The Great Tragedies:Mike Daisey Takes on Shakespeare

2014 SEASON 40 TH ANNIVERSARY

Created and Performed by Mike DaiseyDirected by Jean-Michele Gregory

BRUNS AMPHITHEATER, ORINDA

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At the end of our two-hour talk, I was breathless. What I thought was going to be a “get to know each other” conversation turned into a ride through Mike Daisey’s brilliant mind. I felt myself slightly dizzied by our conversation—indeed, I hadn’t thought about Shakespeare like that in a long time: what he means to the world today, and why he is necessary to us as a society and as individuals as we grapple with affairs of state, of nation, of community, of family, of ourselves.

Although he is talking to us, he is really in conversation with us. He was trained as an actor and knows that the audience is always in conversation with the performer, even if the audience isn’t “talking.” That’s probably why he doesn’t memorize and report. He reads the room, has ideas in his head, and a great topic at stake—Shakespeare’s tragedies. And with that, he tells a story.

Mike provokes. He challenges. He questions. He entertains. He takes his audiences on a thrilling ride. Enjoy.

JONATHAN MOSCONE Artistic Director

Spending time with Mike Daisey is like being on the most invigorating ride of your life. When I asked him nearly a year ago if he’d be interested in grappling with Shakespeare in his inimitable style as mono-logist, author, actor, and raconteur, he was beyond excited. And I use the word “beyond” to mean this: right off the bat, he started wrestling with Shake-speare, right there on the phone with me. He thinks by talking, he creates by talking, and he discovers meaning by talking.

FROM THE

ARTISTIC DIRECTOR.

Mike doesn’t write out his material for his

performances. He takes notes, he thinks it through,

and then gets on the ride and brings us with him.

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C A L I F O R N I A S H A K E S P E A R E T H E A T E R

PRESENTS

The Great Tragedies:Mike Daisey Takes on Shakespeare

Created and Performed by Mike Daisey Directed by Jean-Michele Gregory

Mike_Daisey_cover+color.indd 2 8/27/14 2:51 PM

Mike Daisey wil l be tack l ing the tragedies in order of age of the tragic hero:

Romeo & Jul iet : October 2 , 9Hamlet : October 3 , 10Macbeth: October 4, 11King Lear : October 5, 12

encoreartsprograms.com 5

OCTOBER 2–12, 2014BRUNS MEMORIAL AMPHITHEATER, ORINDA

PROPS DESIGNER SEREN HELDAY

LIGHTING DESIGNER KRISTA SMITH

SOUND ENGINEER CHRISTOPHER LOSSIUS

STAGE MANAGER DEIRDRE ROSE HOLLAND

PRODUCTION PARTNERS

SEASON UNDERWRITERS

EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON,

PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA

MIKE DAISEY IS EXCLUSIVELY REPRESENTED BY "OPUS 3 ARTISTS."

By Keith Spencer

What lines can we draw between Mike Daisey and Will Shakespeare? Four hundred years, two nationalities, one vast ocean, and iambic pentameter—a meter Mr. Daisey isn’t known for speaking in, though he probably could—sep-arate these two gentlemen of the theater. Shakespeare is considered the father of modern English-language storytell-ing; Daisey has been called the modern-day Mark Twain. Wherefore do we team them up?

When we write about Shakespeare as being the father of modern English-language storytelling, it’s a hand-wavey fl ourish of a statement, though there is a kernel of truth within. Shakespeare stole his plot ideas from previous playwrights, and even borrowed from himself. (The word “plagiarism” didn’t exist until after Shakespeare’s time.) In that sense, he was more like a DJ, remixing stories and archetypes. Still, even if you’ve never read or seen a single Shakespeare play, his ubiquitous infl uence trickles through culture, slang, language, through stories and characters adapted to other forms. Numerous English-language phrases, many of which we now take for granted, originat-ed with his work. Have you ever broken the ice at a party? That’s Shakespeare (The Taming of the Shrew). Been eaten out of house and home? Again, Shakespeare (Henry IV).

BY ANY OTHER

ADaiseyName MIKE DAISEY’S THEATRICAL DECONSTRUCTIONS

Been sick at heart, or sent packing, or been in a pickle? Yup—those are from Hamlet, Henry IV, and The Tempest. I’d go on, but brevity is the soul of wit. (Hamlet, act II scene II).

Similarly, popular fi lm and literature are infected with the plot and character clichés innate to Shakespeare. The sitcom plot standby of “mistaken identity” (think Parent Trap), or the ship-wreck narrative (think Lost or Castaway), or the revenge story (think every Tarantino fi lm), or the Iago-esque, unremorseful, cliché-evil bad guy (any superhero movie ever) all owe more to Shakespeare than we realize.

Spotlight in the other corner: Mike Daisey. Head-to-head, taking on the Bard, whose ghost may walk on stage as in the opening scene of Hamlet.

BERNARDOWho’s there?

FRANCISCONay, answer me: stand, and unfold yourself.

“Mike v. Will,” as we’ve been advertising this show. Indeed, the head-to-head, protagonist/antagonist plot line runs through a lot of Shakespeare’s plays, too: there’s Montague v. Capulet,

6 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

MOSCONE PERMANENT ENDOWMENT LEAD DONORSEllen & Joffa DaleSharon & Barclay Simpson

LEGACY CIRCLE CHARTER MEMBERS Mary Jo & Bruce BysonPhil & Chris CherninDebbie ChinnEllen & Joffa DalePeter FisherDouglas HillXanthe & Jim HoppDavid Ray JohnsonMark JordanDebby & Bruce LiebermanTina MorgadoRichard NorrisShelly OsborneJames & Nita RoetheLaura & Robert SehrSharon & Barclay SimpsonJean SimpsonValerie SopherKate Stechschulte & David Cost, in memory of Margaret CostM.J. Stephens & Bernard TagholmJanis TurnerCarol Jackson UpshawBuddy & Jodi WarnerArthur WeilJay YamadaMonique Young

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INTERESTED IN JOINING THE CIRCLE? CONTACT LEGACY@CALSHAKES.ORG OR CALL 510.899.4922 FOR MORE INFORMATION.

As we near the end of our 40th Anniver-sary season, we look to our future and to honor those who have made Cal Shakes part of their legacy. The Cal Shakes Legacy Circle recognizes those individ-uals who have included the company in their wills or estate plans—helping to ensure that our future shines as brightly as our past.

HAVE YOU CONSIDERED PROVIDING FOR CAL SHAKES IN YOUR WILL?

Claudius v. Hamlet, and Antony v. Brutus. What all these couples have in common is that they defy one-dimensional oppo-sition—they’re more than mere magnetic poles. The Montagues and the Capulets are actually very similar in lifestyle and values. Claudius isn’t as evil as Hamlet thinks—af-ter all, he catches him praying in a moment of remorse. Brutus has weird ideas about democracy, sure, but—like Robespierre—he may have been swept up in forces much greater than himself.

Enter Ghost

MARCELLUSPeace, break thee off; look, where it comes again!

When I tell people about this show, I’m often met with confused reactions. Is it a one-man Shakespeare play? What’s a monologist? Do they study mono, the disease? Indeed, Mike Daisey’s monologues defy easy descrip-tion—he is constantly moving in and out of genres, and defi es being put into a box. In the tiny overlap of Venn circles “comedians,” “critics,” “journalists,” and “improv dudes,” there sits Mr. Daisey, waving up at us from the page.

