berkeley rep: for peter pan on her 70th birthday

2 0 1 5 – 1 6 · I S S U E 7THE BERKELEY REP M AGA ZINE

Stage kids then and now 14 · In conversation with Sarah Ruhl 24 · The program for For Peter Pan on her 70th birthday 33

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Smarter living starts with less so you can do more. Consider the one-bedroom apartment

at St. Paul’s Towers, the East Bay’s most appealing senior living community. It comes

complete with housekeeping, weekly linen service, dining, amenities, programs, and

people who love to live like you do. See why 94% our residents highly recommend living

here. To learn more, or for your personal visit, please call 510.891.8542.

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THE BERKELEY REP MAGAZINE 2015–16 · ISSUE 7

PROLOGUE

A letter from the artistic director · 5

A letter from the managing director · 7

REPORT

Home away from home: Welcoming artists to Berkeley Rep · 10

The doctors in the house · 13

Stage kids then and now · 14

Teen Night: Where teens and professional artists meet · 16

Swanky, spiffy, SPEAKEASY! · 19

All’s “Wells” that ends well · 21

Really live theatre: Animals onstage at Berkeley Rep · 23

FEATURES

Plays as gifts: In conversation with Sarah Ruhl · 24

I won’t grow up! · 26

Gravity: An interview with Director Les Waters · 28

I don’t want ever to be a man: Performing gender in Peter Pan · 30

IN THIS ISSUE

CONTRIBUTORS

Foundation, corporate, and in-kind sponsors · 41

Individual donors to the Annual Fund · 42

Michael Leibert Society · 44

ABOUT BERKELEY REP

Staff, board of trustees, and sustaining advisors · 45

FYI

Everything you need to know about our box office, seating policies, and more · 46

Editor Karen McKevitt

Art Director Nora Merecicky

Graphic Designer Itzel Ortuño

WritersBeryl BakerKatie CraddockBethany HerronLoren HiserSarah Rose LeonardKaren McKevitt

Emilie PassJamie Yuen-Shore

30

Contact Berkeley Rep Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900 School of Theatre: 510 647-2972 Click berkeleyrep.org Email [email protected]

24

BERKELEY REP PRESENTS FOR PETER PAN ON HER 70TH BIRTHDAY · 33 MEET THE CAST & CREW · 34

10

Photo on this page and cover: Kathleen Chalfant (photo by Itzel Ortuño) 2015–16 · I S S U E 7 · T H E B E R K E L E Y R E P M A G A Z I N E · 3


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I’m a fan of breaking the rules. But I also believe that you have to earn the right to break them.

I’ve always felt that a play can change course, employ a different form, or shift the focus of its content, if such a change fulfills the play’s intention. The risk is larger, of course, than a play that uses a simple, linear narrative or a consistent, familiar style of expression. But the rewards are potentially much greater: if the shift is effective, the feeling in the audience of being unexpectedly transported can be positively euphoric. Things make a different kind of sense.

And in the best experiences, our view of the world is changed.In her new play, Sarah Ruhl breaks the traditional rules of dramatic structure.

A naturalistic story of a family’s bereavement morphs into a fantastical expression of their unrealized desire; agnosticism and cynicism give way to faith and wonder. The story we thought we were watching becomes another story altogether, one that transcends our original expectations and which becomes a testament to the redemptive power of human imagination. It is a risk on Sarah’s part, a risk that I think is entirely earned.

To chart this unique theatrical journey, Sarah has teamed up again with the intrepid Les Waters. The two have a long and rich history, beginning with Eurydice, which premiered on our stage over a decade ago. Sarah and Les are both comfortable pushing the boundaries of form because they are masters of the craft, as evidenced by their subsequent work on In the Next Room and Dear Elizabeth. From the heartland of Louisville, Kentucky where this play premiered a few months ago, they bring a cast to Berkeley headed by the enormously talented Kathleen Chalfant and filled with a gifted roster of friends old and new. It’s a joy to have Sarah and Les back here, where they still have an artistic home, and where we get to help them break some old rules and invent some new ones.

Sincerely,

Tony Taccone

from the Artistic Director

PROLOGUE

2015–16 · I S S U E 7 · T H E B E R K E L E Y R E P M A G A Z I N E · 5


6 · T H E B E R K E L E Y R E P M A G A Z I N E · 2015–16 · I S S U E 7


As the artistic and creative teams and Berkeley Rep’s staff approached the first performance of Sarah Ruhl’s moving meditation about growing up versus growing old, I was reminded of an extraordinary letter we received in April from a high school teacher who brought his class to a student matinee of Macbeth.

“I’ve seen high school more and more resemble the work place: long hours, hard work, not meant to be fun….” he said. “It’s become such a high-pressure rat race that it’s harder and harder to get students to come on field trips.” He said that

students are afraid of missing classes and upsetting other teachers. They’re afraid of not getting into the right college. He continued, “But seeing my kids watching the show today, their faces lit up afterward, taking apart this or that scene, it reminds me of the real job of art: it’s to make us feel alive, not just that we exist.”

How ironic that the Baby Boomers in Sarah Ruhl’s play are nostalgic for their childhood while so many of today’s children have the stress and worries that adults do! What will their lives be like—and what will our world look like—20 years from now?

Countless studies show the arts also promote empathy, collaboration, prob-lem-solving, and more. Certainly these skills are just as vital to the workplaces of tomorrow as mathematical and scientific aptitude—and that’s just if we think of the arts in quantifiable terms. The arts do make us feel alive, whether we’re young or young at heart.

Warmly,

Susan Medak

from the Managing Director

PROLOGUE



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As the artistic and creative teams and Berkeley Rep’s staff approached the first performance of Sarah Ruhl’s moving meditation about growing up versus growing old, I was reminded of an extraordinary letter we received in April from a high school teacher who brought his class to a student matinee of Macbeth.

“I’ve seen high school more and more resemble the work place: long hours, hard work, not meant to be fun….” he said. “It’s become such a high-pressure rat race that it’s harder and harder to get students to come on field trips.” He said that

students are afraid of missing classes and upsetting other teachers. They’re afraid of not getting into the right college. He continued, “But seeing my kids watching the show today, their faces lit up afterward, taking apart this or that scene, it reminds me of the real job of art: it’s to make us feel alive, not just that we exist.”

How ironic that the Baby Boomers in Sarah Ruhl’s play are nostalgic for their childhood while so many of today’s children have the stress and worries that adults do! What will their lives be like—and what will our world look like—20 years from now?

Countless studies show the arts also promote empathy, collaboration, prob-lem-solving, and more. Certainly these skills are just as vital to the workplaces of tomorrow as mathematical and scientific aptitude—and that’s just if we think of the arts in quantifiable terms. The arts do make us feel alive, whether we’re young or young at heart.

Warmly,

Susan Medak

from the Managing Director

PROLOGUE



2016–17 SEASONDISCOVER THE

Celebrate the world premieres of Monsoon Wedding and It Can’t Happen Here,

the return of Kneehigh, a hit Broadway comedy, and more—your adventure awaits!

TICKET PACKAGES NOW AVAILABLE

CALL 510 647-2949 · CLICK BERKELEYREP.ORG/SUB

This page Katy Owen in Kneehigh’s 946: The Amazing Story of Adolphus Tips (photo by Steve Tanner)

Opposite page, left to right Director Lisa Peterson, Playwright Jeff Augustin, The cast of Kneehigh’s 946: The Amazing Story of Adolphus Tips (photo by Steve Tanner), Director David Ivers, Playwright Lisa Loomer (photo by Jenny Graham), Director Mira Nair (photo by Ishaan Nair), Playwright Brandon Jacobs-Jenkins (photo by Imogen Heath)

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2016–17 SEASON

S E A S O N S P O N S O R S

HAND TO GODBy Robert AskinsDirected by David IversMain Season · Peet’s TheatreWest Coast premiere

A spectacularly foul-mouthed and wickedly scandalous sock puppet shocks a town’s congregation with his outrageous insinuations, exposing their deepest secrets—and teaching us all about love, grief, and what it means to be human. “Darkly delightful,” declares the New York Times.

ROEBy Lisa LoomerDirected by Bill RauchA co-production with Oregon Shakespeare Festival

and Arena StageLimited Season · Roda TheatreWorld premiere production

In turns shocking, humorous, and poignant, Roe cuts through the headlines and rhetoric to reveal the divergent personal journeys of Roe v. Wade lawyer Sarah Weddington and plaintiff Norma McCorvey (“Jane Roe”) in the years following the fateful decision.

MONSOON WEDDINGBook by Sabrina DhawanMusic by Vishal BhardwajLyrics by Susan BirkenheadDirected by Mira NairMain Season · Roda TheatreWorld premiere

Award-winning film director Mira Nair brings her exuberant and sumptuous Monsoon Wedding to Berkeley Rep’s stage in this highly anticipated world premiere musical about an arranged marriage between a modern upper-middle-class Indian family’s only daughter and an American guy she’s never met.

AN OCTOROONBy Branden Jacobs-Jenkins Director to be announcedLimited Season · Peet’s Theatre

Playwright Branden Jacobs-Jenkins won the Obie Award for his radical, incendiary, and subversively funny riff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon is “This decade’s most eloquent theatrical statement on race in America today,” says the New York Times.

IT CAN'T HAPPEN HERE Adapted by Tony Taccone and Bennett S. Cohen

from the novel by Sinclair LewisDirected by Lisa PetersonMain Season · Roda TheatreWorld premiere

Sinclair Lewis’ satirical novel follows the ascent of a demagogue who becomes president of the United States by promising to return the country to greatness. Called “a message to thinking Americans” upon its publication, this eerily prescient book receives a new adaptation just in time for election season.

