Rex. And the catalyst for his breakdown
is both his father and his student Leroy. I guess
you could quibble over what triggers it. Lewis has
this line, “A constellation of moments.” In the play,
all time—and this is where the math comes in—is
happening simultaneously.
2006 – 07 / number 6 · the berkeley rep magazine · 17
the symbolism of the sankofa bird
The concept of sankofa is derived from King
Adinkera of the Akan people of West Afrika. Sankofa
is expressed in the Akan language as “se wo were
fin na wosan kofa a yenki.”
Sankofa teaches us that we must go back
to our roots in order to move forward. That is, we
should reach back and gather the best of what our
past has to teach us, so that we can achieve our full
potential as we move forward. Whatever we have
lost, forgotten, forgone or been stripped of, can be
reclaimed, revived, preserved and perpetuated.
Visually and symbolically, sankofa is expressed as
a mythic bird that flies forward while looking backward
with an egg (symbolizing the future) in its mouth.
sankofa
(sang-ko-fah)
A symbol of wisdom and learning from the past to build
for the future (literal meaning: “go back to fetch it”).
Sankofa means “go back to the past in order to build
for the future,” or that we should not forget the past
when moving ahead. We should learn from the past
and move forward into the future. Sankofa is a realization of self and spirit. It represents the concepts of
self-identity, redefinition and vision. It symbolizes an
understanding of one’s destiny and collective identity of
the larger cultural group.
Sankofa is symbolic of the spiritual mind-set and
cultural awakening African people were experiencing
in the decades after independence on the African continent. The Sankofa bird is used to represent Sankofa.
The symbol is of a bird turning its head backward and
its long beak is turned in the direction of its tail.
—The Adinkra Dictionary by W. Bruce Willis
18 · the berkeley rep magazine · 2006 – 07 / number 6
PROGRAM
berkeley repertory theatre
Tony Taccone, Artistic Director / Susie Medak, Managing Director
presents
a play with original songs
by tanya barfield
directed by delroy lindo
april 6 – may 20
cast
Simon/Rex/Jesse Teagle F. Bougere
Lewis David Fonteno
Scenic Design Kate Edmunds
Costume Design Emilio Sosa
Lighting Design Kathy A. Perkins
Sound Design & Composition Andre Pluess
this production is made possible
through the generosity of
season producers:
Wayne Jordan & Quinn Delaney
executive producers:
The Strauch Kulhanjian Family
producers:
The Alafi Family Foundation
Mary & Nicholas Graves
Sandra & Ross McCandless
Pat Rougeau
Vocal Coach Lynne Morrow
Production Stage Manager Michael Suenkel
Casting Janet Foster
Amy Potozkin
The actors and stage managers in this company are members of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States
associate producers:
Robin & Rich Edwards
Zandra Faye LeDuff
student matinee sponsor:
season sponsors:
“There is a strong belief in the spirit world as an extension to
their faith.... Most of their customs were considered paganistic
by the planters and were forbidden.... Even today, if one goes to
Charleston, Edisto Island or any of the Sea Islands, he can see
doors and shutters painted a bright blue to keep out the evil spirits.”
—From The Mermaid’s Chair, by Sue Monk Kidd
2006 – 07 / number 6 · the berkeley rep magazine · 19
PROFILES
teagle f.
bougere
(Simon/Rex/Jesse)
is making his debut
at Berkley Repertory
Theatre. His Broadway credits include
the recent revival of
A Raisin In The Sun,
for which he received an Outer Critics Circle nomination for his portrayal
of Joseph Asagai; and Caliban in The
Tempest, directed by George C. Wolfe,
for which he was honored with a Drama
League Award. Teagle’s selected
off-Broadway credits include Banquo
in Macbeth with Liev Schreiber at the
New York Shakespeare Festival and
Private Tony Smalls in A Soldier’s Play
at Second Stage Theatre. Regionally
he played Christopher in Blue/Orange
at The Old Globe Theatre in San Diego
and was a member of the resident acting company of Arena Stage in Washington DC for five seasons. Teagle’s
television credits include NBC’s Law &
Order (where he has appeared six times
as a guest star), Conviction, Cosby, The
Job and Third Watch. His film credits
include Night at the Museum, The Imposters, Murder in Black and White, The
Pelican Brief and Two Week’s Notice.
david fonteno
(Lewis) was most
recently seen as
James in Philip Kan
Gotanda’s Yohen
at New York’s Pan
Asian Repertory
Theatre. He was
also a company
member of the award-winning Public
Theater production of Stuff Happens.
David’s other productions include
Abstract Expressions at Long Wharf
Theatre; Amen Corner, Lost Creek
Township and The Talented Tenth at
Crossroads Theatre Company; Distant
Fires and Force Continuum at Atlantic
Theater Company; Tom Stoppard’s
Hapgood at Lincoln Center; and Wit at
George Street Playhouse. His film and
television credits include Conviction,
Colin Powell in DC 9/11: Time of Crisis,
Devil in a Blue Dress, The Interpreter,
There are great artists in every
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20 · the berkeley rep magazine · 2006 – 07 / number 6
Law & Order, Third Watch, The Wire
and the network premieres of Kidnapped and The Knights of Prosperity.
Known primarily as an actor, David
also works as a composer. Recent
projects include King Hedley II at Philadelphia Theater Company, Dinner With
Friends and various documentaries
and presentational videos. David is a
life member of The Actors Studio and a
member of Actors’ Equity Association.
delroy lindo
(director) came
to prominence
with his Broadway performance
in Master Harold
and the Boys and
went on to portray
Herald Loomis in
Joe Turner’s Come and Gone, earning
nominations for the Tony Award and
the Drama Desk Award. He has also
worked off Broadway and in regional
theatres throughout the United States
and Canada. He played Walter Lee
in A Raisin in the Sun at the Kennedy
Center, Yale Repertory Theatre and
the Wilshire Theatre in Los Angeles,
where he won an NAACP Image Award
for his portrayal. Lindo is best known,
however, for his extensive screen time
in films such as Bright Angel, Broken Arrow, The Cider House Rules,
Clockers, The Core, Crooklyn, The
Devil’s Advocate, Domino, L’Exil du
Roi Behanzin, Feeling Minnesota, Get
Shorty, Gone in 60 Seconds, Heist,
The Last Castle, A Life Less Ordinary,
Malcolm X, Mountains of the Moon, Mr.
Jones, The One, Ransom, Romeo Must
Die, Sahara and Wondrous Oblivion.
He recently starred in the NBC television series Kidnapped, and has also
appeared on CourtTV in The Exonerated and on HBO in Lackawanna
Blues and First Time Felon. Portraying
historical figures, Lindo has been seen
as Clarence Thomas in the Peabody
Award-winning Strange Justice on
Showtime, Arctic explorer Matthew
Henson in TNT’s Glory and Honor,
Ricardo Thornton in Profoundly Normal
on CBS and baseball legend Satchel
Paige in HBO’s Soul of the Game. Also
for television, he conceived, hosted
and produced Delroy Lindo on Spike
Lee, Delroy Lindo in Conversation with
Charles Burnett and Delroy Lindo and
Joan Chen: A Conversation. He resides
in Oakland with his family.
tanya barfield
(Playwright) is the author of 121˚ West,
Dent, The Houdini Act and The Quick
in addition to Blue Door, which has already played at Playwrights Horizons,
South Coast Rep and Seattle Rep. She
received the 2003 Helen Merrill Award
for Emerging Playwrights, 2005 Honorable Mention for the Kesselring Prize
for Drama, a 2006 Lark Play Development/NYSCA grant and has been
twice been a finalist for the Princess
Grace Award. Recently, Tanya was
an invited guest at the Legacy Tribute
Dinner to the Civil Rights Generation
on Capitol Hill, which was hosted by
the Smithsonian National Museum of
African American History and Culture.