Part of Mike Daisey’s wily indefi nability lies in his prolifi c nature. He has, since 1997—he’s still quite young, mind you—produced over 20 monologues. In 2013, his perfor-mance series All the Faces of the Moon went up in New York. A 29-part, 44-hour theatrical epic with an artist joining him onstage to live-illustrate each monologue, it was the longest continuous show in the his-tory of theater. American Utopias, performed earlier this year at Yerba Buena Center for the Arts in San Francisco, drew on Daisey’s experience at three different, distinctly American pseudo-utopias: Burning Man, Occupy Wall Street, and Disneyland.

In some ways, Daisey is an apt choice to take on Shakespeare. Both Daisey and Shakespeare are fascinated by theatrics; Shakespeare loved using the “play within a play” to illuminate, mock, and critique the state of theater. Daisey rankled theaterati with his one-man critique of the industry, How Theater Failed America, a living, breathing op-ed. Both fi gures are political; Shakespeare, whom most scholars believe was a closet Catholic, seems to have coded his critiques of state and religion in his plays. Daisey’s show The Agony and the Ecstasy of Steve Jobs, produced over 150 times in 6 languages, was a damning critique of gadget consumption, labor practices, and corporate hypocrisy.

Of all arts, theater is perhaps the most interpretative. Indeed, I’ve always mar-veled at how lonesome plays look on the page, without actors, directors, designers, audiences… the gap from script to show is vast. And Shakespeare’s playwriting was minimalist (by today’s standards) in terms of stage notes and direction. They’re basically tabulas rasa for creative expres-sion. Hence, through the years, Cal Shakes has brought hundreds of people together to interpret Shakespeare. Why not bring in Daisey to critique him, instead? To unravel the mystery and magic of the theater, and consider how we’ve been swept up, collec-tively, brought under the Bard’s spell—of-ten without realizing it—and lived much of our lives imagining and embodying these Shakespearean clichés?

It’s fair to say, though, that Shakespeare needs an interpreter. I mean this in the sense of those who make his plays (like Cal Shakes), and also those who analyze them—whether academics or performer-critic hybrids like Mr. Daisey. In college I had an English professor who burst into class one day and said, “if we could just under-stand the relationship between this—” he pointed at his head— “and this—” and he cast his hands around the room and toward the window— “we wouldn’t need to study English.”

It’s the same with playwriting. If we could look at the text of Hamlet and just envision every possible pronunciation, every staging, every lighting and costume decision, well, then we wouldn’t need productions—we could “play the play” in our heads, and that would be enough. And if we really understood the relationship between the theater and the mind, we wouldn’t need someone like Mike Daisey to help us fi gure it out.

MARCELLUSIt is offended.

BERNARDOSee, it stalks away!

HORATIOStay! speak, speak! I charge thee, speak!

Exit Ghost.

About the author: Keith Spencer is the publications manager for California Shake-speare Theater. His writing on culture and politics has appeared in Full-Stop, Dissent, and PopFront. He has listened to seven of the 29 episodes of the Daisey monologue All the Faces of the Moon.

8 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

WHO’S WHO Since his first monologue in 1997, Daisey has created countless others, including the groundbreaking The Last Cargo Cult, the incendiary How Theater Failed America, the Disney/Burning Man/Occupy mashup American Utopias, the scathing Fucking Fucking Fucking Ayn Rand, the twenty-four-hour feat All the Hours in the Day, the international sensation 21 Dog Years, and many more.

Last fall he performed the critically-acclaimed monologue All the Faces of the Moon as a 29-night live theatrical novel at the Public Theater in New York. At over forty hours in duration it is the longest sustained theatrical narrative work in the history of theater. You can listen to this entire show and many of his other stories on his free podcast, All Stories Are Fiction, available through iTunes, Soundcloud, and at mikedaisey.com.

He has performed across five continents, from Off-Broadway at the Public Theater to remote islands in the South Pacific, from the Sydney Opera House to abandoned theaters in post-communist Tajikistan. He’s been a guest on Real Time with Bill Maher, the Late Show with David Letterman, a longtime host and storyteller with The Moth, as well as a commentator and contributor to The New York Times, The Guardian, Harper’s Magazine, Newsweek, WIRED, Vanity Fair, Slate, Salon, NPR and the BBC. In a brief, meteoric career with This American Life, his two shows are among the most listened to and downloaded episodes of that program’s history.

As a playwright, his controversial work The Agony and the Ecstasy of Steve Jobs was downloaded over a hundred thousand times the first week it was made available. It has seen more than 150 productions around the world and been translated into six languages. It has been adapted into an opera, restaged with shadow puppets, performed by ensembles of high school students, and produced all over from France to Kazakhstan. The first Chinese production opened last year in Beijing, and is currently touring to Hong Kong, Shanghai, and Shenzhen.

He is currently at work on his second book, Here at the End of Empire, which will be published next year by Simon and Schuster. He stars in the Lawrence Krauser feature film Horrible Child, and the film Layover, for which he wrote the screenplay, was shown at the Cannes Film Festival. He has been nominated for the Outer Critics Circle Award, two Drama League Awards, and is the recipient of the Bay Area Theatre Critics Circle Award, six Seattle Times Footlight Awards, the Sloan Foundation’s Galileo Prize, and a MacDowell Fellowship.

DEIRDRE ROSE HOLLAND*(Stage Manager)Ms. Holland is thrilled to be back for a second season at Cal Shakes, having previously worked on Lady Windermere’s Fan. Her regional theater credits include: The Disappearing Man (TheatreWorks); Felix Starro (American Conservatory Theater); The Big Meal, Game On, The Tragical History of Doctor Faustus, Next to Normal, A Christmas Carol (2011 and 2012), and Spring Awakening (San Jose Repertory

Theatre); the World Premiere of Bonnie and Clyde and The Laramie Project: Ten Years Later (La Jolla Playhouse); the Shakespeare Festival (2011), How the Grinch Stole Christmas!, Brighton Beach Memoirs/Broadway Bound, Lost in Yonkers, and The Mystery of Irma Vep (Old Globe Theatre). Ms. Holland holds an MFA in Stage Management from the University of California, San Diego.

SEREN HELDAY (Props Designer)Seren Helday is Cal Shakes’ Prop Master and has worked in the department since 2009. She has also provided props for many Bay Area theaters including Marin Theatre Company, A.C.T., Center REP, New Conservatory Theatre Center, and SF Playhouse.

KRISTA SMITH (Lighting Designer)Ms. Smith is pleased to have just completed her fifth season with California Shakespeare Theater, having worked on over a dozen productions as the Assistant Lighting Designer. Recent design work includes the World Premiere of Laura Gunderson's Fire Work at TheatreFIRST, The Marriage of Figaro at Cinnabar Theater, and productions from American Conservatory Theater’s MFA program and Young Conservatory. Ms. Smith’s designs have also been seen at Aurora Theatre, Marin Theatre Company, Custom Made Theatre, SF Playhouse, Exit Theatre, Noh Space, Brava Theater, Jewish Theatre San Francisco, Fort Mason Southside Theater, and Boxcar Theatre. Ms. Smith received her BA in Drama from San Francisco State University.