THE LAST TIGER IN HAITI By Jeff AugustinDirected by Joshua Kahan BrodyA co-production with La Jolla PlayhouseMain Season · Peet’s TheatreWorld premiere production

Five kids in modern-day Haiti, all entangled in a dark history of servitude, spin spellbinding folktales, vying for the title of best storyteller—and dreaming of their freedom. When two of them reunite 15 years later, the boundary between reality and fiction vanishes.

946: THE AMAZING STORY OF ADOLPHUS TIPSAdapted by Michael Morpurgo and Emma RiceDirected by Emma RiceIn association with Kneehigh and

Birmingham Repertory TheatreMain Season · Roda TheatreAmerican premiere

Kneehigh is back! The theatrical alchemists return with a tender new coming-of-age tale that uncovers the secrets behind World War II’s D-Day landings—with swingin’ live music, enchanting puppetry, and signature stage sorcery.




2016–17 SEASONDISCOVER THE

Celebrate the world premieres of Monsoon Wedding and It Can’t Happen Here,

the return of Kneehigh, a hit Broadway comedy, and more—your adventure awaits!

TICKET PACKAGES NOW AVAILABLE

CALL 510 647-2949 · CLICK BERKELEYREP.ORG/SUB

This page Katy Owen in Kneehigh’s 946: The Amazing Story of Adolphus Tips (photo by Steve Tanner)

Opposite page, left to right Director Lisa Peterson, Playwright Jeff Augustin, The cast of Kneehigh’s 946: The Amazing Story of Adolphus Tips (photo by Steve Tanner), Director David Ivers, Playwright Lisa Loomer (photo by Jenny Graham), Director Mira Nair (photo by Ishaan Nair), Playwright Brandon Jacobs-Jenkins (photo by Imogen Heath)


2016–17 SEASON

S E A S O N S P O N S O R S

HAND TO GODBy Robert AskinsDirected by David IversMain Season · Peet’s TheatreWest Coast premiere

A spectacularly foul-mouthed and wickedly scandalous sock puppet shocks a town’s congregation with his outrageous insinuations, exposing their deepest secrets—and teaching us all about love, grief, and what it means to be human. “Darkly delightful,” declares the New York Times.

ROEBy Lisa LoomerDirected by Bill RauchA co-production with Oregon Shakespeare Festival

and Arena StageLimited Season · Roda TheatreWorld premiere production

In turns shocking, humorous, and poignant, Roe cuts through the headlines and rhetoric to reveal the divergent personal journeys of Roe v. Wade lawyer Sarah Weddington and plaintiff Norma McCorvey (“Jane Roe”) in the years following the fateful decision.

MONSOON WEDDINGBook by Sabrina DhawanMusic by Vishal BhardwajLyrics by Susan BirkenheadDirected by Mira NairMain Season · Roda TheatreWorld premiere

Award-winning film director Mira Nair brings her exuberant and sumptuous Monsoon Wedding to Berkeley Rep’s stage in this highly anticipated world premiere musical about an arranged marriage between a modern upper-middle-class Indian family’s only daughter and an American guy she’s never met.

AN OCTOROONBy Branden Jacobs-Jenkins Director to be announcedLimited Season · Peet’s Theatre

Playwright Branden Jacobs-Jenkins won the Obie Award for his radical, incendiary, and subversively funny riff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon is “This decade’s most eloquent theatrical statement on race in America today,” says the New York Times.

IT CAN'T HAPPEN HERE Adapted by Tony Taccone and Bennett S. Cohen

from the novel by Sinclair LewisDirected by Lisa PetersonMain Season · Roda TheatreWorld premiere

Sinclair Lewis’ satirical novel follows the ascent of a demagogue who becomes president of the United States by promising to return the country to greatness. Called “a message to thinking Americans” upon its publication, this eerily prescient book receives a new adaptation just in time for election season.

THE LAST TIGER IN HAITI By Jeff AugustinDirected by Joshua Kahan BrodyA co-production with La Jolla PlayhouseMain Season · Peet’s TheatreWorld premiere production

Five kids in modern-day Haiti, all entangled in a dark history of servitude, spin spellbinding folktales, vying for the title of best storyteller—and dreaming of their freedom. When two of them reunite 15 years later, the boundary between reality and fiction vanishes.

946: THE AMAZING STORY OF ADOLPHUS TIPSAdapted by Michael Morpurgo and Emma RiceDirected by Emma RiceIn association with Kneehigh and

Birmingham Repertory TheatreMain Season · Roda TheatreAmerican premiere

Kneehigh is back! The theatrical alchemists return with a tender new coming-of-age tale that uncovers the secrets behind World War II’s D-Day landings—with swingin’ live music, enchanting puppetry, and signature stage sorcery.




Playwright Sarah Ruhl points out in her essay “Mothers on Stage” that from Medea to Mama Rose the mater-nal experience in theatre has “been told from the point of view of sons, written by sons.” While theatre history has given us plenty of charming matriarchs, she notes that it has not given us much of the mother’s perspective on stage.

Why is this the case? The most persuasive explanation Sarah offers is that theatre “lags behind the other literary arts in terms of what can be told, because its medium is embodied, subject to all kinds of material concerns that make it slower to change.”

Another explanation may be that while writing fiction might require a room of one’s own, making a play requires being in the room during rehearsals. For Berkeley Rep to produce works like For Peter Pan on her 70th birthday, a play inspired by a mother and artist written by a mother and artist, we must help theatremakers set aside some of their material concerns to create magic on our stages.

This is where the company management department comes in. Once the artistic department selects scripts, assem-bles creative teams, and casts actors, the company manage-ment department tries to make it possible for artists from all over the world and at various moments in their personal lives to come to Berkeley Rep and create. As Jean-Paul Gressieux, Berkeley Rep’s company manager, says, “We tend to hire people who reflect our values.” Because Berkeley Rep values represent-ing a diversity of experiences for our audiences, the needs of our artists shift and change from production to production.

A company manager encompasses the jobs of personal assistant, medical advisor, landlord, FedEx worker, interior decorator, party planner, and hotel concierge. That said, the title

encapsulates the job description—to help a group of actors and artists feel at home in our community, to become a part of the Berkeley Rep company. Enabling artists to reach a place of com-fort in their personal lives so that they may be vulnerable and daring in their artistic work can be as simple as locating a new blender, recommending a good Thai restaurant, or providing a ride to a doctor’s appointment. It’s often more complicated, and quite often the most important duty of a company manager is listening. Jean-Paul says, “Being a company manager is a people job. It’s all conversations, all interactions.”

In my time as Berkeley Rep’s company management fellow I have memorized the aisles of Ikea, learned how to draft Actors’ Equity Association contracts, and successfully operated a fax

REPORT

Home away from homeWelcoming artists to Berkeley RepB Y E M I L I E PA S S

CO N T I N U E D O N PAG E 12

Berkeley Rep’s Company Manager Jean-Paul Gressieux and Company Management Fellow Emilie Pass

PH OTO BY IT ZEL O RT U Ñ O

A company manager encompasses the jobs of personal assistant, medical advisor, landlord, FedEx worker, interior decorator, party planner, and hotel concierge.



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machine. But the task that has given me the most joy has been working with artists who might have been thwarted by prejudice and logistics in the past. I have returned to Sarah’s thoughts on mother-hood and theatre frequently this season. I have had the joy of seeing the mothers of very young children produce some of the most powerful art on Berkeley Rep’s stages, including Jane Cox’s lighting in Amélie, Nisi Sturgis’ performance in Disgraced, and Julia Cho’s writing in Aubergine. Watching these artists and mothers work feels like the opening of a new chapter in theatre history.

Working with these artists and their families presents unique challenges and rewards. The first time I picked up one of this season’s artists and her family from the Oakland Airport, it seemed to take

an eternity to win the Tetris game of pil-ing suitcases and strollers into Berkeley Rep’s 2004 Dodge Ram. Patience was running out for the kids; the stakes were high. “How can I help? What can I do?” I asked as I tucked carry-ons into available corners of the van, unsure if I was help-ing or hurting the cause. Later, as we sat on the highway immobilized by traffic, her daughter sighed, “Are we going in circles?” You can imagine my surprise when the next time I met the family at baggage claim the same girl greeted me with a hug. “Emilie!” she said. “Let’s go find the big blue van!” Apparently the car had made a big impression, and had stood out as a highlight of her visit to Berkeley. This time, we loaded every-thing up with comfort and ease.

Sarah Ruhl writes, “for my sanity, these two practices, of motherhood and making things, so primary, need to feel as though they are compatriots.” Our Theatre is made richer when artists bring their full, complex selves to their work. We strive to help our artists do just that.

Our Theatre is made richer when artists bring their full, complex selves to their work.

CO N T I N U E D FRO M PAG E 10



The doctors in the houseB Y K A R E N M C K E V I T T

REPORT

While Berkeley Rep’s company manage-ment staff helps our out-of-town artists find a home away from home, our medical consultants Dr. Cindy Chang and Dr. Steve Fugaro ensure that our actors in particular stay healthy.

“If an actor has a cold or back pain or something like that, Berkeley Rep will call me,” says Dr. Chang, who completed specialty training in family medicine and fellowship training in sports medicine. “If it’s beyond my scope of knowledge, I can refer them to someone else.”

“I’ve assisted singers who have had laryngitis or bronchitis,” adds Dr. Fugaro, who has a private practice. “One actor needed a root canal, and I was able to refer them to a specialist.”