Her new play, Of Equal Measure, will
premiere at Center Theatre Group in
the 2008 season. Tanya is member of
New Dramatists.
kate edmunds
(Scenic Designer) has designed many
productions at Berkeley Rep including Endgame, Heartbreak House,
Homebody/Kabul, The Lady From the
Sea, Slavs, The Revengers and Twelfth
Night, among others. Her designs at
A.C.T. include Antigone, The Gamester,
Hecuba, The House of Mirth, The Misanthrope, Old Times, The Rose Tattoo
and the Tempest. Other local productions include The Persians at Aurora
Theatre Company, Triptych at the Magic
and The Clean House at TheatreWorks.
Regionally, her work has been seen at
Alliance Theatre, American Repertory
Theatre, Arena Stage in DC, Baltimore’s
CenterStage, the Goodman Theatre,
Boston’s Huntington Theater Company,
Indiana Repertory Theatre, the Mark
Taper Forum, Milwaukee Repertory
Theatre, Seattle Repertory Theatre and
Steppenwolf Theatre Company. Kate
was designer-in-residence at the O’Neill
Playwrights Conference for three years.
Having taught design at UC Berkeley
for 13 years, she now teaches at UC
Santa Cruz.
emilio sosa
(Costume Designer) has created
costume designs for productions of
Adoration of the Old Woman at La
Jolla Playhouse, Ain’t Misbehavin’ at
Pittsburgh Public Theater, Cuttin’ Up at
Arena Stage, Once on this Island at Bay
Street Theatre and CenterStage, The
Piano Lesson at Madison Repertory
Theatre, Pippin at Bay Street and Señor
Discretion and Himself at Arena Stage.
He designed the Broadway and London
productions of Topdog/Underdog, in
addition to several regional productions
of the work. Emilio’s other New York
credits include Caligula with Classical
Theater of Harlem; All That I Will Ever
Be and The Seven with New York Theatre Workshop; The Story and Radiant
Baby for the Public Theater; and Birdie
Blue, Crowns (for which he won a 2003
Audelco Award) and Living Out at Second Stage Theatre. His design credits in
the dance world include work with Alvin
Ailey American Dance Theater, Ballet
Hispanico, Complexions Contemporary
Ballet and New York City Ballet (where
he is an artist-in-residence). Emilio is
also the image consultant for the Lincoln Center Jazz Orchestra, featuring
Wynton Marsalis. In 2006, Emilio was
recognized with a TDF/Irene Sharaff
Young Master Award.
kathy a. perkins
(Lighting Designer) has designed productions throughout the United States,
as well as in Europe and South Africa.
For three seasons she was designer
for DanceAfrica at the Brooklyn Academy of Music (BAM). She was resident
designer for two years with the Los Angeles Theatre Center and the Los Angeles Contemporary Dance Company.
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2006 – 07 / number 6 · the berkeley rep magazine · 21
PROFILES
Regionally, Kathy has designed for such
locales as A Contemporary Theatre
(ACT/Seattle), Alabama Shakespeare
Festival, Alliance Theatre, Congo
Square, Court Theatre, the Goodman,
Indiana Rep, Manhattan Theatre Club,
the Taper, Missouri Repertory Theatre,
New Federal Theatre, the Black Repertory Theatre in St. Louis and Seattle
Rep. She has edited four anthologies
focusing on women of the African Diaspora. Kathy chairs the lighting design
program at the University of Illinois at
Urbana-Champaign. She received her
B.F.A. from Howard University and
M.F.A. from the University of Michigan.
andre pluess
(Sound Designer & Composition) previously designed sound for Berkeley Rep
productions of Honour, Metamorphoses
and The Secret in the Wings. Based in
Chicago, his design and composition
credits include projects as an associate
artist for About Face Theatre, a resident
artist for Court Theatre, an artistic associate at Lookingglass Theatre and a
resident designer at Victory Gardens, as
well as work at the Goodman, Steppenwolf and many other Chicago and
regional theatres. Andre’s Broadway
credits include I Am My Own Wife and
Metamorphoses. He has been awarded
11 Joseph Jefferson Awards and Citations, an L.A. Ovation Award, an L.A.
Drama Critics Circle Award and a Lucille
Lortel nomination for composition
and sound design. His recent projects
include after the quake for Steppenwolf;
The Clean House at the Goodman, Lincoln Center and Yale Repertory Theatre;
Lady Windermere’s Fan at the Williamstown Theatre Festival; The Passion
Play Trilogy at Arena Stage; Pericles
with the Goodman and the Shakespeare
Theatre Company in Washington DC;
and Silk, also at the Goodman.
lynne morrow
(Vocal Coach) directs the vocal and
opera/music theatre programs at
Sonoma State University, and is director of Quantum Opera Theater, an
SSU program which seeks to broaden
the formal and stylistic links between
opera and musical theatre, cultivating
new directions for their mutual growth.
Lynne is also the music director of the
Grammy-nominated Pacific Mozart
Ensemble, which made its Carnegie
Hall debut in November 2005 as part
of Meredith Monk’s 40th Anniversary
Celebration. Additionally, she is the
music director of the Oakland Symphony Chorus, which is currently preparing a full concert version of George
Gershwin’s great operatic work, Porgy
and Bess, which it will perform with the
Oakland East Bay Symphony this May.
Later this year, Lynne will be the assistant conductor for Festival Opera’s
production of Carmen, and host
pre-concert talks for the Opera’s West
Coast premiere of Our Town, a new
opera by Ned Rorem. Lynne is also the
host of the Stern Grove Music Festival.
michael suenkel
(Production Stage Manager) is in his
21st season with Berkeley Rep and his
13th as production stage manager. His
favorite productions include 36 Views,
Endgame, Hydriotaphia and Mad Forest. He has also worked with La Jolla
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22 · the berkeley rep magazine · 2006 – 07 / number 6
Playhouse, the Huntington Theatre
Company in Boston, the Pittsburgh
Public Theater, New York’s Public Theatre and Yale Rep. For the Magic, he
stage-managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s
The Late Henry Moss.
amy potozkin
(Casting Director) is in her 17th season
with Berkeley Rep, where she serves as
artistic associate and casting director.
She has had the pleasure of casting for
Aurora Theatre Company, ACT/Seattle,
Arizona Theatre Company, B Street
Theatre, Bay Area Playwright’s Festival,
Dallas Theatre Center, Marin Theatre
Company, Traveling Jewish Theatre
and San Jose Rep, as well as Charlie
Varon’s play Ralph Nader is Missing, The Conversation (Francis Ford
Coppola, producer) and Social Impact
Productions, Inc. Amy’s film credits
include Conceiving Ada, starring Tilda
Swinton, and the Josh Kornbluth film
Haiku Tunnel. She received her M.F.A.
from Brandeis University, where she
was also an artist-in-residence.
tony taccone
(Artistic Director) is in his tenth year as
artistic director of Berkeley Rep, where
he has staged more than 35 shows,
including the world premieres of Continental Divide, The Convict’s Return,
Culture Clash in AmeriCCa, The First
100 Years, Geni(us), Ravenshead and
Virgin Molly. He commissioned Tony
Kushner’s renowned Angels in America, co-directed its world premiere at
the Taper and has collaborated with
Kushner on six projects. Their latest
piece, Brundibar, debuted at Berkeley
Rep and then traveled to New Haven
and New York City. Tony recently made
his Broadway debut with Bridge & Tunnel, which was universally lauded by
the critics and earned a Tony Award for
its star, Sarah Jones. He also staged
the show’s record-breaking off-Broadway run, workshopped it for Broadway
at Berkeley Rep and directed Jones’
previous hit, Surface Transit. In 2004,
his production of Continental Divide
transferred to the Barbican in London
after playing the Oregon Shakespeare
Festival, Berkeley Rep and England’s
Birmingham Rep. His other regional
credits include Actors Theatre of Louisville, Arizona Rep, La Jolla Playhouse,
San Jose Rep, Seattle Rep and San
Francisco’s Eureka Theatre, where he
served six years as artistic director.
susie medak
(Managing Director) has served as
Berkeley Rep’s managing director
since 1990, leading the administration
and operations of the Theatre. She is
president of the League of Resident
Theatres (LORT) and recently completed two terms on the board of Theatre
Communications Group (TCG), where
she served three years as treasurer.