CAL SHAKES PROFILES

JONATHAN MOSCONE(Artistic Director) Jonathan Moscone is in his 15th season as artistic director of California Shakespeare Theater, where he most directed Shaw's Pygmalion and Richard Montoya’s American

Night: The Ballad of Juan José. His other credits include Tribes at Berkeley Rep, and the World Premiere of Ghost Light, which he co-created and developed with playwright Tony Taccone for Oregon Shakespeare Festival and Berkeley Rep. In addition, he directed Bruce Norris’ Clybourne Park for American Conservatory Theater (where he is an adjunct professor). For Cal Shakes, Jonathan has directed the World Premiere of John Steinbeck's The Pastures of Heaven by Octavio Solis, The Life and Adventures of Nicholas Nickleby, Candida, Twelfth Night, Happy Days, Much Ado About Nothing, The Tempest, and The Seagull. He is the first recipient of the Zelda Fichandler Award, given by the Stage Directors and Choreographers Foundation for “transforming the American theatre through his unique and creative work.” His regional credits include Intersection for the Arts, the Huntington Theatre,

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

JEAN-MICHELE GREGORY (Director) Jean-Michele Gregory works as a director, editor, and dramaturg, focusing on extemporaneous theatrical works that live in the moment they are told. Working primarily

with solo artists, for seventeen years she has been Mike Daisey’s chief co-conspirator, staging his monologues at venues across the globe including the Public Theater, the Sydney Opera House, Berkeley Repertory Theatre, the Spoleto Festival, T:BA Festival, Woolly Mammoth Theatre, Under the Radar Festival, and many more. Notable works with Daisey include The Agony and the Ecstasy of Steve Jobs, How Theater Failed America, Great Men of Genius, The Last Cargo Cult, American Utopias, and All the Faces of the Moon, a 29-part epic story told over one lunar cycle in collaboration with painter Larissa Tokmakova as part of the Public Theater’s 2013 season.

Other notable collaborators include New York storyteller Martin Dockery, whose shows she has directed in New York and San Francisco (Wanderlust, The Surprise); author and performer Suzanne Morrison, with productions in London, New York, Seattle, Atlanta, and Maui (Yoga Bitch, Optimism); and most recently, Heather Marlowe’s The Haze, which ran at the A.C.T. Costume Shop this past September.

Her productions have received the Bay Area Critics Circle Award (Great Men of Genius), nominations from the Drama League and Outer Critics Circle (If You See Something Say Something), and six Seattle Times Footlight Awards (21 Dog Years, The Ugly American, Monopoly!, The Last Cargo Cult, The Agony and the Ecstasy of Steve Jobs, and Fucking Fucking Fucking Ayn Rand).

She has taught the art of first person narrative at Colby College and told her own stories onstage with The Moth, The Liar Show, Women of Letters, and Speakeasy. Her writing has appeared in Brevity and in profiles for the New York Sun and Barnard magazine. She is currently at work on a memoir about her family’s exodus from Poland and what it means to forgive.

MIKE DAISEY (Creator, Performer) Hailed as “the master storyteller” and “one of the finest solo performers of his generation” by the New York Times, Daisey is the preeminent monologist in the American theater today.

He has been compared to a modern-day Mark Twain and a latter-day Orson Welles for his provocative monologues that weave together autobiography, gonzo journalism, and unscripted performance to tell hilarious and heartbreaking stories that cut to the bone.

Alley Theatre, Milwaukee Repertory Theater, Goodspeed Musicals, Dallas Theater Center, San Jose Repertory Theatre, Intiman Theatre, and Magic Theatre, among others. Jonathan has serves on panels for the National Endowment for the Arts and the Massachusetts Arts Council. He serves as a board member of Theatre Communications Group and Yerba Buena Center for the Arts, and he is a current participant in the National Arts Strategies' Chief Executive Program.

SUSIE FALK (Managing Director)Ms. Falk came to Cal Shakes as marketing director in 2004, and was appointed managing director in 2009, overseeing the company’s administration and operations. She

previously worked at Berkeley Rep, American Conservatory Theater, Seattle Rep, and Berkshire Theatre Festival. She served for seven years on the board (four as vice president) of Theatre Bay Area, the local service organization for theater companies and theater workers. She is a graduate of Vassar College and completed course work in organizational psychology at JFK University. She lives in Berkeley with her husband, lighting designer York Kennedy, and their daughter Pippa.

REBECCA NOVICK(Director of Artistic Engagement) Ms. Novick was the founder of Crowded Fire Theater Company and served as its artistic director for 10 years, growing the company from an all-volunteer group to one of San Francisco’s most respected small theaters. She has developed and directed new plays for many theaters in the Bay Area and elsewhere. Her directing work has been recognized with a Goldie Award for outstanding local artist, among other awards. Ms. Novick has held a number of arts management and consulting positions including serving as interim arts program officer for the San Francisco Foundation, project coordinator for the Wallace Foundation Cultural Participation Initiative in the Bay Area, and director of development and strategic initiatives for Theatre Bay Area. She regularly writes and speaks on issues relating to the arts sector; recent publications include contributions to 20under40, the GIA Reader, Counting New Beans, and Theatre Bay Area Magazine. Ms. Novick has a BA from the University of Michigan in drama and anthropology.

CLIVE WORSLEY (Director of Artistic Learning)Clive Worsley assumed the reins as Director of the Cal Shakes Artistic Learning Department in August of 2013, and has been one of Cal Shakes’ premiere Teaching Artists since 2002. He was instrumental in developing some of the first integrated arts public school residency programs, and is the moderator of Cal Shakes’ popular Student Discovery Matinee program. Clive is familiar to all age groups at our popular Summer Shakespeare Conservatories as both a Master Class Instructor and Director. From 2008–2013, Mr. Worsley also served as Artistic Director of Town Hall Theatre in

encoreartsprograms.com 9

Lafayette, where he brought about both artistic and fiscal success. As an award-winning actor he has appeared on many Bay Area stages including Cal Shakes, Berkeley Rep, TheatreWorks, Marin Theatre Company, Magic Theatre, Center REP, Shotgun, and others. Mr. Worsley brings to the company a holistic philosophy and longstanding passion for arts education. He believes strongly in the power of theater to educate and enrich people regardless of age or background and looks forward to building upon the great success of the Artistic Learning programs.

PHILIPPA KELLY (Resident Dramaturg)Dr. Kelly’s work has been supported by many foundations and organizations, including the Fulbright, Rockefeller, and Walter and Eliza Hall Foundations. She publishes widely, from books on Shakespeare (her latest being The King and I, Arden Press, 2010, a meditation on Australian identity through the lens of King Lear), to papers on dramaturgy and topics of cultural engagement (her most recent discussion of dramaturgy can be found in the Cambridge Journal of Postcolonial Inquiry, Spring 2014). Besides her work for Cal Shakes, Dr. Kelly has also served as production dramaturg for the Oregon Shakespeare Festival and Word for Word Theater Company. For the 2013–2014 academic year she has been practicing and teaching dramaturgy at the University of California, Berkeley. She also teaches regularly for the Osher Lifelong Learning Institute in Berkeley. For most of the summer she can be found here at Cal Shakes, where she is a regular pre-show Grove Talk speaker. She is married to composer Paul Dresher and mother to Cole.

PRODUCERS

ELLEN & JOFFA DALE(Executive Producer)Long-time subscribers and donors, Ellen and Joffa Dale live in Orinda. Ellen is serving her second stint on Cal Shakes’ Board of Directors; she was also on the board in 1991 when the Bruns Amphitheater first opened. While Ellen and Joffa thoroughly enjoy picnics and performances at the Bruns, the primary focus of their donations is Artistic Learning. They believe that the lives of children reached by Cal Shakes’ education programs are enormously enriched and that these children are the artists and audiences of the future. Ellen and Joffa also helped establish the Moscone Permanent Endowment and are charter members of the Cal Shakes Legacy Circle.