Anyone who’s fallen ill while traveling knows how discon-certing it is to be hundreds of miles away from their doctor or dentist. “I think it’s a comfort to the actors to have a resource and a safety net while they’re here,” notes Dr. Chang.

Dr. Fugaro has a particularly fond spot in his heart for actors—his son was a professional actor who spent a year in Oregon Shakespeare Festival’s acting company. “Our son had an interest in acting in high school,” he explains. “His teacher encouraged him to see Mary Zimmerman’s Secret in the Wings at Berkeley Rep, and my family became progressively more involved with the Theatre since then.” In fact, Dr. Fugaro and his wife, Jill, signed on as associate sponsors of Mary Zimmer-man’s recent production of Treasure Island.

An associate professor at ucsf and a team physician at UC Berkeley, Dr. Chang’s relationship with Berkeley Rep deepened last year during the development and production of KJ Sanchez’s X’s and O’s (A Football Love Story), a docudrama that explores concussions in football and America’s love of

the game. “My husband and I were associate sponsors on the show, and I was asked to look at the script to ensure that the medical terminology was accurate,” she says. “It was really fun to do that, and so important.”

Managing Director Susan Medak says, “We’re so fortunate to count Dr. Chang and Dr. Fugaro as members of our commu-nity. They provide vital services for our artists, and they do so with compassion and for the love of theatre.”

“It’s an honor to care for the actors,” says Dr. Fugaro. “It’s my small way of giving back to Berkeley Rep considering how much it’s given to audiences.”

“I think it’s a comfort to the actors to have a resource and a safety net while they’re here.”—DR. CHANG

CO N T I N U E D FRO M PAG E 10

Dr. Fugaro and wife Jill FugaroPH OTO BY JA RED OATE S

Dr. Chang and playwright KJ Sanchez



At Berkeley Rep, we know that theatre can trans-form a child’s life, and that arts education has a tremendous impact, no matter what field a student may end up in. That’s why our School of Theatre visits over 100 local schools every year—but our School is only one avenue through which young people come to Berkeley Rep.

Over the past 48 years, our stages have hosted some amazing talent, not the least of which is found in the young actors who have grown up backstage. Sometimes, especially in our early years, these youngsters were the sons and daughters of our company members—Sharon Lockwood’s daughter Rose in Slavs, or Geoff Hoyle’s daughter Kailey in The First 100 Years (or even a not-so-young Jorma Taccone in Fuente Ovejuna). Sometimes they were local students from our own School, such as much of the cast of Brundibar, and sometimes they were up-and-coming stars with already strong résumés. How-ever they came to us, these kids have taken off to do some amazing things. It was great to catch up with a few of them recently and see the wide range of futures that have unfolded for them.

B RIG E T TE LUNDY- PAINE then 11 years old in Brundibaraf ter 12 years old in The Pillowmannow 21 years old, nyu drama student, recently seen in Woody Allen’s Irrational Man

As the daughter of local actors and theatre-makers Laura and Robert Lundy-Paine, Brigette already had a long list of credits when she made her Berkeley Rep debut. After the summer-camp-like ensemble of Brundibar, Brigette was cast again at Berkeley Rep in The Pillowman, a play with a decidedly different tone. We asked her about her memories as she was taking a break from shooting Wilde Wedding (a movie com-ing out next year where she’ll be seen playing Glenn Close’s granddaughter). “I knew the subject matter of Pillowman was weird—my grandma was mad I was doing it—but it was just a fun experience for me! I got to be buried alive onstage, sinking down in a coffin, and then getting led out by a stage manager holding a ladybug flashlight.” Those years remain some of the most fun times of her life, and she made lifelong friends: when not shooting movies, she sings in a band called Subtle Pride in New York with another Brundibar actor, Misha Brooks.

ELI M ARIENTHALthen 10 years old in Missing Persons, and 13 years old in Galileoaf ter voice of Hogarth Hughes in The Iron Giant, multiple movie roles, and a first generation Youth Speaks poetnow 30 years old, in charge of youth programs at Back to Earth and a PhD candidate in Geography at UC Berkeley

Acting was an important piece of Eli’s life throughout mid-dle and high school, but upon graduation, when his agent told him he had to make the choice between a career in LA and life in the Bay Area, Eli’s path focused. “Today, my academic work

REPORT

Stage kids then and now

B Y B E T H A N Y H E R R O N

Jennifer Shin, Hanson Tse, and Madison Logan V. Phan in after the quakePH OTO BY K E VIN B ERN E

Nancy Carlin, Brigette Lundy-Paine, and Howard Swain in The PillowmanPH OTO BY K E VIN B ERN E

Joy Carlin and Eli Marienthal in Missing PersonsPH OTO BY K EN FRIEDM A N

Devynn Pedell and Aaron Simon Gross in BrundibarPH OTO BY K E VIN B ERN E



Berkeley Rep’s 2005 production of Brundibar featured a plethora of children, many of which kept touch with us over the years

MISHA B ROOK S 9 years old, Brundibaraf ter Appeared in the Teen One Actsnow First year at New York University. In the band Subtle Pride with Brigette Lundy-Paine

A ARON SIMON G ROSS 11 years old, Brundibaraf ter Played Archie in 13, A New Musical in the original Broadway production in 2008, appeared in As Seen Through These Eyes (2008), The Good Wife (2009), and Made in Jersey (2012)now 20 years old, drama and musical theatre major at Northwestern

G IDEON L A Z ARUS 11 years old, Brundibar af ter 12 in Pillowman, Teen Council member, attended the Crowden School now Junior at the New School in New York, studying dance and political science

ALEC ROB ERT M ATHIESON 12 years old, Brundibaraf ter Graduated from nyu’s Tisch School of the Arts, where he studied musical theatre at the New Studio on Broadway (nsb). Outside of school, Alec has been seen in Kenneth Branagh and Rob Ashford’s Macbethnow 22, starting national tour of Ragtime

DE V YNN PEDELL9 years old, Brundibaraf ter 10 years old, Mary Poppins on Broadway, Jane Banksnow First year of college at Ithaca, musical theatre major

B RENDAN REILLY12 years old, Brundibaraf ter Pillowman the next year; Teen Council and School of Theatre classes now 22

ERIN REILLY 10 years old, Brundibaraf ter Enrolled in Teen Council and School of Theatre classes now 20. Volunteered in costume shop this past season

M ADELINE SILVER M AN 10 years old, Brundibaraf ter Pillowman the next yearnow 20

GAB RIEL VERG EZ 10 years old, Brundibar af ter 11 years old in Pillowman, Teen Council membernow In college

continues to be about facilitating collaborative art practices—bringing people together to make art of the fabric of their lives.”

Eli’s focus on human geography at UC Berkeley has led him to research and participate in a wide variety of civic rituals of healing, and most recently, the cultural politics of belonging in Oakland, an area where theatre and the arts can play an important role. “As we grasp in uncertain ways toward some better way of being with each other, some more peaceful way of coexisting in the city, not only is the ability to come together in appreciation of the arts a powerful avenue for that to hap-pen—but so is the opportunity for people to come and make art together.”

It’s that connection to other people, more than any single moment or scene, that Eli remembers from his plays at Berkeley Rep. “The collective nature of doing live theatre, the way people rely on each other, the sense of personal responsibility to do my part and do it well—the whole process was hugely forma-tive for me, a rite of passage in what I would call a high-risk, high-reward situation. I now run an organization, Back to Earth, that does leadership development with teenage boys, and I feel in them this incredible hunger to be taken seriously and to be offered opportunities to grow into the next, biggest, most responsive version of themselves.”

M ADISON LOGAN V. PHAN then 9 years old, in after the quake now 17 years old, in her final year of high school

The arts still have a strong presence in Madison Logan Phan’s life and have helped to inspire her academic career. This spring she’s appearing in her high school’s production of Chica-go, and next year she’ll be headed off to college to study biolo-gy, but she’s sure that she won’t leave theatre behind entirely. “Having theatre in my life at such an early age had an impact on me because I was lucky enough to realize my passions so early on, and Berkeley Rep helped me with that.”

In addition to memories of her castmates, Madison fondly remembers her tutor, Carolyn (and her really good pasta dish). As fun as it looks to those of us in the audience, a young actor’s life is packed solid with hard work. In addition to their work onstage, where they keep pace with their professional adult counterparts, every young person in a cast is provided with a tutor who makes sure they are keeping up on their schoolwork and not falling behind their class. The right tutor can help make the experience even more powerful for a young person. “It was honestly such a great experience that taught me so many things, and I will always be so grateful for the opportunity to be a part of the Berkeley Rep community!”

Each and every one of the more than 40 young actors who have studied their math homework between scenes at Berkeley Rep feels like a member of our family, and we can’t help feeling a flush of pride whenever we talk about the amazing things they’re accomplishing, the heights they’re reaching, and the in-spiring pathways they are forging for themselves. We’re thrilled to have this opportunity to brag about them to our community, and we’ll be sure to let you know when they cure the common cold after becoming President of the United States. (The way these kids are going, I give it five years.)



When I was 16, I met Mary Zimmerman. It was at Teen Night: Argonautika for which adaptor/director Mary Zim-merman was to be the guest speaker. My friend and I arrived, not knowing that that evening we would be eating pizza with a MacArthur “Genius” Award–winning theatre artist. That night, a few dozen teens circled around to hear Mary give an engag-ing interview on adaptation, play creation, and the process of choosing cast members for her shows. To this day, listening to her speak while eating pizza with friends at an exclusively teen event is one of my favorite theatre memories. I can appreciate now what an incredible and rare experience that was.