Susie has served extensively with
the National Endowment for the Arts’
(NEA) Theatre Program panel, as well
as on NEA panels in three other areas:
Overview, Prescreening and Creation &
Presentation. She has chaired panels
for both the Preservation & Heritage
and the Education & Access programs,
also serving as an onsite reporter for
many years. In addition, she led two
theatre panels for the Massachusetts
Arts Council. Closer to home, Susie
is a commissioner of the Downtown
Business Improvement District, former vice president of the Downtown
Berkeley Association and founding
chair of the Berkeley Arts in Education
Steering Committee for Berkeley Unified School District and the Berkeley
Cultural Trust. A proud member of
the Mont Blanc Ladies’ Literary Guild
and Trekking Society, Susie lives in
Berkeley with her husband and son.
les waters
(Associate Artistic Director) is in his
fourth year as associate artistic director of Berkeley Rep, where he has
staged Eurydice, Fêtes de la Nuit,
Finn in the Underworld, The Glass
Menagerie, The Mystery of Irma Vep,
Suddenly Last Summer, To the Lighthouse and Yellowman. He won an
Obie Award for Big Love, directing its
premiere at the Humana Festival and
subsequent runs at Berkeley Rep,
Brooklyn Academy of Music, Classic
Stage Company, Goodman Theatre
and Long Wharf Theater. Elsewhere in
America, he has staged work at A.C.T.,
Connelly Theatre, the Guthrie Theatre,
La Jolla Playhouse, Manhattan Theatre
Club, The Public Theater, Signature
Theatre, Steppenwolf and Yale Rep. In
his native England, Les has directed for
the Bristol Old Vic, Hampstead Theatre
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2006 – 07 / number 6 · the berkeley rep magazine · 23
PROFILES
Club, Joint Stock Theatre Group,
National Theatre, Royal Court Theatre
and Traverse Theatre Club. He often
works with prominent playwrights like
Caryl Churchill and Charles Mee, and
champions important new voices, such
as Jordan Harrison and Sarah Ruhl. He
is also an associate artist of The Civilians. The former head of the M.F.A.
directing program at U.C. San Diego,
Les’ many honors include a DramaLogue Award, an Edinburgh Fringe
First Award, a KPBS Patte and several
awards from critics’ circles in the Bay
Area, Connecticut and Tokyo
wayne jordan & quinn delaney
(Season Producers) have enjoyed
Berkeley Rep’s performances for a
number of years. Wayne is a real estate investor and developer in the Bay
Area and serves on Berkeley Rep’s
board of trustees. Quinn runs a Bay
Area foundation and is involved with
a number of progressive institutions,
including serving as chair of the ACLU
of Northern California.
the strauch kulhanjian family
(Executive Producers) Roger Strauch
is president emeritus of Berkeley
Rep’s board of trustees. He is chairman of The Roda Group (www.
rodagroup.com), a venture development company based in Berkeley,
best known for launching Ask Jeeves.
Roger is on the board of directors of
GameReady, Sightspeed and Cardstore, all located in the East Bay.
Roger is a member of Engineering
Dean’s College Advisory Boards of
Cornell University and UC Berkeley.
He is an executive member of the
board of trustees for the Mathemati-
cal Sciences Research Institute in
Berkeley and co-founded the William
Saroyan Chair in Armenian Studies
at U.C. Berkeley. His wife, Julie A.
Kulhanjian, is an attending physician
at Oakland Children’s Hospital. They
have three children.
the alafi family foundation,
margaret alafi, president
(Producers) When she was student at
the University of Chicago, Margaret
(Ginger) Alafi bought tickets for herself
and a date to see the Broadway cast in
Tennessee Williams’ A Streetcar Named
Desire. From then on, she was hooked
on the theatre. Ginger and her husband
Moshe have been devoted subscribers to Berkeley Rep since 1968, when
the Theatre was located on College
Avenue. They have circled the globe
three times, and always attended local
theatre. They subscribe to opening
night at the Geffen Playhouse in Santa
Monica, the San Francisco Playhouse,
the Magic Theatre, and the Aurora Theatre. Ginger sits on the boards of both
the Aurora and the Magic. Her present
wish is to discover ways for Berkeley
Rep to partner with other artistic organizations with which she is involved.
mary & nicholas graves
(Producers) relocated to San Francisco
nine years ago, and are now happily settled in the Bay Area, enjoying many days
and evenings a year in Berkeley and at
Berkeley Rep. Nick is a past president
of the Theatre’s board of trustees and
has served on several other non-profit
boards in the Bay Area. He is a partner
in the San Francisco-based asset management firm, Osterweis Capital Management. Mary was awarded her Doctor
of Education by Rutgers University. in
2005 She is a past voting member of the
Girl Scouts of the U.S.A.
sandra and ross mccandless
(Producers) Sandra McCandless, a
long-standing Berkeley Rep board
member, chaired the Narsai Toast in
1998, 1999 and 2000, and presently
serves as co-chair of the Corporate
Council committee and on the trustees
and audit committees. Sandra is a
partner in the law firm Sonnenschein
Nath & Rosenthal and the head of
its California employment practice.
Sandra is also the immediate past
chair of the 35,000 member tort trial
and insurance practice section of the
American Bar Association, the largest
professional services organization in
the world. Ross teaches mathematics
to middle school students. The McCandless’ love of theatre dates back to
Sandra and Ross’ joint performance at
Harvard College in William Saroyan’s
Hello Out There.
pat rougeau
(Producer) has been in executive
management of several technology enterprises throughout her career. Even
before moving to the East Bay 12 years
ago, Pat had enjoyed Berkeley Rep
productions when visiting the area. On
the board of trustees since 1998, Pat
has traveled extensively and has had
the opportunity to attend theatre in
major capitals. Nowhere has she enjoyed world-class theatre more than at
the Berkeley Rep, which she considers
“a jewel in our own backyard.” She has
two grown sons who also appreciate
wonderful theatre.
citigroup
(Student Matinee Sponsor) Citigroup
and the Citigroup Foundation believe
that arts education encourages children to express themselves creatively
and think critically; it can also instill
an appreciation for different cultures
and communities. Citigroup supports
programs that train teachers to integrate visual and performing arts into
their curricula. These programs also
increase student access to cultural
institutions, helping build a future audience for the arts. Citigroup is proud to
support Berkeley Repertory Theatre’s
student matinee program, which serves
24 · the berkeley rep magazine · 2006 – 07 / number 6
Bay Area high school students and
offers youth a challenging and in-depth
arts education program which brings
their core curriculum to life through the
magic of theatre. The program provides
over 4,000 young people with their
first opportunity to see live theatre in a
professional setting.
energy-efficient means of transportation. Since opening in September 1972,
BART has safely carried more than 1.5
billion passengers more than 18 billion
passenger-miles. BART stations are
fully accessible to disabled persons.