MAUREEN & CALVIN KNIGHT(Executive Producer)Maureen & Cal Knight are recent transplants to the Bay Area from Seattle. Cal came to join the team at John Muir Health, where they met former Cal Shakes Board Member David Goldsmith and his wife Diane. The Goldsmiths introduced the Knights to Cal Shakes and it was love at first play. Maureen’s experience on the Board of the Seattle Rep qualified her for a seat on the Board at Cal Shakes, where she is about to start her second term. Both Cal and Maureen believe strongly that the arts make for vibrant, strong communities, and are committed to help ensure that Cal Shakes’

artistic and education programs are accessible to everyone.

OUR CORPORATE PARTNERS

BART (Production Partner) The Bay Area Rapid Transit District (BART) is a 104-mile, automated rapid transit system serving over three million people. Forty-four BART stations are located in Alameda, Contra Costa, San Francisco, and San Mateo counties, and serve to truly connect the Bay Area. BART’s mission is to provide a safe, reliable, economical, and energy-efficient means of transportation.

With gas prices climbing ever higher and everyone looking to green their commute, BART expects a lot more people will be looking to BART, as riders get the equivalent of 250 miles to the gallon. Don’t forget that you can BART to Bard—Cal Shakes offers a free BART shuttle from the Orinda BART station. BART... and you’re there!

SAN FRANCISCO MAGAZINE(Production Partner)San Francisco magazine is proud to celebrate 40 years of award-winning coverage of the Bay Area lifestyle—from food, fashion, and culture to politics, trends, and trendsetters. Through its history, San Francisco has been honored with more than 50 awards for editorial and design excellence. In 2010, it won the most coveted award in the magazine industry, the General Excellence award given by the American Society of Magazine Editors—and has been nominated again this year. This recognition substantiates San Francisco’s passion and commitment to publish the Bay Area’s best magazine—as well as one of the nation’s best.

AFFILIATIONS

This Theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The scenic, costume, and lighting designers are represented by United Scenic Artists, Local USA-829 of the IATSE. California Shakespeare Theater is an Equal Opportunity Employer.

THANKS TO OUR DONORSINDIVIDUALSThese contributors made gifts between August 1, 2013 and July 31, 2014. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at the Benefactor level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Renee Gholikely at 510.899.4834 or rgholikely@calshakes.org so that we may correct our records.

$25,000 and aboveAnonymous in memory of

Juniper Marley AllenEllen & Joffa Dale◊Erin Jaeb & Kevin Kelly◊Helen & John Meyer◊Nicola Miner & Robert Mailer Anderson◊Michael & Virginia Ross◊Sharon & Barclay Simpson◊The Estate of Grace WilliamsJay Yamada◊

$10,000–$24,999Anonymous (3)James N. Cost Foundation◊Henry & Vera Eberle◊Nancy & Jerry Falk◊Harvey & Gail Glasser◊Maureen & Calvin Knight◊Craig & Kathy Moody◊Nancy Olson◊Peter & Delanie Read◊Arthur & Toni Rembe RockMiriam & Stanley SchiffmanWilliam & Nathalie SchmickerJean SimpsonFrank & Carey Starn*◊Buddy & Jodi Warner◊George & Kathleen Wolf

$5,000-$9,999Anonymous (3)Simon BakerValerie Barth & Peter Wiley*Michael & Phyllis Cedars◊Phil & Chris Chernin◊Josh & Janet Cohen◊Mary Curran & John QuigleyJoe Di Prisco & Patti James◊Bob Epstein & Amy Roth◊Marilyn FreemanRena & Spencer FulweilerDavid & Diane Goldsmith◊Dr. & Mrs. Jeffrey Hays◊Ken HitzMark HorowitzBarbara E. Jones in memory of

William E. JonesNancy Kaible & David Anderson◊John Kemp & Mary BrutocaoDaisy & Duke KiehnAshley & Antonio LucioRichard Norris & David Madsen◊Janet & Norman Pease◊ in honor of Patti

James, Dana Taylor, and Midge Zischke

Ms. Janee Pennington-Watson & Mr. Colin Watson

Noralee & Tom RockwellJim & Nita Roethe◊Michele & John RuskinBarbara Sahm & Steven Winkel◊ in

memory of Gene AngellMonica Salusky & John Sutherland in

memory of Riley GoodnessYvonne & Angelo SangiacomoSondra & Milton Schlesinger◊Alan Schnur & Julie Landres

Debbie Sedberry & Jeff KlingmanJulie SimpsonCharles & Heidi TriayDavid & Maria Waitrovich

$2,500-$4,999AnonymousAnn & Clifford AdamsAnn AppertMr. & Mrs. Richard BerteroJeff BharkhdaNina & David BondDarryl Carbonaro & Jonathan Moscone◊Wai & Glenda ChangRon & Gayle ConwayJan Deming & Jeff GoodbyDonald Engle & Karen BeerninkAndrew Ferguson & Kay WuStanlee GattiPatrick W. Golden & Susan OverhauserArdice Hartry & Paul CoveyRandy & Bev HawksCraig & Margaret IsaacsJean & Jack KnoxLisa & Scott KovalikGina & David LarueBill & Carol LeimbachFred Levin & Nancy Livingston◊, The

Shenson FoundationDebby & Bruce Lieberman◊ in honor of

Sharon & Barc SimpsonWalter H. Moos & Susan M. Miller◊Shelly Osborne & Steve TirrellCindy Padnos & Jim RedmondMary PrchalPaul A. Renard & John A. BlyttPatti & Rusty RueffTiffany Schauer in honor of Jonathan

MosconeJudy & John SearsLaura & Robert Sehr◊Mary Jo & Arthur ShartsisMaureen Shea & Allen ErgoM.J. Stephens & Bernard TagholmVirginia & Thomas SteuberChristine & Curtis SwansonBarbara & Rich ThompsonCarol Jackson Upshaw◊ in honor of

Jonathan MosconeBeverly & Loring WyllieMichael H. Zischke & Nadin Sponamore

$1,000-$2,499Anonymous (3)Frank & Loren AcuñaClaire & Kendall AllphinPat AngellMelissa Allen & Elisabeth AndreasonRobin AzevedoEugene & Neil BarthMegan Barton & Brian Huse in honor of

Sharon & Barclay SimpsonStephanie & David Beach in honor of

Amanda Starr MercerLaura & Paul BennettL. Karin & Bob BenningJudith ButlerPamela & Christopher Cain

Joe & Nicole CarberrySteven & Karin ChaseDebbie Chinn in honor of the Staff of the

Carmel Bach Festival, Susie Falk, and Megan Barton

Michael & Sandra ClelandFrank CliffordAlice Collins & Len WeilerTony Cone & Wendy RaderCraig Congdon*Debra CrowLina Jane Howard-Cygan & Herbert

CyganLois De DomenicoPam & Wayne DewaldEllen Dietschy & Alan Cunningham in

honor of Philippa KellyMargaret DotyLinda Drucker & Larry Prozan in honor of

Maureen & Cal KnightBarbara Duff in memory of George DuffSusie Falk & York KennedyMimi & Jeff FelsonShelley & Elliott FinemanKevin FitzgeraldSally & Michael FitzhughDale & Jerry FlemingJessica & James FlemingVincent Fogle & Emily SparksKathleen & Karl GeierWilliam & Vanessa GettyCarol & Richard GilpinJudith & Alexander GlassRobert J. GleesonWerner Goertz & Elizabeth HarveyPamela & John GoodeJanie & Jeff GreenCharles & Katherine GreenbergGarrett Gruener & Amy SlaterTish & Steve HarwoodRemy HathawayJoyce Hawkins & John W. SweitzerChris & Marcia HendricksPaul Hennessey & Susan Dague*Elizabeth & Thomas G. HenryJeanne Herbert◊Bonnie & Tom HermanXanthe & James HoppMalcolm Jones & Karen RocheTimothy Kahn & Anne AdamsElizabeth KarplusBruce Kerns & Candis CousinsSheryl & Anthony KleinKim & Max KrummelJennifer Kuenster & George MiersJerry KurtzDr. Todd & Pamela LaneAdair & William LangstonEileen & Richard LoveElizabeth LoweNatalie Lucchese in memory of Sam