The opportunity to meet professional artists is a unique and special aspect of Berkeley Rep’s Teen Nights. At each of the seven Teen Nights, 80 to 100 teens get to attend a teen-led pre-show discussion with an artist or artists involved in that production, in addition to dinner and a ticket the show. This season’s Teen Night speakers have included cast members from Amélie, A New Musical; Berkeley Rep Literary Manager Sarah Rose Leonard; Disgraced Associate Director Nate Silver and actor Behzad Dabu, who played Abe; Berkeley Rep Michael Leibert Artistic Director Tony Taccone; and most recently, Mac-beth star Conleth Hill.

For each Teen Night, a member of Berkeley Rep’s teen leadership group, the Core Council, is selected to interview our guest speaker. To prep for the interview, the Core Council member reads the play ahead of time, researches the speaker’s biography, and comes up with 10 to 15 potential questions. The

teen then discusses these potential questions with School of Theatre Programs Manager Anthony Jackson and the education fellow, and talk through what it will be like to moderate an interview.

Many of the questions for the guests revolve around their artistic process and career path. Maya Simon, Core Council member and junior at the Oakland School of the Arts, was our first teen interviewer of the season for Teen Night: Amélie, A New Musical. She recalls, “The actors gave a lot of really

important advice about how to find projects we were interested in, how to network, and about the creative process of a new musical.”

Over half of Teen Night attendees are Season Pass holders, meaning they have bought tickets to all seven shows at the

Teen Night: Where teens and professional artists meet

B Y J A M I E Y U E N - S H O R E

REPORT

“The actors gave a lot of really important advice about how to find projects we were interested in, how to network, and about the creative process of a new musical.”

—MAYA SIMON

Amélie: A New Musical Teen NightPH OTO BY IT ZEL O RT U Ñ O16 · T H E B E R K E L E Y R E P M A G A Z I N E · 2015–16 · I S S U E 7


beginning of the season like a subscriber. For some guest speakers, it is unusual not only to speak to a group of such enthusiastic young theatre fans, but also to have so many of those young fans be well versed in a broad range of theatre from Molière to Tony Kushner. Many Teen Night attendees aspire to work in the theatre, thus the Q & A portion of the discussion offers a great chance to learn more about how to get there.

After coming up with questions for the guests, many teen interviewers find moderating a challenge. Maya says, “The hardest part for me was giving the actors a chance to say all they wanted to on the question while trying to manage the time. I learned more than I ever thought I would about public speaking and facilitation from the interview, in addition to gaining a lot of valuable life and career advice.”

“It was really cool to interview Conleth Hill,” adds Chloe Smith, the interviewer at Teen Night: Macbeth. “It was nerve wracking, but I was really excited. He was very funny and it was a great learning experience on how to conduct an inter-view. I learned how to move a conversation and try to gauge what he seemed interested in and what the audience was interested in.”

For the teens, the experiences can be especially poignant when our guests are candid. Tess DeLucchi, who interviewed Aubergine director Tony Taccone, recalled, “The most memora-ble part of the interview was when Tony spoke about support-ing his friend during their last months; how he essentially had to watch them slowly die and the effect it had on his percep-

tion of the show’s direction and mortality overall. This moment of intense honesty was so surprising.”

Over the many years and iterations of Teen Night, the pre-show interview with a professional theatre artist has remained an essential part of the evening. Interviewee Sarah Rose Leon-ard, who prior to her tenure as Berkeley Rep’s literary manager was part of the first Teen Council, reflected on the experience of now being a guest at Teen Night. “It was very surreal to be interviewed by Teen Council when I remember sitting in their chairs 14 years ago. We used to have to hustle to fill up a Teen Night, and now it is sold out every time! Seeing professional theatre is so important for teenagers because it exposes them to high-quality, aesthetically rigorous plays that are among the finest in the world. It gives them a sense of what is possible and hopefully inspires them to push themselves to create amazing art.”

I hope each teen that attends Teen Night leaves with a great theatre memory, hopefully one as good as eating pizza with Mary Zimmerman.

To learn more about Teen Night, visit berkeleyrep.org/teennight.

2015–16 · I S S U E 7 · T H E B E R K E L E Y R E P M A G A Z I N E · 1 7


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Swanky, spiffy, SPEAKEASY! B Y L O R E N H I S E R

REPORT

On Saturday, April 2, nearly 350 of the Bay Area’s top arts supporters gathered at The Ritz Carlton, San Francisco to celebrate Berkeley Rep at the Theatre’s annual fundraising event. Berkeley Rep’s SPEAKEASY at the RITZ exemplified all the glitz, glam, and Gatsby-era grandiosity of the roaring ’20s, and the magnificent attire of our valued supporters was equaled only by the pleasure of their company.

A gathering of prominent community members, creative and corporate professionals, and philanthropic leaders, SPEAK-EASY brought together theatre lovers from throughout the Bay Area. We were thrilled to see supporters of the arts get “all dolled up” and join us for the night in support of Berkeley Rep’s creative and community efforts.

Stopping to pose in front of Ira and Leonore Gershwin’s Rolls Royce, guests flooded into the Ritz’s ballroom with paparazzi at their heels. Featuring a dress made out of wine glasses (graciously filled by Domaine Carneros, Folie à Deux, and C.G. Di Arie), swing dancers, and a few flappers for good measure, the event roared as exuberantly as the decade it celebrated.

DawnMarie Kotsonis, a.k.a. The Gavel Girl, got the bidding going fiercely—hot tickets were a New York trip to see Ham-ilton and An American in Paris, as well as a trip on The World, the largest private residential ship on earth. The night ended as guests raised their paddles in support of Berkeley Rep’s arts education programs. All told, over $750,000 was raised to support those programs and the work on our stages.

We want to thank this year’s attendees for their unfailing support, incredible generosity, and dedication to the dramat-ic—you are the cat’s pajama’s!

PH OTO BY LO RENZ A N G ELOPH OTO BY S A R A ELWEIN & A LE X SM ITH

PH OTO BY CH E SHIRE IS A AC S

PH OTO BY CH E SHIRE IS A AC S

PH OTO BY LO RENZ A N G ELO



GET IN ON THE GROUND FLOORStay in the loop about The Ground Floor—Berkeley Rep’s top-notch R&D facility for artists

that consists of year-round events and a jam-packed Summer Residency Lab.

The Ground Floor Summer Residency Lab brings artists to Berkeley to work on projects in June. Join the mailing list to hear about public presentations at berkeleyrep.org/groundfloor.

“I’ve come to realize that something extraordinary is happening in Berkeley. On the smallest level, they are dedicated to the nurturing of artists— feeding us, housing us, giving us time to create. But on the largest level possible, they are dedicated to nothing less than a wholesale change in the artistic landscape of our time.”

—JULIA CHO

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All’s “Wells” that ends wellB Y B E R Y L B A K E R

REPORT

The pun in this article’s title might’ve been an overreach of artistic license, apologies to Mr. Shakespeare. I think we can all agree an important fac-tor of any art medium is the relationship between the audience and the art itself. If you’re a performance studies buff, you’d probably go one step further and say the act of viewing can be as active a way to engage with a piece as it is to perform it—but what about those who not only come to see our shows but then go on to sponsor our work? When it comes to our corporate sponsors, and particularly our longtime Season Spon-sor Wells Fargo, we could not create the performances at the caliber we do with-out those relationships. After a recent event Wells Fargo hosted at the Theatre during our production of Macbeth, some of Wells’ folks were kind enough to talk to us about what our work means to them.

Hamid Hussain, a member of Berkeley Rep’s Corporate Council and a senior vice president and East Bay region manager at Wells Fargo said, “One of my favorite plays over the last few seasons is Party People.” (Party People was about the history and lives of the Black Panther Party and Young Lords, a collaboration between Berkeley Rep and universes during the 2013–14

season.) Hamid goes on, “Talk about intense! And a very relevant message for a civil, peace-loving society—the right of speech, the fragility of freedom in the face of injustice! Omar’s rant sent chills up my spine and made me want to scream in rage against the prejudices that still persist.”

John Hood, vice president and se-nior relationship manager at Wells, after watching our recent production of Mac-beth starring Conleth Hill and Frances McDormand, says that he particularly “…loved the stage sets and the audio-vi-suals,” as well as hearing “…certain lines (‘out, out damned spot,’ ‘fire burn and caldron bubble’),” although he had a bit of a hard time with the Elizabethan lan-guage. All in all, he felt the production was well worth seeing.

Karen Fluegge, regional sales manager for Wells Fargo, says, “I’ve had the opportunity to host a number of corporate events at Berkeley Rep and consistently receive feedback from clients and colleagues that it is one of their favorite events of the year. Attendees appreciate the unique venue, creative productions, insightful and humorous presentations by staff…thank you Berkeley Rep for creating so many memorable moments and we look forward to many more!”

We’re thrilled that these represen-tatives of our longtime Season Sponsor see value in these conversations having a home here in the Bay Area just as much as we do. As Hamid says, “Bravo Berkeley Rep for continuing to challenge all of our perceptions while entrancing our senses!”

At Berkeley Rep we strive to be a mainstay of artistic innovation here on the West Coast, and Wells Fargo has invested in that innovation for years now. Our work fosters and forges dialogue, which is part of Wells Fargo’s relationship mission to the communities it serves. And just like the bond be-tween art and audience, our relationship continues to flourish and build upon itself. Here’s looking forward to future seasons of partnership.

“Bravo Berkeley Rep for continuing to challenge all of our perceptions while entrancing our senses!”