BART’s current weekday ridership is
approximately 320,000.
bart
wells fargo
(Season Sponsor) Voted America’s
number one transit system in 2005,
the Bay Area Rapid Transit District
is a 104-mile, automated rapid transit system serving over three million
people. Forty-three BART stations are
located in Alameda, Contra Costa,
San Francisco and San Mateo Counties. Trains traveling up to 80 mph
now connect San Francisco to SFO,
as well as other San Mateo County
destinations. The East Bay communities that BART serves stretch north
to Richmond, east to Pittsburg/Bay
Point, west to Dublin/Pleasanton and
south to Fremont. BART’s mission is to
provide safe, reliable, economical and
(Season Sponsor) has been the top
corporate giver to Bay Area nonprofits
for five consecutive years. On behalf
of our 16,000 Bay Area team members, Wells Fargo recognizes Berkeley
Repertory Theatre for its leadership in
supporting the performing arts and its
programs. More than 140 years ago,
Wells Fargo stagecoaches brought
actors, musicians and other performing artists to the West. As the oldest
and largest financial services company
headquartered in California, Wells
Fargo has top financial professionals
providing business banking, investments, brokerage, trust, mortgage,
insurance, commercial and consumer
finance and much more. For more than
154 years, Wells Fargo has helped
generations of families build, manage, preserve and transfer wealth with
personalized advice and services. Talk
to a Wells Fargo banker today to see
how we can help you become more
financially successful.
additional thanks
Ewa Muszynska, Scenic Artist
Gabrielle Wolodarski, Scenic Artist
Sarah Lowe, Properties Artisan
Brian Fugelsang, Load-in Carpenter
Latisha Leung, Load-in Carpenter
Sam McKnight, Load-in Carpenter
Lara Shimasaki, Load-in Carpenter
Alex Marshall, Stage Carpenter
JoAnna Ben-Yisrael, Electrician
Victoria Hendrix, Electrician
Aron Jacobson, Electrician
Mercel Meyers, Electrician
Ray Oppenheimer, Electrician
Kathleen Parsons, Electrician
Andrea J. Schwartz, Electrician
Sarah Szewczyk, Electrician
Audrey Wright, Electrician
2006 – 07 / number 6 · the berkeley rep magazine · 25
STAFF
artistic director tony taccone / managing director susie medak / general manager karen racanelli
artistic
Associate Artistic Director
Les Waters
Artistic Associate
& Casting Director
Amy Potozkin
Literary Manager/Dramaturg
Madeleine Oldham
Shop Foreman
Ryan O’Steen
Carpenters & Welders
Bryce Berggren
Russell Facente
E.T. Hazzard
Shop Intern
Kristen Gilmore
marketing &
communications
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations
Terence Keane
Art Director
Cheshire Dave
Bret C. Harte Directing Intern
Marissa Wolf
scenic art
Literary/Dramaturgy Intern
Kimberly Weisberg
Charge Scenic Artist
Lisa Lázár
Artists under Commission
Glen Berger
Paul Dresher
Rinne Groff
Naomi Iizuka
Ellen McLaughlin
Rita Moreno
Itamar Moses
Sharon Ott
Sarah Ruhl
Scenic Art Intern
Sheri Earnhart
costumes
Costume Shop Manager
Maggi Yule
Draper
Kitty Muntzel
Marketing Associate
Adrienne Mansard
Communications Associate
Megan Wygant
Audience Development
Associate
Elissa Dunn
Web Master
Christina Cone
Graphics/Communications
Intern
Alli Nash
Marketing/Communications
Intern
Lindsey Coates
production
Tailor
Kathy Kellner Griffith
Production Manager
Tom Aberger
First Hand
Janet Conery
Associate Production Manager
Madelyn Mackie
Wardrobe Supervisor
Barbara Blair
Production Management
Intern
Harumi Ikeda
Costume Intern
Hannah Reich
patron services
Company Manager
Christopher Jenkins
electrics
House Manager
Paul Coddington
Company & General
Management Intern
Miranda Hixson
Master Electrician
Frederick C. Geffken
stage management
Production Stage Manager
Michael Suenkel
Production Electricians
Christine Cochrane
Zoltan DeWitt
Electrics Intern
Stephanie Buchner
Stage Manager
Cynthia Cahill
sound
Production Assistants
Megan McClintock
Leslie M. Radin
Sound Supervisor
Heather Bradley
Stage Management Intern
Rachel Motz
stage operations
Stage Supervisor
Julia Englehorn
prop shop
Properties Manager
Ashley Dawn
Assistant Properties Manager
Jillian A. Green
Properties Artisan
Gretta Grazier
scene shop
Technical Director
Jim Smith
Associate Technical Director
Amanda Williams O’Steen
Sound Engineers
James Ballen
Robyn Bykofsky
Sound Intern
Matt O’Hare
administrative
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Executive Assistant
Joanna Spencer
Bookkeeper
Eric Ipsen
Human Resources
Manager
Valerie St. Louis
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
Receptionist
Barbra Ritchison
26 · the berkeley rep magazine · 2006 – 07 / number 6
Program Advertising
Ellen Felker
Patron Services Manager
Emily Fleisher
Sub House Managers
Aleta George
Harumi Ikeda
Tara Marchant
Concessionaires
Michelle R. Baron
Dina Beigelman
Nick Boll
Lindsey Coates
Christopher Fan
Aaron Gleason
Miranda Hixson
Charlotte McIvor
Jessica Modrall
Alli Nash
Alisha Pyle
Hannah Reich
box office
Ticket Services Director
Christine Bond
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Andrew Susskind
Sales Agents
Destiny Askin
Dianne Baka
Amelia Bird
Mary Close
Christina Cone
Leah Kaplan
development
Director of Development,
Campaign & Corporate
Sara Fousekis
Director of Development,
Annual Fund
Lynn Eve Komaromi
Institutional Grants Manager
Elisabeth Millican
Special Events Manager
Kirsten Berzon
Corporate Associate
Lauren Elaine Davidson
Individual Gifts Manager
Laura Fichtenberg
Development Database
Coordinator
Rachel Dickey
Campaign Assistant
Margo B. Chilless
school of theatre
faculty
Scene Study (Intermediate/
Advanced level)
Jeffrey Bihr
Improv Sketch Comedy
(Grades 6-8)
Jon Burnett
Full Body Express
Ron Campbell
Musical Theatre (Grades 6–9)
Rebecca Castelli
Teen Performance Lab:
As You Like It (Grades 9-12)
MaryBeth Cavanaugh
Building a Character
for Stage and Film
(Advanced level)
Roni Dengel
Development Intern
Dina Beigelman
Playwriting I:
An Introduction to Playwriting
Playwriting II: Writers’ Group
for Playwrights
Gary Graves
operations
Acting (Intermediate level)
Marvin Greene
Director of Operations
Bruce Veenstra
Improv Sketch Comedy
(Grades 6-8)
Gendell Hernandez
Facilities Manager
Christopher Dawe
Facilities Assistants
Freeman Duncan, Jr.
Juan Mendoza
Eric Smith
Johnny Van Chang
Emerging Artist Series
(Beginning/Intermediate level)
Callback Audition Intensive
Greg Hubbard
Imagine Me and You: A Dance
Exploration for Parent and
Child (Ages 2–4)
Freesia Paclebar Huth
berkeley rep
school of theatre
Physical Theatre:
What’s So Funny
Joan Mankin
Associate General Manager
& Director of the
School of Theatre
Rachel L. Fink
Stage Combat (Single rapier)
(Ages 16 to adult)
Acting (Beginning level)
Dave Maier
Associate Director
MaryBeth Cavanaugh
Acting Adventures
(Grades 2–4)
Performance Workshop:
Stories from around the
World (Grades 3–5)
Teen Performance Lab:
As You Like It (Grades 9–12)
Elena Mulroney
Outreach Coordinator
Dave Maier
Education Associate
Elena Mulroney
Administrator
Jessica Modrall
Education Intern
Sylvia Hathaway
Teen Council Chairs
Genevieve Michel–Co-Director
Leslie Ribovich–Co-Director
Kacey Berry
Mia Divecha
Amalia Mesa-Gustin
Hallie Sekoff
Elena Wagoner
Acting Shakespeare
(Grades 8–12)
Acting Shakespeare
(All levels)
Andy Murray
Emerging Artist Series
(Beginning/Intermediate level)
Rebecca Stockley
Action-Packed Scene Study
(Grades 6–8)
Michael Storm
contributors
We acknowledge the following donors whose
contributions from January 2006 through January 2007 helped to make possible the Theatre’s
artistic and community outreach programs.