LuccheseRobert LynchEugene McCabeElaine & John McClinticKimberly & Jerry MedlinJune & Andy MonachLinda & Chris Moscone

Patricia & David MunroLizzie & John MurrayLee Neely & Chelle ClementsCarol & Richard Nitz*Deborah O’Grady & John AdamsCandace & Dick OlsenEleanor ParkerCarol & Mark PenskarDr. & Mrs. Irving PikePauline Proffett & Matthew FabelaRachel RendelVelma & Hugh RichmondMaria & Danny RodenLesah & Jeffrey RossClaire RothRob & Eileen Ruby Philanthropic Fund of

the Jewish Community Foundation of the East Bay

Patricia & Glenn RudebuschBarbara & Jerry SchaufflerMartha G. SchimborJo Schuman SilverCathleen Sheehan & Kenneth SumnerJennifer & Will SousaeGail & Rick StephensSteven Sterns & Barry KlezmerSue & Terry StifflerPaul & Susan SugarmanMr. & Mrs. Richard ThieriotNancy ThomasDrs. Oldrich and Silva VasicekJennifer & Perry WallersteinBeth Ann & Michael Ward in honor of

Sharon & Barclay SimpsonAnne & Paul WattisPrentiss & Janice WillsonMuriel Fitzgerald WilsonDrs. Bonnie Zell & Manuel TorresMidge & Peter Zischke

$750–$999AnonymousWilliam AndersonCindy & Robert BrittainJacqueline Carson & Alan Cox◊Lori & Gary DurbinSharon & Leif EricksonGita & Louis C. FisherNancy FrancisLaura GorjanceDan Henkle & Steve Kawa◊Michael Huston & Marcia ChoMary Anna & Martin H. Jansen, M.D.Eleanor & Richard JohnsBill & Joey JudgeArline Klatte & Jon EnnisMichael & Samantha LeoJoy Lienau-ArmstrongConnie & John LinnemanRandall & Rebecca LittenekerKheay Loke & Martha McGradyEileen & Peter MichaelRonald MorrisonNancy & Gene ParkerMark & Claire RobertsJirayr RoubinianDiana Sanson & Ben Compton in honor of

Jean Simpson

10 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

Joanne & Robert Schultz in honor of the Bay Area Ghostbusters

Heidi Shale & Earl CohenJames Shankland & Leslie Landau* in honor of

the Queen’s OwnDavid Shapiro, M.D. & Sharon WheatleyJeff & Gretchen ShopoffBarbara SklarRobert St. John & M. Melanie SearleAnne Marie & Tom TaylorJeff WagnerMeredith & Jeffrey Watts

$500-$749Anonymous (5) • Kay & David Aaker • Keren & Robert Abra • Beth & Phil Acomb • Stephanie & N. Thomas Ahlberg • Ann & Russ Albano • Jose & Carol Alonso • Mary & Leland Anderson* • Barbara Aumer-Vail & Steve Vail • Susan M. Avila & Stephen Gong • Elizabeth Balderston • Joyce & Charles Batts • Barbara & Walter Bell • Barbara Beno & Peter Crabtree • Sara Benson • Paula Blizzard & David Brown • Nancy & Roger Boas • Liz & Richard Bordow in honor of Dr. Michael Cedars • Jean & John Brennan • Bronwyn & Kevin Brunner • Doree & Andrew Burstein • Erin Bydalek & Patrick Bengtsson • Joan Byrens • Jo Alice & Wayne Canterbury • Katherine & Henry Chesbrough • Matt Ching • Marty Collins • Jane & Thomas Coulter • Chris & Lynn Crook • Jill & Chuck Crovitz • Theresa Cullen • Diana & Ralph Davisson • Maria Dichov • Frank & Margaret Dietrich • Eric Dittmar & Gayle Tupper • Corinne & Michael Doyle • Karin Eames • Nancy & Phil Estes • Lynn & Bill Evans • Mary & Benedict Feinberg • Claudia Fenelon & Mark Schoenrock • Scott & Joan Fife • Peter Fisher • Kerry Francis & John Jimerson • Maribel & Jack Fraser* • Doris Fukawa & Marjan Pevec • Charla Gabert & David Frane • Gopnik & Lewinski Family • Matthew Goudeau◊ • Kathleen & David Graeven • Kristi & Arthur Haigh • George Haley & Theresa Thomas • Harriet Hamlin & James Finefrock • Sonny & Bruce Hanson • William Hathaway • Phil Hunsucker & Kristi Helmecke • Lisa & Michael Holmes • Ben & Sarah Holzemer • Ellen Brody Hughes • Leslie & George Hume • Ken Johnson • Karin & Patrick Johnston • Leslie & Murray Kalish • Martin L. Kaufman • Abby Kersh • Mr. Marshall Kido • Thomas Koegel & Anne LaFollette • Tony & Kathy Laglia • Joseph Lee • Susan & Donald Lewis • Kate & Thomas F. Loughran • Jean & Lindsay MacDermid • Mary & Howard Matis • Marsha Maytum & William Leddy • Yvonne Clinton-Mazalewski & Robert Mazalewski • Jacquelyn McCormick & Michael Salkin • Will McCoy • Nion T. McEvoy • Paul & Ellen McKaskle • Charlie & Casey McKibben • Alex Miller & Leslie Louie • D. G. Mitchell • Pia & Chris Mittlestaedt • Terri Mockler • Jennifer & Brian Mosel • Marilyn & David Nasatir • Joseph Navarro & Billie Jones • Rebecca Novick • Ann & John Nutt • Rebecca O’Brien • Marie & Jim O’Brient • Berniece & Charles Patterson • Carey Perloff & Anthony Giles • Barbara Peterson, Ph.D. & Michael Cochrane • Mary C. Powelson • Pam Rafanelli • Joyce S. Ratner • Hillary & Jonathan Reinis • Roberta Richards & Robert Semar • Judith & William Roberts • Sean Rositano • Alex & Tinka Ross* • Julie & Andrew Sauter • Patti & Paul Sax • Joyce & Kenneth Scheidig • Kary Schulman • Marcus Segal • Lucille & John Serwa • Anne Siglin • Neil Sitzman • Eric & Erica Sklar • Martha & Bill Slavin • Gary Sloan & Barbara Komas • Betsy Smith • Carrie & Jason Smith • H. Marcia Smolens • Stephanie & Robert Sorenson • David Starke • Rick A. Suerth • Teresa & Patrick Sullivan • Tony Taccone & Morgan Forsey • Ragesh Tangri & Daralyn Durie • James Topic & Terry Powell • Dawson & Andrew Urban • Jamie & Gerry Valle • William Van Dyk & Margaret Sullivan • Janet & Christian von Doepp • Jackie Wallace • Kelvin Wate • Doug Welsh • Martha Truett & David White • Corinne & David Whittall • Wendy & Mason Willrich • Joe Wynne • Linda & Warren Zittel •

encoreartsprograms.com 11

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTWe are grateful for the generous investment of the following foundations, corporations, and government agencies, which support our 2014 artistic and educational programs. Multiyear grants are designated with a double asterisk (**).