—HAMID HUSSAIN

Karen Fluegge, John Hood, and Hamid Hussain (left to right)

GET IN ON THE GROUND FLOORStay in the loop about The Ground Floor—Berkeley Rep’s top-notch R&D facility for artists

that consists of year-round events and a jam-packed Summer Residency Lab.

The Ground Floor Summer Residency Lab brings artists to Berkeley to work on projects in June. Join the mailing list to hear about public presentations at berkeleyrep.org/groundfloor.

“I’ve come to realize that something extraordinary is happening in Berkeley. On the smallest level, they are dedicated to the nurturing of artists— feeding us, housing us, giving us time to create. But on the largest level possible, they are dedicated to nothing less than a wholesale change in the artistic landscape of our time.”

—JULIA CHO

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Really live theatre: Animals onstage at Berkeley Rep

B Y K A T I E C R A D D O C K

“Oh my God.” “No-no-no-no-no.” “Please don’t do it!” “That poor turtle.”

These were just a few of the (often full-voiced) comments Tim Kang could hear from the audience as he acted the scene in Julia Cho’s Aubergine in which his character, Ray, prepares to slaughter a turtle to make a special soup for his ailing father. For the actors, it’s almost baffling—do they really think the theatre would ever harm an animal onstage, much less slaughter eight turtles a week? Yet somehow we get lost in the moment; we see the turtle crane her neck to look around, waving her limbs, and are immediately concerned for her welfare in a way we’re not when we watch, say, Banquo’s murder in Macbeth.

A few weeks into rehearsal for Aubergine, Properties Super-visor Jill Green brought in a live turtle to audition. In the words of director Tony Taccone, that turtle “knocked it out of the park.” He was active yet relaxed, totally unfazed by Tim-as-Ray’s gentle machinations. Unfortunately, that turtle was unavailable for the actual run of the show, so during tech, Jill brought in another tur-tle. The backstage crew straightforwardly called him Soup; Tony called him Herman. Hapless Herman was young and nervous. Every time Tim lifted him out of a box to hold him, he would pee all over poor Tim. Jill traded him in for another turtle, quickly dubbed Stew. Stew is a larger, older turtle, and didn’t mind being handled in the least. During the run, she lived backstage in a spacious aquarium in her own private temperature- and light-regulated room; once Aubergine closed, she was adopted by Production Electrician Kenneth Coté, who already had turtles of his own.

Actor James Carpenter, who played Duncan, the Porter, and the Doctor in this season’s Macbeth, recalled his experiences with the cat in Les Waters’ production of Martin McDonagh’s notoriously violent black comedy The Lieutenant of Inishmore at Berkeley Rep in 2009.

“It wasn’t like it was a normal situation,” James remembers. “The cat had to come out at the end of the play and get em-braced by two guys covered in blood from head to foot. She was a really sweet cat, and pretty mellow, but to stay in touch with her, I would go and play with her before the show. We’d play

with string and toys, and I’d pet her. I’m kind of the cat whisper-er. I heard that she used to hiss and complain before she came onstage. Once she was onstage, she would kind of sit there and look around. Then I’d get her down very carefully and we’d walk her over to a footstool and threaten her with guns—all of which she was basically good with! By the time we were finished han-dling her, she was covered in blood, too, and she had to have a bath every night because she was a sticky mess. She never tried to get away during the vital moments of the play, even with a gun to her head. I have a black cat at home, too, and she was the understudy in case anything happened; she let me know that she could probably do a better job.”

Despite the logistical challenges and unpredictability of using live animals onstage, sometimes it’s critical to the story-telling. In the case of Inishmore, a play about a man who loves his cat more than anyone or anything in the world, as James notes, “You’ve got to have a real cat. It’s vital to the ending of the play.”

The volatility of animals can be disruptive—a corgi, for instance, was ultimately fired after failing to obey Helen Mirren (playing Queen Elizabeth) in The Audience. Yet this liveness can also be uniquely appealing. In Sarah Ruhl’s For Peter Pan on her 70th birthday, a dog appears. Sarah muses, “A dog doesn’t work; a dog plays… Is that why I find it refreshing to see dogs and horses and small children on stage? Because they are what they are and they are automatically in a state of play rather than in a state of work?”

Animals are fun to watch in the theatre because they are always fully present and entirely themselves; it’s exciting for the audience, if occasionally difficult for the actors, to never know exactly what will happen.

“I’m kind of the cat whisperer.”—JAMES CARPENTER

James Carpenter and Adam Farabee in The Lieutenant of Inishmore PH OTO BY K E VIN B ERN E

Tim Kang and Joseph Steven Yang in Aubergine PH OTO BY K E VIN B ERN E

REPORT



Plays as gifts: In conversation with Sarah Ruhl

B Y S A R A H R O S E L E O N A R D

PH OTO CO U RTE S Y TH E J O H N D. A N D C ATH ERIN E T. M AC A RTH U R FO U N DATI O N



Sarah Rose Leonard: What inspired you to write this play?

Sarah Ruhl: I grew up surrounded by photographs of my mother playing Peter Pan as a teenager in Davenport, Iowa. The iconography stayed with me. When my mother (who is still an actress) turned 70 I wanted to write a play for her as a gift, and because I was thinking of aging, the concept of Peter Pan seemed a natural fit.

What was it like to write a play as a gift?

It was strange and interesting. I like to think of the theatre as a vast gift culture. I think that on a primitive level, we write plays as gifts anyway, we just don’t necessarily make ourselves conscious of it—and the culture might not perceive it that way. I read Lewis Hyde’s The Gift maybe five years ago and it utterly changed my ideas about the economy of art. Now when I teach at Yale I start the semester by having my graduate students write short gift plays to each other, to remind them that plays can be thought of as gifts, rather than as solipsistic endeavors.

Like J.M. Barrie in his dedication to Peter Pan, you refer to your charac-ters as Numbers in the script; your numbers correspond to their birth order. Why is birth order important in this play?

I’m fascinated by birth order, in families both big and small. Because I was interested in writing dialogue for a big family as a kind of hive mind—it actually helped to work with numbers

rather than names at first. It gave me the sense of a group mind rather than individuated characters as I was starting out.

You say that not knowing is a guid-ing force for you as you write. Was it strange to follow the voice of your mother, who you know well, into the world of not knowing?

I suppose with this play, I knew some things I don’t usually know when I set out to write a play (like things about my mother), but I didn’t know the usual things as I wrote—like how in the world would I formally pull off a transition from a hospital room to Neverland. There are always things I don’t want to know while I write, so that I can con-tinue to discover while I’m writing, and not bore myself with an overdeter-mined plan.

What role did community theatre have in your life growing up?

I went to community theatre all the time as a child. My mom acted in and directed community theatre. I saw her in The Prime of Miss Jean Brodie, Romeo and Juliet—funnily enough my sister and I were both in a production with my mother of I Remember Mama. I think we stroked a cat. There’s something very democratic and wonderful to me about plays being an occasion for small communities to come together and make something.

How did you determine the structure of the piece?

I knew that it began with a hospital scene when the family patriarch is dy-ing, and I knew that it would end in Nev-erland. I think there is something about the loss of both parents that forces people to confront their own mortality, their own growing up. I also thought

the experience of sleeping in their own children’s bed after their father died would compel this family to go back to Neverland for a while…

Some people feel this is a sister piece to Eurydice. Do you feel that way?

Yes, in a way. Both are about death and memory and family. Both contain real artifacts from people who I love.

When did you feel like a grown-up?I will tell you a recent moment

when I felt like a grown-up. I was taking two playwriting students (one current, one former) out for dinner at the Humana Festival. I was celebrating with them the fact that their plays were about to go up. I bought the table a bottle of wine. Weirdly enough I’d never done that before—ordered a whole bottle of wine—what an extravagance… (I am so Midwestern, ultimately.) But what felt grown-up was the reason for the celebration — it was watching other writers whom I loved growing up. Usually it would be Paula Vogel buying the wine—she was my teacher. I figure if my students are growing up, I must be growing up…so I suppose to me being a grown-up has to do with that generative state. A rite of passage—watching other people come up.

What are the best and worst parts of growing up?

The best part is having children. The worst part is planning playdates for them and remembering things like vaccinations and dentist appointments.

Have your children had a chance to see the show?

I’m hoping to bring them to closing weekend in Berkeley…I think I’ll sneak them into the third part...

For Peter Pan on her 70th birthday marks Sarah Ruhl’s fifth new play at Berkeley Rep. Her first was Eurydice in 2004, which quickly defined her as one of the finest, most imaginative writers in contemporary theatre. Her plays are known for being beautifully surreal and poetic, and they celebrate what she calls “the pleasure of heightened things.” Literary Manager Sarah Rose Leonard asked Ruhl a handful of questions as she prepared for the opening of For Peter Pan on her 70th birthday at Actors Theatre of Louisville in March.



I won’t grow up!

B Y S A R A H R O S E L E O N A R D

We work hard to resist growing older—whether it’s through exercise, eating well, or following popular trends. Many believe that our resistance to aging is driven by our valid fear of death. The doctor and writer Atul Gawande asserts in his book Being Mortal, “Death may be the enemy, but it is also the natural order of things…. There’s no escaping the tragedy of life, which is that we are all aging from the day we are born.” Eh…let’s talk about something else, right? Those facts are hard to face for most of us—which is why we do our best to exercise con-trol over the aging process. The universal desire for control over death drove J.M. Barrie, the creator of Peter Pan, to create a character that defied time itself.