Supporters noted with ™ made gifts in-kind.
Funders whose names are noted with Ñ have
used a matching gift to double or triple their
initial contribution.
season sponsors
foundation, corporate and government sponsors
leadership council
investors
gifts of $100,000 or more
Doris Duke Charitable Foundation
The William Randolph Hearst Foundation
The Ira and Leonore Gershwin Philanthropic Fund
The William & Flora Hewlett Foundation
The James Irvine Foundation
Koret Foundation Funds
The Andrew W. Mellon Foundation
The Mosse Foundation for the Arts and Education
The Bernard Osher Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
gifts of $2,500 or more
gifts of $50,000 or more
Walter & Elise Haas Fund
The Phyllis C. Wattis Foundation
gifts of $25,000 or more
Alexander M. and June L. Maisin Foundation
National Endowment for the Arts
The San Francisco Foundation
Steven Spielberg’s Righteous Persons Foundation
Wallis Foundation
Woodlawn Foundation
lead corporate sponsors
gifts of $10,000 or more
Anonymous
24 Hour Fitness™
Bank of the West
Bar • Ristorante Raphael™
California Arts Council
The Citigroup Private Bank
David B. Gold Foundation
East Bay Community Foundation
Eldorado Foundation
Genstar Capital, LLC
Ann & Gordon Getty Foundation
Liaison Bistro™
The Thomas J. Long Foundation
McKesson Foundation
The Mechanics Bank
The Morrison & Foerster Foundation
Peet’s Coffee & Tea
Pixar Animation Studios
Seagate Properties, Inc.
Shorenstein Hays—Nederlander Theatres LLC
Venus Restaurant™
Zellerbach Family Foundation
partners
gifts of $5,000 or more
Anonymous
AutoDesk™
Armanino McKenna LLP
Bank of America
Bayer HealthCare
S.D. Bechtel, Jr. Foundation
Berkeley Civic Arts Program and Commission
Clif Bar Inc.
Deloitte Financial Advisory Services
Farella Braun + Martell LLP
Foley & Lardner LLP
Arthur J. Gallagher & Co.
MBV Law LLP
McKinsey & Company
Oakland Fund for the Arts
Panoramic Interests
Ramsay Family Foundation
Ruegg & Ellsworth
The Safeway Foundation
Semifreddi’s
The Shenandoah Foundation in Honor of Roger Hoag
Solstice Press™
Sonnenschein, Nath & Rosenthel LLP
STG Asset Management Inc.
UBS Financial Services Inc.
van Löben Sels/RembeRock Foundation
Caffè Venezia™
Bingham McCutchen, LLC
Civic Foundation
In Dulci Jublio
La Note Restaurant Provencal™
Rich Edwards Imagery™
The Ritz-Carlton, San Francisco™
Smith Companies Dental Products
sustainers
gifts of $1,000 or more
AMB Property Corporation
Alameda County Arts Commission
Bogatin, Corman & Gold™
Berkeley Historical Society™
Darling Flowers™
Joyce & William Brantman Foundation
Jazzcaffè™
Kochis Fitz
Maxcomm Associates
Meet the Composers Creative Connections
Victor & Esther Rozen Foundation
Scharffen Berger Chocolate Maker™
Sybase Inc.
Bernard & Alba Witkin Charitable Foundation
matching gifts
The following companies have matched their
employees’ contributions to Berkeley Rep.
Please call the Development Department
at 510.647.2907 to find out if your company
matches gifts.
3 Com · Adobe Systems · AMD · American
Continental Insurance Co. · American
Express · Argonaut Group · AT&T · Baker &
McKenzie · Bank of America Corp. · Charles
Schwab Co. · Chase Manhattan Corp. ·
ChevronTexaco · Citigroup Foundation ·
Compaq Computer Corp. · DFS Group
Limited · First Quadrant, LP · Fremont Group
Foundation · Gannett Co. Inc · Gap, Inc ·
General Re Corporation · GlaxoSmithKline ·
Google · Gordon & Rees, LLP · Grove
Foundation · Guidant · Hewlett Foundation ·
IBM · Janus · John Wiley & Sons, Inc. ·
Johnson & Johnson · Kemper Insurance
Company · Lucent Technologies · Macy’s/
Federated Department Stores Inc. · May
Company · McGraw-Hill Cos. · Mellon
Financial Corp. · Merrill Lynch Co. · Microsoft ·
Monsanto Fund · Morrison & Foerster, LLP ·
Northern Trust · Packard Foundation · Pitney
Bowes · Pohlad Family Charities · Providian
Financial · Prudential Insurance Co. of
America · Ralston Purina · SBC
Communications, Inc. · Sun Microsystems ·
Transmeta · TRW Foundation · Union Bank of
California · West Group · Xerox · YCI (Shaklee)
2006 – 07 / number 6 · the berkeley rep magazine · 27
CONTRIBUTORS
donor circle and associate’s club
season producers / $50,000 & up
producers / $10,000 – 24,999
Anonymous (2)
Wayne Jordan & Quinn Delaney
Anonymous
Anonymous, on behalf of Karen Grove
The Alafi Family Foundation
David & Vicki Cox
Bill Falik & Diana Cohen
Diana Farrell & Scott Pearson
Thalia Dorwick
Virginia & Timothy Foo
Mary & Nicholas Graves
Marion E. Greene
Roger & Silvija Hoag
Ms. Wendy E. Jordan
Carole & Ted Krumland
Suzanne Lafetra
Sarah McArthur & Michael LeValley
Sandra & Ross McCandless
executive producers / $25,000 – 49,999
Anonymous
Rena Bransten
Rick Hoskins & Lynne Frame
John & Helen Meyer
Rita Moreno & Leonard Gordon
Eddie & Amy Orton
Marjorie Randolph
The Strauch Kulhanjian Family
Jean & Michael Strunsky
Roselyn Chroman Swig
Felicia Woytak & Steve Rasmussen
associate producers
$5,000–9,999
Anonymous (2)
Aldar Investments / Avi Nevo
Barbara & Gerson Baker,
in honor of Jean & Michael Strunsky
Neil & Gene Barth
Elwyn & Jennifer Berlekamp
Becky & Jeff Bleich
Bruce Carlton & Richard G. McCall
Stephen K. Cassidy
Chiles Family Fund
Narsai & Venus David
Lois M. De Domenico
The Board of the East Bay College Fund
Robin & Rich Edwards
William Espey & Margaret Edwards
Delia Fleishhacker EhrlichÑ
John & Carol Field
Kerry Francis & John Jimerson
Marcia & Richard Grand
The Howard Grothe & Robert James
Philanthropic Fund of Horizons
Foundation
Scott & Sherry Haber
Migsy & Jim HamasakiÑ
Kanbar Charitable Trust, Jewish
Community Endowment Fund
Jean & Jack Knox
Wanda Kownacki
Anatoli Lapushner™
Zandra Faye LeDuff
Neil & Leah MacNeil
Rebecca Martinez & Peter Sloss
Martin & Janis McNair
Stephanie Mendel
Michelle Mercer & Bruce Golden
Patrick & Holly O’Dea
Virginia Patterson
Paul Rosenblum & Beth Springer™
Kaye & Randy Rosso
Beth & David Sawi
Sheila Wishek
Saul Zaentz
presidents / $2,500–4,999
Anonymous (2)
Ken & Joni Avery
Drs. Don & Carol Anne Brown
Tracy Brown & Greg Holland
Kathleen Evans & Bruce Bagnell
Roger Fee
Steven, Jill, & Kevin Fugaro
Gifts of Tamsin
Bonnie & Earl Hamlin
Bob & Linda Harris
Richard N. Hill & Nancy Lundeen
Tom & Mary Anne Jorde
Robert Kelling
Susan Kinloch™
Leonard Merrill Kurz
Nancy & George Leitmann
Nashormeh Lindo
John & Karen Levy
Jennifer Lindsay
Steven Maginnis
Dale & Don Marshall
Jan & Howard Oringer
Sandi & Dick Pantages
David & Marilyn Pratt
Ivy & Leigh Robinson
David S. H. Rosenthal
Ms. Riva Rubnitz
Deborah & Leo Ruth
Jodi Schiller & Ben Douglas
Joyce & Jim Schnobrich
James Shachoy & Laura Ryan
Kae Skeels
Marjorie Ginsburg & Howard Slyter
Susan & David Terris
Mr. & Mrs. J. Stephen Thornborrow
Gail & Arne Wagner
Holly & Barry Walter
Kimberly Ware™
Julie Weinstein
Laura & Ernest Winslow
Steven & Linda Wolan
directors / $1,500–2,499
Anonymous (10)
Shirley & Lew Albright
Nina Auerbach
Bryan Balazs
Helen C. Barber
Bell Investment Advisors, Inc.