$100,000 and aboveThe William and Flora Hewlett

Foundation**The James Irvine Foundation**The Dean and Margaret Lesher

Foundation**The Andrew W. Mellon Foundation**Meyer Sound

$50,000-$99,999BARTDale Family FundOtter Cove Foundation

$25,000–$49,999KBLXThe Thomas J. Long FoundationMcRoskey MattressNational Endowment for the Arts:

Art WorksNational Endowment for the Arts:

Shakespeare in American Communities

The Shubert FoundationSound Associates

$10,000-$24,999Chevron CorporationCity National BankSidney E. Frank FoundationAnn and Gordon Getty FoundationJohn Muir HealthKCBSMCJ Amelior FoundationThe Gordon and Betty Moore

FoundationPeet’s Coffee & TeaUnited Airlines

$5,000–$9,999Baker Avenue Asset ManagementDodge & CoxEast Bay Community FoundationLafayette Park Hotel & SpaThe Bernard Osher FoundationTheatre Development FundWells Fargo Foundation

Up to $4,999Amber BistroAnne SylvainArcher NorrisAurora TheaterBerkeley Repertory TheatreBritexCafe RougeCaterpillar FoundationChihuly StudioClif Family WineryDi Rosa Art AliveFine Arts Museums of San FranciscoFort Ross Vineyard & WineryFour Seasons Hotel San FranciscoFrancesThe FruitGuysGoogle IncHelicon CollaborativeIncredible AdventuresIndependent Charities of AmericaJudd’s HillKaur PhotographyKiwanis Club of Moraga ValleyLamborn Family VineyardsLinden Street BreweryMarine Mammal CenterClassic Catering

Meadowood Napa ValleyMechanics BankMimi & Peter Haas FundMoraga RotaryMorgan StanleyMuscardini CellarsOakland Museum of CaliforniaOliver Ranch FoundationPhilharmonia Baroque OrchestraPizzaioloPricewaterhouseCoopers LLPPrima RistoranteRamen ShopRange RestaurantRossmoor Rotary FoundationRotary Club of LafayetteRotary Club of Lamorinda SunriseRotary Club of OrindaSafeway, Inc.Schramsberg VineyardsSFO MuseumThe Shotgun PlayersSonoma Valley Museum of ArtSt George SpirirtsSwan’s Fine BooksTWANDA FoundationUC Berkeley Art Museum and Pacific

Film ArchiveUC Berkeley LibraryWalnut Creek Yacht ClubWaterbarWestminster Kennel ClubThe Whittier Trust Company in Honor of

Jonathan Moscone

TASTING PARTNERSCaravel & Outcast WinesCoco TuttiCrofter’s OrganicMt. BeautifulPeet’s Coffee & TeaPurity OrganicsR&B CellarsUpper Crust PiesUrbano CellarsWedl Wine Cellars

MATCHING GIFTSAdobe Systems, Inc.Apple Matching Gifts ProgramAT&T FoundationBank of AmericaCaterpillar FoundationChevron Humankind Matching Gifts

ProgramGoogleJohn Wiley & Sons, Inc.J.P. Morgan Chase FoundationThe Gap Inc. Matching FundMcKesson FoundationSidley AustinVisaWells Fargo

ORGANIZATIONS PROVIDING DONOR-ADVISED FUNDS

Bank of America Charitable Gift FundEast Bay Community FoundationFidelity Charitable Gift FundFoundation SourceJewish Community FederationRenaissance Charitable FoundationThe San Francisco FoundationSchwab Charitable Fund

PRESENTING PARTNERS

SEASON PARTNERS

With Shakespeare's depth of humanity as our touchstone, we build character and community through authentic, inclusive, and joyful theater experiences.

The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis, NY, on December 14, 1942. He came to California with his family at the age of seven, and attended Pleasant Hill High School, where he played football and took the North Coast Championship in Greco-Roman wrestling. At the Air Force Academy, he became the AAU wrestling champion. He earned a Master’s Degree in Mechanical Engineering from Ohio State University. George rode Brahma bulls and saddle broncs, and loved to ride horses through the Siesta Valley where the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile accident just before he was due to ship out for service in Vietnam. California Shakespeare Theater honors the memory of Lt. George H. Bruns III.

Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks to serve the public with a community facility while preserving the watershed with minimal disruption to the pastoral surroundings. This land may be open to the public for performances and private events, but remains restricted private property at all other times.

ABOUT THE BRUNS AMPHITHEATER

IN MEMORY

BOARD OF DIRECTORS

EXECUTIVE COMMITTEE

Buddy Warner PRESIDENT

Jean Simpson FIRST VICE PRESIDENT

Susie Falk VICE PRESIDENT* AND MANAGING DIRECTOR

Jonathan Moscone VICE PRESIDENT* AND ARTISTIC DIRECTOR

Marshall Kido VICE PRESIDENT

Alan Schnur VICE PRESIDENT

Kate Stechschulte VICE PRESIDENT

Ellen Dale SECRETARY

Jay Yamada TREASURER

*ex-officio

DIRECTORSJeff BharkhdaMichael CedarsPhil CherninMike ClelandJoshua Cohen Sonny Hanson Erin Jaeb Tony KallingalMaureen Knight Craig Moody Richard Norris Nancy Olson Linda Clark Phillips Jim RoetheJohn RuskinSharon Simpson Frank Starn

ADVISORY COUNCILWayne Canterbury Bob EpsteinPeter FisherAllison Goldstein Jeff GreenAnne Grodin Nancy Kaible Jennifer KingLesa McIntoshTapan MunroeSusan Rainey Carole RathfonPeter Read Hugh Richmond John SearsFrancesca Vietor Sarah Woodard

PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).

MISSION

This series of eloquent,

expressive photographs made by

Anthony Friedkin between 1969

and 1973 chronicles gay life in

Los Angeles and San Francisco

at the dawn of the Gay Liberation

movement. The accompanying

exhibition catalogue includes

essays by Julian Cox and Nayland

Blake and newly commissioned

poetry by Eileen Myles.

Anthony Friedkin, Jean Harlow, Drag Queen Ball, Long Beach, 1971, from the series The Gay Essay.Gelatin silver print. Fine Arts Museums of San Francisco, anonymous gift

Golden Gate Park • deyoungmuseum.org

FYI IMPORTANT INFORMATION FOR OUR PATRONS

FIRE HYDRANTS

UPPER GROVE

EXIT ROUTE

PRIMARY AREA OF REFUGE(MEETING PLACE FOR ALL AUDIENCE MEMBERS)

SECONDARY AREA OF REFUGE

P

EVACUATION PLAN

THE SHARON SIMPSON CENTER

STAGE

EXIT

EXITEXIT

EXIT

CONTACT US Box Office: 510.548.9666 or boxoffice@calshakes.org (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm)Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710Website: calshakes.orgSocial Media: Facebook.com/calshakes Twitter.com/calshakes Pinterest.com/calshakes Instagram.com/calshakestheaterGroup Sales (10+): 510.809.3290General: 510.548.3422 or info@calshakes.orgProgram Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 x105 or mikeh@encoremediagroup.comFacilities Rental: 510.548.3422 x123Costume Rental: 510.548.3422 x111

TICKETS AND SEATINGTicket Exchange & Replacement: Subscribers and Flex Subscribers may ex-change tickets at no cost up to 24 hours in advance of the time and date of their scheduled performance; single ticket holders may do so for a $10 fee. If you lose or misplace your tickets, the Box Office can arrange for replace-ments at no extra charge.Discounts: For information on discounted tickets for military, age 30 and younger, and student/senior rush, visit calshakes.org/discounts.20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance this season, making it easier for more people to enjoy theater. Simply call the Box Office between noon and 2pm the day of the show and ask to purchase “20 for $20” tickets. (Subject to availability.)Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections, you will need to bring your own chair or rent one from us. If you choose to bring your own, it must be a low-backed beach chair with a seat no more than six inches off the ground and a backrest no taller than shoulder height. If you need to rent a chair from us, you’ll find them at the upper entrance to the Terrace for just $3.