Perhaps no one better embodies our resistance to growing up than the ageless Peter Pan. He is horribly afraid of anything that has to do with adulthood, and magically has the ability to choose whether he will grow or not. At the end of J.M. Barrie’s Peter and Wendy, the Lost Boys, who “fell out of their carriages” and were unclaimed by their parents, leave Neverland and are adopted by the Darlings (Wendy, John, and Michael’s parents). Peter toys with staying with them. He enjoyed having Wendy as a pretend mother in Neverland, and maybe it would be nice to have a permanent mother. Barrie writes,

“Would you send me to school?” Peter inquired craftily.“Yes.”“I don’t want to go to school and learn solemn things,” he

told her passionately. Mrs. Darling stretched out her arms to him, but he

repulsed her.“Keep back, lady, no one is going to catch me and make

me a man.”For Peter, growing older is thrust upon us by other

people, notably parents. In contrast, growing up comes naturally to Wendy. She is perhaps is a typical older sibling in that she becomes the default parent for her younger siblings when the parents aren’t around. She has a sewing kit ready when Peter’s shadow comes unattached, and she knows all of the good stories to tell the Lost Boys. To her, parenthood is inevitable and even wonderful.

In psychology, a term for people who don’t want to grow up is puer aeternus, Latin for “eternal boy.” Puer aeter-nus was popularized by Dr. Dan Kiley in his 1983 bestselling book The Peter Pan Syndrome: Men Who Have Never Grown Up, in which he describes older men whose lives are frozen in adolescence, and who often remain excessively depen-dent on their mothers. Marie-Louise von Franz, a Swiss Jungian psychologist and scholar, said of the puer aeternus:

“There is a terrific fear of being pinned down, of entering space and time completely, and of being the singular human being that one is. At the same time, there is a highly symbolic fascination for dangerous sports—particularly flying and mountaineering—so as to get as high as possible, the symbol-ism being to get away from reality…”

No wonder Peter likes to fly! When we skydive, for example, we feel a heightened awareness of our mortali-ty—we could die at any second—but we also have control over it. We decide when to pull the parachute.

The desire to avoid death is inherent in Peter Pan’s very creation. J.M. Barrie modeled Peter after his brother David, who died in an ice-skating accident when he was 13 and Barrie was 6. Barrie’s mother never recovered from the shock, and various sources say that Barrie always longed to recapture the happy years before his mother be-came depressed. In 1894, Margaret Henley, the daughter of Barrie’s friend William Ernest Henley, died at age 5 from cerebral meningitis. (William Henley was also the model for Robert Louis Stevenson’s character Long John Silver in Treasure Island.) Margaret used to call Barrie “fwendy” (i.e., “friendly”), which inspired him to create a charac-ter called Wendy. But the characters Peter and Wendy weren’t truly invented until around 1897, when Barrie became friends with Sylvia Llewelyn Davies, whom he met at a dinner party, and her five sons. To amuse the boys Barrie, or “Uncle Jim” to the boys, invented stories about a place called Neverland and a pack of Lost Boys. Two of the Llewelyn Davies boys were named Michael and Peter, and Barrie eventually attached their names to characters in the stories. In 1910, Sylvia died of cancer at age 43, three years after her husband Arthur also passed away due to cancer, and Barrie became a guardian of the children. In the preface to Peter and Wendy Barrie dedicated the book “To the Five” and says, “I always knew that I made Peter by rubbing the five of you violently together…that is all he is,

...whether to look death in the face and accept it, or avoid thinking about it.



the spark I got from you.” Sadly, he outlived some of the children to whom he was so devoted. One of the children, George Llewelyn Davies, died fighting in World War I. Michael drowned while swimming with a friend. Peter Llewelyn Davies outlived Barrie, but committed suicide by jumping in front of a train in 1960, a few weeks before the 100th anniversary of Barrie’s birth.

In addition to the creation of Peter Pan, a wildly imagi-native place came out of Barrie’s personal loss: Neverland. This fantasy world where one can stay a child forever resonates strongly with today’s millennial generation, who is often accused of resisting adulthood. A 2010 New York Times Magazine article examines “emerging adulthood” and why so many people in their 20s are taking longer than their parents to build independent lives. Popular TV shows like Master of None and Girls revolve around 20-somethings plagued by indecision about their life choices. They do everything they can to avoid growing up, even as time marches forward. “The traditional cycle seems to have gone off course,” the Times piece posits, “as young people remain un-tethered to romantic partners or to permanent homes, going back to school for lack of better options, traveling, avoiding commitments, compet-ing ferociously for unpaid internships or temporary (and often grueling) Teach for America jobs, forestalling the

beginning of adult life.” But in some ways holding off on becoming an adult can be a good thing. Studies show that once we reach adulthood, our brains become less plastic and brain circuits can be tweaked, but not overhauled. We can foster a longer period of cerebral plasticity by having new experiences and by engaging in challenging work. In For Peter Pan on her 70th birthday, the character Ann got her Ph.D. relatively late in life. Her long-lasting pursuit of

knowledge kept her young in the best way possible: she is still curious.

The appeal of Neverland is that the possibility of growing older is always within reach, but only if you want it. In reality, as Peter suspects when he is toying with the idea of being adopted by the Darlings, adulthood often comes to find us. A death of a parent forces us to grow up, a child is born and suddenly you are a parent, or a political situation drives us to act in new ways. For some of us, the realization that we will grow up arrives when we are still young. For example, Barrie says this of Wendy at the beginning of Peter Pan:

“One day when Wendy was two years old she was playing in a garden, and she plucked another flower and ran with it to her mother. I suppose she must have looked rather delightful, for Mrs Darling put her hand to her heart and cried, ‘Oh, why can’t you remain like this for ever!’ This was all that passed between them on the subject, but henceforth Wendy knew that she must grow up.”

We may remember the moment we felt adulthood coming toward us. The only choice we do have in the face of growing older is whether to look death in the face and accept it, or avoid thinking about it. Those who age consciously, with awareness of their responsibilities and fears, perhaps understand their own existence most clearly. They can tell the difference between truth and foolishness faster than most. They don’t waste their time. Their accumulated knowledge is often a source of wisdom for people in their lives. Some find peace of mind easier to come by. It is magical to possess the ability to watch the world as is spins and possess the awareness that we each have a necessarily ephemeral place in it, which is some-thing Peter Pan can never do.

This fantasy world where one can stay a child forever resonates strongly with today’s millennial generation.

The appeal of Neverland is that the possibility of growing older is always within reach, but only if you want it.



Gravity: an interview with

Director Les WatersB Y S A R A H R O S E L E O N A R D

Director Les Waters PH OTO BY Z ACH D E ZO N



Sarah Rose Leonard: What drew you to this play originally?Les Waters: Sarah and I are very close collaborators; I’ve

loved all my working experiences with her, and I wanted to further that collaboration, so this play was one of the first com-missions I put into place when I became the artistic director at Actors Theatre.

You grew up in England, lived in California for many years, and now you’ve been in Kentucky since 2012. What consti-tutes home for you?

I probably have many versions of home. I was born and brought up in the north of England. I had a home in London. Home in many ways for me is southern California, Solana Beach, because that’s where my wife Annie and I moved to when our children were young. I think one redefines it all the time. I think if somebody asked me where am I from, I would say England, although I’ve lived 20 years of my life here in the U.S.…it’s fluid. I’ll see pictures of the English countryside, particularly where I’m from, and I’m instantly drawn to it and intensely nostalgic. But I don’t know if I think that’s home. Home is now Louisville, where I live and work.

I haven’t been back to England for over 14 years. Part of me wants to go back because it is one of my homes, and I have a deep longing to see the house in the north of England, 30 Lincoln Gardens, where I was brought up. I think I would like to see it, and I’m totally convinced that I would be in floods of tears because I can’t enter that house again. Even if I persuad-ed the owners to let me in, it would not be the house of my memory.

Has your experience as a parent shaped your understand-ing of the play? As a son?

Yeah, as a parent, very strongly. As a son, I’m an only child, so the family dynamics in the play are in some sense foreign to me. I’m not the oldest of five; I’m not the middle kid; all that is very fresh and new to me and constantly fascinating to observe in rehearsal.

Les Waters’ singular productions are often marked by vividly controlled chaos, great articulation of emotion, and by least one moment of wild self-abandonment. When he was the associate artistic director at Berkeley Rep he championed plays by cut-ting-edge writers such as Naomi Iizuka, Will Eno, and Jordan Harrison and gave audiences a new perspective on classics such as Shaw’s Heartbreak House and Tennessee Williams’ The Glass Menagerie. He is known for his long and fruitful working relationships with three giants of the theatre world: Caryl Churchill, Charles Mee, and Sarah Ruhl. In 2012, after eight years at Berkeley Rep, Waters became the artistic director at Actors Theatre of Louisville. His love of new plays has a dedicated home at Actors The-atre’s Humana Festival of New American Plays, a globally renowned festival that celebrates contemporary American playwrights. Literary Manager Sarah Rose Leonard caught up with Waters between Humana events to discuss his latest collaboration with Sarah Ruhl.

What do you make of the way the play addresses death in each movement? Each section seems to have a distinct treatment of death.

I think that’s correct. It’s witnessed in the first Movement; for those of us who’ve witnessed the death of a parent, it’s very accurate in many ways to that. The second Movement is a discussion of adulthood and if one ever thinks one’s a grown-up, what it means to be a grown-up, and the impossibility of really looking at your own passing—what does it mean to not exist in this form? It’s probably incomprehensible. And in the third Movement, it’s a celebration of not growing up. Well, the third Movement is many things—it’s a reenactment of the play Peter Pan, but also a celebration of theatre—you can die onstage in the theatre, but you’re not dead; you resurrect. It’s being somehow able to imagine beyond this kind of conscious-ness, and a celebration of being young. I’m rapidly approaching 64, but I think inside I probably think I’m in my 30s.