Jane & Bill Bardin
Stephen Belford
Linden & Carl Berry
Thomas & Tecoah Bruce
Jennifer Chaiken & Sam Hamilton
Melvin & Hella Cheitlin
Earl T. Cohen & Heidi M. Shale
Robert Council & Ann Parks-Council
Edward Cullen & Ann O’Connor
John & Stephanie Dains
Merle & Michael Fajans
Nancy & Jerry Falk
Kristina Flanagan
Mort & Frannie Fleishhacker
Donald Fillman
Rebecca Follo & Tom Bentley
Herb & Marianne Friedman
Ralph & Laurie Garrow
Karen Grove
Dennis & Susan Johann Gilardi
Daniel & Hilary B. Goldstine
Mary Hamilton
David & Vera Hartford
Mr. & Mrs. Harlan Heydon
Gail & Bob Hetler
Gareth & Ruth Hill
Beverly Phillips Kivel
John Kouns & Anne Baele Kouns
Helen E. Land
Randy LaRoche & David Loudon
28 · the berkeley rep magazine · 2006 – 07 / number 6
Dugan Moore
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Pat Rougeau
Richard A. Rubin & H. Marcia Smolens
Patricia Sakai & Richard Shapiro
Lisa Sardegna
Joan Sarnat & David Hoffman
Jack & Betty Schafer
Cynthia & William SchaffÑ
Dr. & Mrs. Philip D. Schild
Stephen & Cindy Snow
Michael & Sue Steinberg
Jinee Tao & Charles Baxter
Martin & Margaret Zankel
Jennifer Lindsay
Dixon Long
Louise Laufersweiler & Warren Sharp
Lois & Gary Marcus
Sumner & Hermine Marshall
Suzanne Mellard & Lon O’Neil
Doug & Jill McCoy
Andrea & Michael McGill
Miles & Mary Ellen McKay
Susie Medak & Greg Murphy
Toby Mickelson & Donald Brody
Roger Miles
Mr. David Mish
Andy & June Monach
Tom & Kathy Pendleton
Paul & Suzanne Peterson
Bonnie Raitt
Len & Barbara Rand
Jonathan & Hillary Reinis
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
Tom Roberts
Boyard & Anne Rowe
Prentice & Paul Sack
Lisa A. Salomon
Jackie & Paul Schaeffer
Mr. & Mrs. Robert Schiller
Monica Salusky & John K. Sutherland
Nat Simons & Laura Baxter-Simons
Alison Teal & Sam Brown
Tides Foundation,
on the recommendation of an
anonymous donor advised fund
Guy Tiphane
John & Pamela Walker
Bob & Sheila Weisblatt
Katharine & Daniel Whalen
Wayne P. Wilson
Charles & Nancy Wolfram
Evie & Gordon Wozniak
playwrights / $1,000–1,499
Anonymous (5)
Anonymous in memory of
Donna Roberts
Maria Adair
Roy & Judith Alper
Gene & Pat Angell
Mr. & Mrs. Jack Argabright
Fred & Elizabeth Balderston
Barbara M. Balison
Edith Barschi
Patricia Berger, Charles Drucker &
Laura Drucker
Patti Bittenbender
Linda Brandenburger
Broitman Basri Family
Lisa Buchanan
Marie Calderilla
James K. Campbell
Susan Chamberlin
Ken & Betsy Cheitlin
Dennis Cohen & Deborah Robison
Florence Cohen
Anita & Richard Davis
Harry & Susan Dennis
Maria & Peter Eberle
David & Monika Eisenbud
Cynthia Farner
Martin & Barbara Fishman
James Gala
Phyllis & Eugene Gottfried
Dick & Lois Halliday
Ann & Shawn Fischer Hecht
Frances Hellman
Eric, Justin & Gavin Hughes &
Priscilla Wanerus
Harold & Lyn Isbell
Eugena Kharitonov &
Jeremy Rosenblatt
Robert & Joan Kroll
Andrew M. Leavitt & Catherine C. Lewis
Ellen & Barry Levine
Tom Lockard
Judith & Kim Maxwell
Pamela Mead & Wolf Larson
Janet Miller
Steven Mills
John & Katrina Miottel
Bert Mittler
Scott Montgomery & Marc Rand
Margo Murray
Robert S. Newton
Richard & Lenore Niles
Judith & Richard Oken
John & Barbara Osterweis
Nick Peay
Chris & Karen Pohl
Gordon & Grete Ringenberg
John & Judy Roberts
Mitzi Sales & John Argue
Jeane & Roger Samuelsen
Liliane & Ed Schneider
Linda & Nathan Schultz
Barbara & Irving Schwartz
Seavey Family Fund
Sherry & David Smith
Edie Silber & Steve Bomse
Annie Stenzel
Tim Stevenson & David Lincoln King
Pate & Judy Thomson
Mr. & Mrs. Gary J. Torre
Chris Walker™
Len Weiler
Jonathan & Kiyo Weiss
Grace Williams & Bernice Strube
designers / $750–999
Anonymous (4)
Madeleine Babin
Sandra Barkdull & Richard Cleveland
Bonnie Bogue
Ellen Buchen
Katherine & George Couch
Andrew Daly & Jody Taylor
The Margot Fraser Fund of the Marin
Community Foundation
Nancy Hair & Barry Sacks
Robert & Helga Grabske
Geoffrey & Marin-Shawn Haynes
Albert H. Heller, Jr.