BRUNS AMPHITHEATER 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing address)Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of the main Amphitheater entrance for a suggested $2 donation; please dress warmly for cold nights and bring sunscreen and a hat for matinees. To keep yellow jackets at bay, keep food covered whenever possible and promptly dispose of trash and recyclables. We’ve also found fabric softener dryer sheets work well to repel yellow jackets.Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift-equipped shuttle service between the Orinda BART station and the Theater beginning 2 hours prior to and at the end of each performance. The shuttle runs approximately every 20 minutes; the final shuttle leaves the Orinda BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza.

SHARON SIMPSON CENTER AMENITIESCafé by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two hours before the performance and at intermission. Catering is available for groups (10+) and special events; call 925.939.9224.Restrooms: Located to the left of the Café. (Additional restrooms are located in the Upper Grove.)First Aid: For assistance, please go to the House Management Office, located inside to the left of the restrooms. Emergency Phone: Since we ask all patrons to silence cell phones during performances, you may leave the House Office phone number (925.254.2395) as your contact number during a performance.

ACCESSIBILITYWheelchair Lift-equipped Shuttle: See info above, under “Take BART and our free shuttle.” Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes.

We can also book seats, adjacent to yours, for up to three companions. (Make sure to request this seating at time of purchase.)Assistive Listening Devices: Available at no charge from the blanket kiosk on a first-come, first-served basis.Open-captioned Performances: Cal Shakes is proud to provide open caption-ing for patrons who are deaf or hard-of-hearing during the four main stage shows over our regular season. Open captioning utilizes an unobtrusive screen at the front of the theater to display dialogue spoken during a performance. No special equipment is required by patrons; one can simply glance at the screen to read the text while watching the action on stage.

AMPHITHEATER ETIQUETTE Be respectful: Part of Cal Shakes' mission is to inspire and cultivate diverse and inclusive theater experiences. We reserve the right to ask patrons to leave.Arrive on time: Latecomers will be seated at an appropriate interval at the House Manager’s discretion.Silence all electronic devices before the performance begins.Recording: Do not take photos of the performance. The use of any type of camera, video or audio recorder in the amphitheater is strictly prohibited. Such devices may be confiscated at the House Manager’s discretion.Keep the aisles clear during the performance. Observe all signage including directional signage on the grounds. It is posted for your safety.Smoking is restricted to area designated: Look for the bench and ashtray on the plaza across from the café. Electronic cigarettes are allowed in the groves, plaza, and anywhere on the grounds with the exception of the Amphi-theater.Be scentsitive: Perfumes or scented lotions may cause discomfort to other patrons and may attract yellow jackets. Please keep use to a minimum. Picnicking: You’re welcome to enjoy food and beverages during the perfor-mance, but please be courteous to others. Unwrap all items before the per-formance begins or at intermission so as not to disturb your fellow patrons.

ENVIRONMENTAL STEWARDSHIPRecycling: Please use the labeled recycling bins to discard glass, aluminum, plastic, and paper; a portion of the proceeds from the value of our recycled materials is donated to area schools.Solar: Cal Shakes is one of the largest solar-powered outdoor professional theaters in the country. The 144 260-watt panels and four 9000-watt invert-ers of our Turn Key 37.4 kilowatt DC solar electric system are designed to supply up to 98% of the power needs to the Bruns Amphitheater.Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon Simpson Center’s living roof boasts native, drought-resistant plants.

14 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

2014 COMPANYJonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR

2014 ARTISTIC COMPANYRotimi Agbabiaka, ACTOR

Dede M. Ayite, SET DESIGNER

Nina Ball, SET DESIGNER

Ajani Barrows, ACTOR

Beaver Bauer, COSTUME DESIGNER

Maria Calderazzo, ASSISTANT DIRECTOR

L. Peter Callender, ACTOR

Liam Callister, ACTOR

Ron Campbell, ACTOR

Nancy Carlin, VOCAL/TEXT COACH

James Carpenter, ACTOR

Catherine Castellanos, ACTOR

Nemuna Ceesay, ACTOR

Dan Clegg, ACTOR

Shana Cooper, DIRECTOR

Tristan Cunningham, ACTOR

David Cuthbert, LIGHTING DESIGNER

Mike Daisey, CREATOR/PERFORMER

Adrian Danzig, ACTOR

Julie Eccles, ACTOR

Lauren English, ACTOR

Caitlin Evenson, ACTOR

Anthony Fusco, ACTOR

Patty Gallagher, ACTOR

Ponder Goddard, ACTOR

Jean-Michele Gregory, DIRECTOR

Margo Hall, ACTOR

Marcus Henderson, ACTOR

Christina Hogan, ASSISTANT STAGE

MANAGER

Cheryle Honerlah, PRODUCTION ASSISTANT

Howard Johnson Jr., ACTOR

Laxmi Kumaran, STAGE MANAGER

Charles Lewis III, ACTOR

Sharon Lockwood, ACTOR

Irene Lucio, ACTOR

Catherine Luedtke, ACTOR

Dave Maier, FIGHT DIRECTOR

Craig Marker, ACTOR

Gabe Maxson, LIGHTING DESIGNER

Will McCandless, SOUND DESIGNER

Patricia McGregor, DIRECTOR

Jonathan Moscone, DIRECTOR

Parker Murphy, ACTOR

Katherine Nowacki, COSTUME DESIGNER

Anna Oliver, COSTUME DESIGNER

Katherine O’Neill, COSTUME DESIGNER

Nicholas Pelczar, ACTOR

Chien-Yu Peng, ASSISTANT SCENIC

DESIGNER

Ryan Nicole Peters, ACTOR

Andre Pluess, SOUND DESIGNER

Paul James Prendergast, SOUND

DESIGNER

Elyse Price, ACTOR

Zion Richardson, ACTOR

Jake Rodriguez, SOUND DESIGNER

Travis Santell Rowland, ACTOR

Danny Scheie, ACTOR

Erika Chong Shuch, MOVEMENT DIRECTOR

Annie Smart, SET DESIGNER

Krista Smith, ASSISTANT LIGHTING DESIGNER

Lynne Soffer, DIALECT AND TEXT COACH

Stephen Strawbridge, LIGHTING DESIGNER

Daisuke Tsuji, ACTOR

Liam Vincent, ACTOR

York Walker, ACTOR

Drew Watkins, ACTOR

TEACHING ARTISTS Elizabeth Carter, Scott Coopwood, Allysa Evans, Brett Jones, ZZ Moor, Dan Saski, Anna Shneiderman, Lauren Spencer, Jacinta Sutphin, Trish Tillman, Marissa Wolf, Clive Worsley, Elena Wright, CLASSROOM RESIDENCIES