What appeals to you about the power of “believing” in the play?

What appeals to me is that people really want it to happen. You really want to see Peter Pan fly! We did a work-shop here in January, because the flying company we use, zfx Flying Effects, is based in Louisville. I’m not particularly fond of heights, but I got in the harness and flew. The delight of defy-ing gravity, and gravity’s pull on you, is just extraordinary.

When did you first feel like a grown-up?There was a moment in Solana Beach when I was teach-

ing at ucsd, and I came home late from work, and Annie was asleep and our three children were asleep, and I sat in our living room and thought, “This is my life. This is what it is—this is my life,” and I felt more like a grown-up. But I think I’m in a continual process of becoming one.

I wonder if anyone ever 100% feels like a grown-up.I think in lots of ways it’s enormously overrated. It’s tiring.

In the play, the notion that childhood is being parented, yet Peter wants to be free from parents—it’s this interesting push and pull. And there’s a point where Ann is the only one who stays in Neverland, and they all say, “I have to go back to my life.” One’s life is a series of practicalities and responsibilities which is something that hopefully we embrace, but on the other hand one wants to deny all the time.

Given that there’s no real growing up, what do you think are the best and worst parts of the process?

The best bit is having knowledge of it, or having been through things and knowing what they’re like when they come up again. The worst part of getting older is gravity, and know-ing it’s finite. I don’t have religious beliefs, so it’s a tough thing to look at. I think that’s when you become a Buddhist.



I don’t want ever to be a man: Performing gender in Peter Pan

B Y K A T I E C R A D D O C K

Gender is not a fixed, static category; rather, we perform gender each day as we move through the world and interact with each other. The theatre has a richly complex relationship to the performance of gender. When Kathleen Chalfant dons the legendary green tights and jaunty feathered cap of Peter Pan in Sarah Ruhl’s new play, she joins a rich tradition of women playing the boy who wouldn’t grow up. Indeed, the very first Peter Pan was a woman—37-year-old Nina Boucicault played Peter in the original 1904 stage produc-tion at the Duke of York’s Theatre in London. Producer Charles Frohman convinced author J.M. Barrie that Peter should be played by a woman. He reasoned that a deep-voiced adult man would be unconvincing as the young character, and casting

a boy to play Peter would necessitate casting even younger children to play the Lost Boys, which was impractical since an English law prevented child actors from performing past 9:00 p.m. Frohman was also managing the American actress Maude Adams at the time, and knew she’d make a perfect Peter once the show came to New York in 1905. Adams played Peter to great acclaim on Broadway during the following decade; wom-en have continued to play Peter Pan ever since.

Cross-gender casting dates back to the beginning of theatre itself. In ancient Greek theatre, men played the female characters because it was considered unseemly for women to act; this was also standard practice in English Renaissance and Japanese kabuki theatre. In Britain, the Puritan Oliver Crom-well had banned acting for nearly 20 years until King Charles II returned to England and reopened the theatres in 1660, allowing the first professional women actors to grace London’s stages. Women played women, but also, in many instances, men; about a quarter of the roles played by women between 1660 and 1700 were “breeches roles.” These breeches roles are considered progressive by some because they subverted

In ancient Greek theatre, men played the female characters because it was considered unseemly for women to act.

Maude Adams as Peter Pan

Mary Martin as Peter Pan

A tile image of an ancient theatre scene



gender roles, but widely criticized by others for objectifying women, whose legs were often on display in figure-hugging pants primarily to titillate the audience. In opera, hundreds of male characters—sometimes young boys, but often a hero or central love interest in the piece—were written to be sung by women in the mezzo-soprano range. In English pantomimes, the leading male juvenile character is traditionally played by a woman in tight-fitting men’s clothes, opposite another woman as the female ingénue. With the advent of animated films, women began voicing many young male characters, such as Nancy Cartwright as Bart Simpson in The Simpsons.

While productions have occasionally opted to cast a boy as Peter Pan, Peter has almost always been played by a wom-an. At the Duke of York’s Theatre, Pauline Chase played Peter from 1906 to 1913; she was a favorite of Barrie’s, who made her his goddaughter and enjoyed her “lovable tomboy” iteration of Peter. The first film adaptation of Peter Pan, made in 1924, was silent and featured 17-year-old Betty Bronson. Then in 1928, Eva Le Gallienne directed and played the title role in another popular Broadway production—the first in which Peter flew out over the audience, sailing into the balcony on an invisible wire. Interestingly, it seems the youth of the actress playing Peter mattered far less to producers than her gender, for mid-dle-aged women have played Peter through the decades. Jean Arthur played Peter on Broadway when she was nearly 50. The famous 1954 musical, starring the inimitable 41-year-old Mary Martin, premiered at the Curran Theatre in San Francisco be-fore moving to Broadway, where Martin won the Tony Award for Best Actress. In 1955, nbc presented Peter Pan live as the first full-length Broadway show on color television, drawing a record-breaking audience of 65 million and earning Martin an Emmy.

While Mary Martin’s Peter is perhaps the best known, many prominent actresses played Peter after her, including Hayley Mills on the West End and Mia Farrow in another mu-sical adaptation. Sandy Duncan holds the title of longest-run-ning Peter Pan on Broadway for her work in the 1979-1981 revival. Reviewer Marilyn Stasio admired Duncan’s boyishness; her Peter was “all boy…an adorable boy, to be sure, with her grin-cracked face and graceful bounds in mid-air; but a boy, for all that, with ants in his pants and a nose that runs and a down-right willful disdain for authority…she avoids even the most tempting moments to be cute, or to signal a flash of grown-up femininity.” Olympic gymnast Cathy Rigby embodied Peter in productions over the course of three decades; she played Peter in 2013 at the age of 60.

Most recently, Allison Williams played Peter in nbc’s 2014 live television special, spurring a fresh wave of critical thought about Peter Pan and gender. In her Atlantic piece “Peter Pan, Queer Icon,” Shannon Keating notes the power of the casting custom, remarking that it gives us a mainstream representa-tion of female-bodied boyishness—an image that’s still rela-tively rare in our culture: “Peter Pan as both a character and a cultural touchstone evades the reductive gender categoriza-tion that pervades children’s media. Seeing a female-bodied character embodying the sort of roughness, recklessness, and confident swagger socially afforded to boys is a rarity and thus, a sort of treasure—particularly for queer women, and queer or questioning girls, so often denied popular representations

of their own likeness.” The story of Peter Pan rehearses problematic and dated notions of femininity, from Wendy’s spring cleaning to Mrs. Darling’s lullabies to Tiger Lily and Tinkerbell’s jealous vying for Peter’s affections. If Peter is played by a boy, the only women we see onstage are enacting tediously traditional gender roles. Watching a woman play Peter is usefully unsettling because she offers an alternative to these stereotypes.

Director and theatre theorist Richard Schechner advo-cates for a 21st-century “renaissance of open casting,” which we can already see sparks of in the work of artists like Anna Deavere Smith, who embodies men and women in her per-

formances; Julie Taymor, who cast Helen Mirren as Prospero; and Fiona Shaw, who played Richard II. Rather than reserving open casting for more androgynous characters like Peter Pan and Hamlet, Schechner calls for entirely open casting, envi-sioning theatre that, in confronting its audience by casting against type, asks “audiences to wonder what such casting means—and to wonder about their own place in various social hierarchies and circumstances; maybe even to inquire into their own personal situations…performers and spectators alike would be more able to see gender, race, age and body type not as ‘biological destinies’ but as flexible, historically conditioned performative circumstances.” At its most exciting, at its most revolutionary, theatre liberates us from constrictive precon-ceptions, freeing us to examine our world, each other, and ourselves with fresh eyes. As the father in Sarah Ruhl’s For Peter Pan on her 70th birthday marvels, “How bout my little girl flying?”

“Peter Pan as both a character and a cultural touchstone evades the reductive gender categorizationthat pervades children’s media.”— SHANNON KEATING

Sarah Ruhl’s mother as Peter Pan PH OTO CO U RTE S Y O F M A RY K ATE ZIHA R



SPECIAL SUMMER PRESENTATION

S E A S O N S P O N S O R SJU L 1–AU G 14 · P E E T ’ S T H E AT R E

Written and performed by John LeguizamoDirected by Tony Taccone

Co-production with the Public TheaterWorld Premiere

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LH_nextup.indd 1 5/2/16 3:05 PMFP_Program.indd 32 5/9/16 4:32 PM

by Sarah Ruhldirected by Les WatersM AY 20 –JULY 3, 2016RO DA TH E ATRE · M AIN S E A SO N

For Peter Pan on her 70th birthday is made possible thanks to the generous support of

S E A S O N S P O N S O R SJack & Betty Schafer Michael & Sue SteinbergThe Strauch Kulhanjian Family

E X ECU T IV E S P O N S O R SJean & Michael StrunskyGail & Arne Wagner

S P O N S O R SPaul Friedman & Diane ManleyScott & Sherry HaberMarjorie RandolphLiliane & Ed Schneider

A S S O CIAT E S P O N S O R SEdie BarschiValerie Barth & Peter WileyLynne CarmichaelRobert Council & Ann Parks-CouncilWilliam Espey & Margaret Hart EdwardsTracy & Mark FerronMary & Nicholas GravesDale & Don MarshallPeter Pervere & Georgia Cassel

PRO D U C TIO N S TAFFScenic Design Annie Smart

Costume Design Kristopher CastleLighting Design Matt Frey

Sound Design Bray PoorDramaturg Amy Wegener

Fight Director Drew FracherProduction Stage Manager Michael Suenkel

Assistant Stage Manager Karen Szpaller

C A S TIN ORDER OF SPE AKING

Ann Kathleen Chalfant

John Charles Shaw Robinson

Michael Keith Reddin

Jim David Chandler

Wendy Ellen McLaughlin

George Ron Crawford

A dog Yodel

Berkeley Repertory Theatre presents the West Coast premiere of

B E RK E LE Y RE PE R TO RY TH E ATRE TO N Y TACCO N E , MICHAEL LEIBERT ARTISTIC DIREC TOR

S U SA N M E DA K , M ANAGING DIREC TOR

The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

For Peter Pan on her 70th birthday was commissioned by and premiered at Actors Theatre of Louisville in the 2016 Humana Festival of New American Plays. This play was developed

with support of a generous gift from Emily Bingham and Stephen Reily and an Edgerton Foundation New Play Award.