Dr. Christina Herdell
Jeffrey Himmel
Rosalind & Sung-Hou Kim
Pearl T. Kimura
Presley Lancaster & John Axton
John E. Matthews
Mr. Brian D. Parsons
Wil & Joyce Pinney
Chris & Karen Pohl
Jim & Ruth Reynolds
Wesley Richert
Mark Schoenrock
Ms. Joelle Steefel
Anne Stentzel
Gary & Carolyn Torre
George & Kathleen Wolf
Moe & Becky Wright
Margaret L. Wu
actors / $500–749
Anonymous (10) · Marcia & George
Argyris · Ross E. Armstrong · Ms. Nancy
Axelrod · Susan & Bill Bagnell · Peter
Ballinger & Leslie Gold · Barbara Jones
Bambara & Massey J. Bambara · Valerie
Barth & Peter Wiley · Kathy Barry &
Bob Burnett · Susan Berger & John
Gertz · Stephen Bicknese · Laura Blair
& Mitchell Zeemont · Caroline Booth ·
Rike Burmeister · John E. Caner &
George J. Beier · Frederick Cannon &
Jean Mitchell · Carolle Carter & Jess
Kitchens · Elmore & Elizabeth Chilton ·
Sue Cook & Mark Solle · Michael &
Sheila Cooper · George & Katherine
Couch · Constance Crawford · Brian
Cromwell · George Dales · Barbara &
Tim Daniels · Drs. Michael Darby & Toni
Martin · Pat & Steve Davis · Ilana Debare
& Sam Schuchat · Adrienne Edens · Sue
Elkind · Gini Erck & David Petta · Roger &
Jane Emanuel · Don Erickson · Marjorie
Farrell · Ms. Betty I. Feinstein · Brigitte
& Louis · Rick Fitzgerald & Marin
MacGregor · Kirk & Suanne Flatow · Tom
& Ann French · Leigh & Nancy Forsberg ·
Henry & Myrna Fourcade · Ms. Georgina
Franco · Mr. & Mrs. Stan Friedman ·
Dorothy & Chuck Garber · Joseph
Garrett · Gregory Giska · Judith & Alex
Glass · Deborah Golden · Nat & Marilyn
Goldhaber · Gail Gordon · Bonnie &
Sy Grossman · Hatti Hamlin · Alan
Harper & Carol Baird · Joe Hartzog ·
Paula Hawthorn & Michael Ubell ·
Richard L. Hay · Geoffery & MarinShawn Haynes · Elaine Hitchcock · Joe
Houska & Judy Gruber · Rebecca Hull ·
Lynda & Dr. J. Pearce Hurley · Harold
& Lyn Isbell · Jacqueline Jackson ·
Arthur & Kay James · Navdeep Jassal ·
Mr. & Mrs. Delbert L. Johnson · Ms.
Miriam John · Jean K. Jones · Richard
& Shirley Jones · Ken Katen · Pat &
Chris Kenber · Mary Kimball · Yvonne
Klitsner · Anthony Kosky · Angelos
Kottas & Phyra McCandless · Nancy J.
Lee · Allen Leggett · Bonnie Levinson
& Dr. Donald Kay · Tom Lockard · Jane
Long · Bertram Lubin · Mary A. Mackey ·
Charlotte & Adolph Martinelli · Avalon
Master · John E. Matthews · Robert
McDowell · Karen & John McGuinn ·
Ruth Medak, In Honor of Vivian and
Herman Medak · Suzanne Mellard &
Lon O’Neil · Don & Mara Melandry ·
Caryl & Peter Mezey · Carol Mimura &
Jeremy Thorner · Philip Moody · Ron
Nakayama · Helmut H. Kapczynski and
Colleen Neff · Mr. Terry Neil · Lane & Ed
Nemeth · Jim Newman · Claire Noonan
& Peter Landsberger · David & Robin
Owen · Gerane Wharton Park · Lewis
B. Perry, Jr. · Edward Pike · Charles
Pollack & Joanna Cooper · Susan
Poncelet · Chuck & Kati Quibell · Stanley
Rabinowitz · Katherine Randolph ·
Jens Rasmussen · Ms. Rose M. Ray ·
Authur Reingold & Gail Bolan · Jim &
Ruth Reynolds · Paul & Phyllis Robbins ·
Tom Roberts · Paul Rosenblum &
Beth Springer · Dr. Jirayr Roubinian ·
Dorothy & George Saxe · Teddy & Bruce
Schwab · Randee & Joseph Seiger ·
Theodore Shank · David Sherertz & Roz
Hardy · Anne Shortall · Steve & Susan
Shortell · Mr. William M. Siegel · Joel
Skidmore · Jerry & Dick Smallwood ·
Louis & Bonnie Spiesberger · Robert &
Naomi Stamper · Lynn M. & A. Justin
Sterling · Carl & Joan Strand · Rocky &
Gretchen Stone · Georgia P. Swanson ·
Tricia Swift · Clyde Taylor · Alison
Teeman & Michael Yovino-Young · Karen
Tiedemann & Geoff Piller · Mr. & Mrs.
Robert Van Nest · Dr. Jon Wack · Louise
& Larry Walker · Emily & Bob Warden ·
Buddy & Jody Warner · Gary Wayne
& Frances Dinkelspiel · Jonathan &
Kiyo Weiss · Dana A. Welch · Gregory
Wetzel · Mary Ann Wight · Paul & Nina
Winans · Fred Winslow · Moe & Becky
Wright · Mrs. Glea G. Wylie · Dr. & Mrs.
L.A. Zadeh · Sam & Joyce Zanze
We thank all of our donors for their support of
Berkeley Rep and appreciate their contributions
even if they are not listed here due to program
deadlines or space considerations.
michael leibert society
endowment funds
The following individuals have generously
provided for Berkeley Rep in their estate
plans:
Retaining the core values upon which this company was founded nearly 40 years ago requires the long-term
commitment of our supporters. The following acknowledges Berkeley Repertory Theatre’s active endowment
funds. We are grateful for the generous support that these individuals and institutions have provided in ensuring the long-term vitality of our artistic programming and helping to build the next generation of theatre talent
and audiences. As we approach our 40th season, look for more updates on our endowments.
Ken & Joni Avery
Nancy Axelrod
Carol B. Berg
Bruce Carlton & Richard G. McCall
Diane Cash
Stephen K. Cassidy
Andrew Daly & Jodi Taylor
Carol & John Field
Mary & Nicholas Graves
Fred Hartwick
Hoskins/Frame Family Trust
Sumner & Hermine Marshall
Rebecca Martinez & Peter Sloss
Suzanne & Charles McCulloch
Susie Medak & Greg Murphy
Amy Pearl Parodi
Margaret Phillips
Marjorie Randolph
Betty & Jack Schafer
Stephen & Cindy Snow
Dr. Douglas & Anne Stewart
Michael & Sue Steinberg
Phillip & Melody Trapp
Dorothy Walker
Karen & Henry Work
Named in honor of Founding Director Michael
W. Leibert, Society members have designated
Berkeley Rep in their estate plans. Planned gifts
sustain Berkeley Rep’s Endowment Fund unless
the donor specifies otherwise. The Endowment
Fund provides financial stability that enables
Berkeley Rep to maintain the highest standards of
artistic excellence, support new work and serve
the community with innovative education and
outreach programs.
For more information on becoming a member, visit our website at berkeleyrep.org or
contact Lynn Eve Komaromi, Director of
Development, Annual Fund, at 510.647.2903
or email [email protected].
the mosse
foundation
artistic
development
fund
bret c. harte
young directors
fund
Created with a grant from the Mosse
Foundation for the Arts and Education;
benefits artistic risk-taking and new play
development.
the dale
elliott fund
Created in honor of Dale
Elliott, a past Berkeley
Rep actor; benefits
artistic initiatives.
Created in honor of Bret C. Harte, a
passionate young theatre director
and Berkeley Rep employee; benefits the artistic administration/directing internship. The following acknowledges donors
whose contributions were recieved January–February
2007. Find out more at bretchartefund.org.
Elizabeth & Noel Ballecer · Thomas Donahue ·
Sandra Dunlop · General Equipment Maintenance
LLC · Patrick & Nicole Genzale · Edward & Joanne
Gold · Dennis & Juanita Harte · Nancy Kurpinsky ·
Leo Lynch & Donna Sloan · Peggy Magilen · Timothy
& Marilyn Masters · John McGinnis & Darlene
Gambonini-McGinnis · Yolanda Pazos · Ashwin Kaur
Saephan · Joan Webb · Paige Bahloul · Melissa
Bressette & Gregory Walker · Ricardo & Patricia
Chavez · Larry & Judy Clark · Jeffrey & Francesca
Clubs · Willie, Hillary & Ellen Coley · David B. Bruzzone Construction Co. · Sara & John Dehaven ·
Shelley & C. Peter Dutton · Benjamin & Kristie Forrest · Woody & Polly Gill · Sherri Koyama · Shelley
Ruhman & Gary Ledbetter · Candy & P. McCorkell ·
Natalia Raysberg · Kim & Michael Rega · John &
Helen Wedlock
To learn more about these funds or make a donation towards these funds,
please contact Sara Fousekis, Director of Development, Campaign
at (510) 647-2902 or email [email protected].