Molly Aaronson-Gelb, Heidi Abbott, Elizabeth Carter, Allysa Evans, Brit Frazier, Susan-Jane Harrison, Laura Marlin, Erin Merritt, Ryan O’Donnell, Carla Pantoja, Patrick Russell, Michael Shipley, Clair Slattery, Anna Smith, Anika Solvieg, Tommy Statler, Jacinta Sutphin, Trish Tillman, Elizabeth Vega, Maryssa Wanlass, Laura Wayth, Alison Whismore, Wendy Wisely, Marissa Wolf, Elena Wright, Kat Zdan, SUMMER SHAKESPEARE CONSERVATORY DIRECTORS AND TEACHERS

Derek Fischer, Anna Smith, Jacinta Sutphin, Trish Tillman, Elena Wright, CLASSES & AFTER SCHOOL PROGRAMS

Katy Adcox, Brett Jones, SUMMER SHAKESPEARE CONSERVATORY COORDINATORS

ARTISTIC & DRAMATURGYRebecca Novick, DIRECTOR OF ARTISTIC

ENGAGEMENT

Sonya Taylor, COMMUNITY PARTICIPATION

COORDINATOR

Denise Jolly, TRIANGLE LAB COORDINATOR

Clea Shapiro, ARTISTIC ASSOCIATE

Philippa Kelly, RESIDENT DRAMATURG

ARTISTIC LEARNINGClive Worsley, DIRECTOR OF ARTISTIC

LEARNING

Beverly Sotelo, ARTISTIC LEARNING

PROGRAMS MANAGER

Whitney Grace Krause, ARTISTIC

LEARNING COORDINATOR

DIVERSITY & INCLUSION Carmen Morgan, DIVERSITY & INCLUSION

CONSULTANT

Megan Barton, Jamie Buschbaum, Derik Cowan, Susie Falk, Joyce Fleming, Marilyn Langbehn, Jonathan Moscone, Andrew Page, Clea Shapiro, Sonya Taylor, Tirzah Tyler, Pam Webster, Clive Worsley, TASK FORCE

PRODUCTION Tirzah Tyler, DIRECTOR OF PRODUCTION &

FACILITIES

Jamila Cobham, ASSISTANT PRODUCTION

MANAGER

Chris Hammer, TECHNICAL DIRECTOR

Naomi Arnst, COSTUME DIRECTOR

STAGE MANAGEMENTChristina Hogan, Deirdre Rose Holland, Laxmi Kumaran, Karen Szpaller, STAGE MANAGERSCheryle Honerlah, Christina Larson, Cordelia Miller, PRODUCTION ASSISTANTS

SCENERYColin Suemnicht, ASSISTANT TECHNICAL

DIRECTOR

Matthew Rohner, MASTER CARPENTER

Patrick Fitzgerald, CARPENTER

SCENIC ARTLetty Samonte, SCENIC CHARGE ARTIST

Sophia Fong, Shannon Walsh, OVERHIRE PAINTERS

ELECTRICSDel Medoff, MASTER ELECTRICIAN

Sarina Renteria, Kevin Sweetser, Ashley Taylor-Frampton ASSISTANT MASTER ELECTRICIANSSavannah Brandt, SEASON FOLLOWSPOT

Hamilton Guillén, LIGHTING RUN

SUPERVISOR

SOUNDBrendan Aanes, Lawton Lovely, Xochitl Loza, MIXERSChristopher Lossius, Charles Trombadore, SOUND BOARD OP

Will McCandless, AUDIO SYSTEMS

CONSULTANT

COSTUMES & WARDROBENaomi Arnst, COSTUME DIRECTOR

Jessa Dunlap, RENTALS MANAGER/

CRAFTSPERSON

PROPERTIESSeren Helday, PROPERTIES MASTER

Sarah Spero, PROPERTIES ARTISAN

Shaun Carroll, Manino Mendez, Kirsten Royston, PROPERTIES OVERHIRES

FACILITIESManino Mendez, Brittany White, FACILITY

MANAGERS

Patrick Fitzgerald, Erin Gibb, MAINTENANCE TECHNICIAN

Shirley Dunbar, Porscha Owens, Reva Owens, SHUTTLE DRIVERS

FINANCE AND ADMINISTRATIONNoralee Rockwell, DIRECTOR OF FINANCE

Joyce Fleming, DIRECTOR OF HUMAN

RESOURCES

Jamie Buschbaum, OPERATIONS

MANAGER/EXECUTIVE ASSISTANT

Marivie Koch, BUSINESS OFFICE ASSISTANT

DEVELOPMENTMegan Barton, DIRECTOR OF

DEVELOPMENT

Andrew Page, GRANTS MANAGER

Ian Larue, ANNUAL FUND MANAGER

Shelly Jackson, SPECIAL EVENTS MANAGER

Renée Gholikely, DEVELOPMENT

COORDINATOR

MARKETING & COMMUNICATIONSJanet Magleby, DIRECTOR OF MARKETING &

COMMUNICATIONS

Marilyn Langbehn, MARKETING & PR

MANAGER

Keith Spencer, PUBLICATIONS MANAGER

Callie Cullum, GRAPHIC DESIGNER/

WEBMASTER

Renée Gholikely, CORPORATE PARTNER

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PATRON SERVICESPam Webster, PATRON SERVICES MANAGER

Molly Conway, PATRON SERVICES

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BOX OFFICE Derik Cowan, BOX OFFICE MANAGER

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Diego Briones, Molly Conway, Kimberlee Hicks, Mary Cait Hogan, Calvin McRoy, Ethan Stan, BOX OFFICE ASSOCIATES

FRONT OF HOUSEMichael Ross, HOUSE MANAGER

Jordan Battle, LEAD ASSISTANT HOUSE

MANAGER

Carolyn Arnold, Heidi Hayame, Mary Cait Hogan, Calvin McRay, Adam Navarrete, Charles RainingBird, Belgica Rodriquez, HOUSE ASSOCIATESMolly Conway, Pam Webster, WELCOME CENTER COORDINATORSJenna Nilson, K.C. O'Keefe, TRIANGLE LAB COORDINATORS

2014 PROFESSIONAL IMMERSION PROGRAMAlex Higgins, DONOR ENGAGEMENT

PRODUCTION PROGRAMVolume 23, No. 5Keith Spencer, EDITOR-IN-CHIEF

Callie Cullum, ART DIRECTOR

Janet Magleby, EXECUTIVE EDITOR

encoreartsprograms.com 15All listings current as of August 25, 2014.

TwelfTh NighT BY William ShakeSpeare

DirecTeD BY ChriSTOpher liam mOOre

MAY 27–JUN 21Love Brings Laughter, Joy, and Tears in Shakespeare’s Romantic Comedy

life is a Dream BY pedrO Calderón de la BarCa

TraNslaTeD aND aDapTeD BY nilO Cruz DirecTeD BY lOreTTa GreCO

JUL 8–AUG 2A Ferociously Beautiful Adaptation of a

Classic from the Spanish Golden Age

The mYsTerY of irma VepBY CharleS ludlam

DirecTeD BY JOnaThan mOSCOne

AUG 12–SEP 6 A Hilarious Comedy Featuring Vampires, Werewolves, and One Fabulous Mummy

KiNg learBY William ShakeSpeare

DirecTeD BY amanda dehnerT

SEP 16–Oct 11 The King Returns in Shakespeare’s

Tragic Masterpiece

2015 seas

oN

Pictured: Danny Scheie as Dromio and Nemuna Ceesay as Adriana in Cal Shakes’ The Comedy of Errors, directed by Aaron Posner; photo by Kevin Berne.

Titles, dates, and artists subject to change.

SubScribe by OctOber 31 and be autOmatically entered tO win a free year Of Peet’S cOffee!call Or click: 510.548.9666 Or calShakeS.Org/SubScribe