2006 – 07 / number 6 · the berkeley rep magazine · 29
about berkeley rep
Berkeley Repertory Theatre, now in its 39th season, is the recipient of the 1997 Tony
Award for Outstanding Regional Theatre. Founded in 1968 as the East Bay’s first
resident professional theatre, Berkeley Rep has established a national reputation for
the quality of its productions and the innovation of its programming. Berkeley Rep’s
bold choice of material and vivid style of production reflect a commitment to diversity,
excitement and quality. The company is especially well known for its fresh adaptations
of seldom-seen classics, as well as its presentation of important new dramatic voices.
Berkeley Rep has attracted internationally acclaimed theatre artists such as Moisés
Kaufman, Tony Kushner, Rita Moreno, Maurice Sendak, Anna Deavere Smith, Tadashi
Suzuki, George C. Wolfe and Mary Zimmerman, and has produced numerous world
premieres of plays by renowned playwrights.
what does it mean to be a not-for-profit theatre?
At the most fundamental level, it means that 100% of the dollars Berkeley Rep receives
are directed back into supporting the work. It also means that the Theatre is “owned”
by the community, governed by a board of trustees and exists to serve that community through its plays, educational programs and outreach initiatives. Roughly 55% of
Berkeley Rep’s costs are covered by ticket sales, while the remaining 45% must be
raised through contributions from individuals, corporations, foundations and grants
from government agencies. Berkeley Rep belongs to you, and needs your involvement.
Volunteer. Donate what time you can. Contribute what you can afford. Continue to
attend performances. Berkeley Rep is your theatre. Your participation and support are
needed to create an outstanding theatre experience for all audiences.
board of directors
president
vice president
treasurer
secretary
vp, 40th anniversary campaign
vp, annual fund
chair, trustees committee
president emeritus
Kenneth P. Avery
Becky Bleich
Stephen K. Cassidy
David Cox
Thalia Dorwick
William T. Espey
William Falik
John Field
Kerry L. Francis
Scott R. Haber
David Hoffman
Wayne Jordan
Carole S. Krumland
Nashormeh N. R. Lindo
Sarah McArthur
Rick Hoskins
Richard A. Rubin
Peter Pervere
Marjorie Randolph
Felicia Woytak
Pat Sakai
Dale Rogers Marshall
Roger A. Strauch
Sandra McCandless
Susie Medak
Helen Meyer
Dugan Moore
Patrick O’Dea
Laura Onopchenko
Mary Ann Peoples
Pat Rougeau
Jack Schafer
Stephen Snow
Jean Z. Strunsky
Tony Taccone
Phillip Trapp
Alexis Wong
past presidents
Helen C. Barber
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Robert M. Oliver
Edwin C. Shiver
Harlan M. Richter
Jean Knox
Robert W. Burt
Carole B. Berg
A. George Battle
Martin Zankel
founding director Michael W. Leibert, Producing Director, 1968–1983
affiliations
The director and choreographer are members of
the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented by United
Scenic Artists Local USA-829, IATSE.
30 · the berkeley rep magazine · 2006 – 07 / number 6
latecomers
Latecomers will be seated at the
discretion of the house manager.
fyi
visit our website!
theatre info
Check out Berkeley Rep’s website at
berkeleyrep.org. We’ve just redesigned
the site to make it even easier to buy
tickets and track down the information you need, including performance
times, box office information, School
of Theatre schedules, program articles
and more.
emergency exits
Please note the nearest exit. In an
emergency, walk—do not run—to the
nearest exit.
accessibility
Both theatres offer wheelchair seating and special services for those with
vision- or hearing-impairment. Infrared
listening devices are available at no
charge in both theatre lobbies. Audio
descriptions are available in the box office and require an advance reservation
of two business days.
mailing/e-mail list
To request season information or to
change your address, send your complete mailing address to Berkeley Repertory Theatre, 2025 Addison Street,
Berkeley, CA 94704; call 510.647.2949;
email [email protected]; or click
berkeleyrep.org/joinourlist. Patrons
who use Hotmail, Yahoo and other online mail accounts, please authorize the
berkeleyrep.org domain. Berkeley Rep
does not sell or rent its mailing list.
tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510.647.2949
click berkeleyrep.org anytime
Call toll free: 888.4BRTtix
Fax: 510.647.2975
Groups (15+) call 510.647.2918
Previews
$33
Tue 8pm / Wed 7pm
45
Thu 8pm
47
Thu/Sat matinees,* 2pm 47
Sun matinees, 2pm
49
Sun 7pm
49
Fri 8pm
55
Sat 8pm
61
Opening night 8pm
61
ticket exchange
Only subscribers may exchange
their tickets for the same production.
Exchanges must be made by 7pm the
day preceding the scheduled performance. Exchanges are made on a
seat-available basis.
under 30 discount
Half-price advance tickets for anyone under the age of 30 for all shows
except Sat 8pm and Sun 2pm. Proof of
age required. Some restrictions apply.
Limited availability.
student group weekday matinee
Tickets are just $10 each. Call the
Berkeley Rep School of Theatre at
510.647.2972.
senior/student rush tickets
Half off the ticket price for full-time
students and seniors 65+ with proper
ID. One ticket per ID, 30 minutes before show time. Subject to availability.
Cash only.
half-price “HotTix”
Limited half-price tickets for weeknight performances go on sale
at noon at the Berkeley Rep box
office. Cash only. Tue – Fri. Call
510.647.2949 for details.
“Like hearing a lecture by your favorite
professor while drinking beer in a
comfortable lounge chair.”— Village Voice
“Engaging and funny, Mike Daisey’s
monologues brim with subtle
messages.”—Time Out New York
FROM THE CREATOR OF 21 DOG
YEARS AND THE UGLY AMERICAN
MIKE DAISEY ON
BRECHT
BARNUM
HUBBARD
TESLA
GREAT MEN OF
GENIUS
created and performed by mike daisey
directed by jean-michele gregory
educators
Call 510.647.2972 for information about
$10 student matinee tickets, classroom visits and teaching artist residencies, teacher training workshops,
post-show discussions, teacher study
guides, backstage tours and more.
theatre store
Our store, located in the Roda lobby, is
open one hour before curtain, during
intermission and after the show.
*No Thursday matinees for Limited Engagement shows
special discount tickets
this summer at berkeley rep
considerations
please keep perfume to a minimum
Many patrons are sensitive to the use
of perfumes and other scents.
beepers / phones / recordings
Please make sure your pager, cell
phone or watch alarm will not beep.
Doctors may check pagers with the
house manager and give seat location
for messages. Use of recording equipment or taking of photographs in the
theatre is strictly prohibited.
please do not touch the set or props
You are welcome to take a closer look
at the set, but please don’t step onto
the stage. Some of the props can be
fragile, and are placed in exact positions for the actors.
no children under seven
Many Berkeley Rep productions are
unsuitable for children. Please inquire
before bringing children to the Theatre.
four genuises. four
performances—meet one
genius or meet them all!
june 6–july 1
1 genius
$30
2 geniuses
$50
super genius pass
3 for $75, 4th for FREE!
substantial discounts for
berkeley rep subscribers
and those under 30
call 510.647.2949
click berkeleyrep.org
2006 – 07 / number 6 · the berkeley rep magazine · 31
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