Flying Effects provided by zfx, Inc.

AffiliationsThe director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by United Scenic Artists Local usa-829, iatse.

SPECIAL SUMMER PRESENTATION

S E A S O N S P O N S O R SJU L 1–AU G 14 · P E E T ’ S T H E AT R E

Written and performed by John LeguizamoDirected by Tony Taccone

Co-production with the Public TheaterWorld Premiere

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BY

TIMO

THY

GR

EENFIELD

-SAN

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LH_nextup.indd 1 5/2/16 3:05 PM



Kathleen ChalfantA N N

Kathleen was last seen at Berkeley Rep in Hon-our. She has appeared on Broadway in Angels in America (Tony Award and Drama Desk Award nominations), Racing Demon, Dance with Me, and M. Butterfly. Her off-Broadway credits

include Wit (Drama Desk, Obie, Lortel, Outer Critics Circle Awards), Rose, Dear Elizabeth, A Walk in the Woods (Drama Desk nomination), Red Dog Howls, Dead Man’s Cell Phone, and Nine Armenians (Drama Desk nomination). She has also appeared at many regional theatres, including Actors Theatre of Louisville, McCar-ter Theatre Center, the Guthrie Theater, Arena Stage, Yale Repertory Theatre, Long Wharf Theatre, Hartford Stage, the Mark Taper Fo-rum, and others. Her film appearances include The Bath, Isn’t It Delicious, Duplicity, A Price above Rubies, and Kinsey. She has been seen on TV in The Affair, Law & Order: svu, Madam Secretary, Forever, The Strain, Elementary, House of Cards, Mercy, Rescue Me, The Guardian, The Laramie Project, Benjamin Franklin, and Law & Order: Criminal Intent. Kathleen has also received the Drama League and Sidney Kingsley Awards.

David ChandlerJ I M

David was last seen at Berkeley Rep as Mark Rothko in Red, and he also appeared in Heartbreak House. His Broadway credits include Lost in Yonkers, Death of a Salesman, and American Clock. He has appeared off Broadway

at Soho Playhouse, New York Shakespeare Festival, New York Theatre Workshop, Playwrights Horizons, Second Stage Theatre, mcc Theatre, La MaMa, and Vineyard Theatre, among others. He has appeared at London’s Bush Theatre in A Question of Mercy and at Carnegie’s Zankel Hall as Luciano Berio in Alarm Will Sound’s production of 1969. His regional theatre credits include Actors Theatre of Louisville, the Guthrie Theater, Long Wharf Theatre, McCarter Theatre Center, Yale Repertory Theatre, the Wilma Theater, and Williamstown Theatre Festival, among others. David’s film and television credits include The Grey Zone, Hide and Seek, Death of a Salesman, Upheaval, The Portrait, Her Alibi, Seinfeld, Third Rock from the Sun, Arliss, The Undeserved, and Law & Order.

Ron CrawfordG E O R G E

Ron has appeared on Broadway in The Grapes of Wrath at Steppen-wolf Theatre Company and as an understudy in Outside Mullingar at Manhattan Theatre Club. His off-Broadway credits include The Invisible Hand at Here

Arts Center and White Woman Street at Irish Repertory Theatre. He has also appeared in For Peter Pan on her 70th birthday at Actors Theatre of Louisville; The Crucible at Hartford Stage; A Raisin in the Sun at Geva Theatre Center; Eventide at the Denver Center for the Performing Arts; To Kill a Mockingbird, Of Mice and Men, and Ragtime at Weston Playhouse; The Night of the Iguana and Valley Song at Dor-set Theatre Festival; Outside Mullingar at New Harmony Theatre; Ghost on Fire at Goodman Theatre; Schmucks (Groucho Marx) at the Wil-ma Theater; The Last Romance at Seven Angels Theatre; and A Christmas Carol (Scrooge) at River Union Stage. He has also performed in Travels with Mark Twain, an original one-man show performed in theatres, campuses, librar-ies, and living rooms. Ron’s film credits include Arthur and the Invisibles, 1, 2, and 3 (Luc Bes-son), Blood Ties, Sweet Little Lies, and My Man’s A Loser, and he has appeared in the television shows Deadbeat, The Jack and Triumph Show, Law & Order, Spin City, and All My Children.

Ellen McLaughlinW E N DY

Ellen has appeared at Berkeley Rep in Hedda Gabler, In Perpetuity Throughout the Universe, and Ghosts. She orig-inated the part of the Angel in Angels in Amer-ica, playing the role in workshops and regional productions through its

Broadway run in 1993–94. Other favorite work includes the Homebody in Bartlett Sher’s pro-duction of Homebody/Kabul (Intiman Theatre, Seattle), Pirate Jenny in A Threepenny Opera (Trinity Repertory Theatre, Elliot Norton Award), Claire in Albee’s A Delicate Balance (Arena Stage, Yale Repertory Theatre), Margie in Good People (George Street Playhouse, Se-attle Rep), and Rosemary in Outside Mullingar (George Street Playhouse). Her New York credits include String of Pearls (Primary Stag-es), Blue Window (Manhattan Theatre Club), A Bright Room Called Day (the Public Theater), and Dear Elizabeth (the Women’s Project.) Her television work includes several appearances on Law & Order. Ellen is also a playwright.

Keith ReddinM I C H A E L

Keith appeared in Berkeley Rep’s produc-tion of Sarah Ruhl’s adaptation of Chekhov’s Three Sisters, directed by Les Waters. He has also appeared in Sarah Ruhl’s Passion Play (Yale Repertory Theatre and Epic Theatre, New York).

His other credits include productions in New York at Lincoln Center Theater, Manhattan Theatre Club, Playwrights Horizons, Vineyard Theatre, as well as regionally at Goodman Theatre, La Jolla Playhouse, Alley Theatre, Yale Rep, Cleveland Playhouse, and Actors Theatre of Louisville.

Charles Shaw RobinsonJ O H N

Charles’ work for Berke-ley Rep includes the role of the Father in Sarah Ruhl’s Eurydice. He just appeared in the world premiere of Swimmers by Rachel Bonds and in Howard Brenton’s Anne Boleyn — both at Marin Theatre Compa-

ny. Other favorite roles include Sorn in Stupid F**king Bird and Leonard in Seminar (both for San Francisco Playhouse), Milton in Tony Kush-ner’s Homebody/Kabul (Berkeley Rep), Iago in Othello (California Shakespeare Theater), and Henri in Magic Fire, directed by Jack O’Brien (Berkeley Rep/the Old Globe). His regional theatre credits include the title roles in Hamlet (Cincinnati Playhouse in the Park), Pericles (Center Stage, Baltimore), and Scaramouche (the Empty Space Theatre, Seattle). He was last seen in New York in the American pre-miere of Frank McGuinness’ Gates of Gold at 59E59 Theaters.

Sarah RuhlP L AY W R I G H T

For Peter Pan on her 70th birthday marks Sarah’s fifth production at Berkeley Rep and her fifth collaboration with Les Waters; previous productions at Berkeley Rep include the West Coast premiere of Eurydice; the world premiere of In the Next Room, or the vibrator play; an adaptation of Chekhov’s Three Sisters; and the West Coast premiere of Dear Elizabeth. In the Next Room went on to Broad-way, playing at Lyceum Theatre. Sarah’s other plays include The Oldest Boy, The Clean House, Passion Play, Dead Man’s Cell Phone, Melancholy Play, Orlando, Late: a cowboy song, and Stage Kiss. Her plays have been seen off Broadway at Women’s Project Theater, Playwrights Horizons, Second Stage Theatre, and Lincoln Center’s Mitzi E. Newhouse Theater. Her

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select regional credits include Yale Repertory Theatre and Goodman Theatre. Sarah received the Susan Smith Blackburn Prize, the Whiting Award, the Lilly Award, a pen Award, and the MacArthur Foundation “Genius” Award. She has been a two-time Pulitzer Prize finalist and a Tony Award nominee. Her book of essays, 100 Essays I Don’t Have Time to Write, was pub-lished by Faber and Faber in the fall of 2014.

Les WatersD I R E C T O R

From 2003 to 2011, Les served as associate artistic director at Berkeley Rep, where he directed Sarah Ruhl’s Eurydice; In the Next Room, or the vibrator play; Three Sisters; and Dear Elizabeth. He also directed 15 other plays for Berkeley Rep, including the world premieres of Charles Mee’s Fêtes de la Nuit, Jordan Harrison’s Finn in the Underworld, Adele Edling Shank’s adaptation of Virginia Woolf’s To the Lighthouse, Naomi Iizuka’s Concerning Strange Devices from the Distant West, and Todd Almond and Matthew Sweet’s Girlfriend. As current artistic director of Actors Theatre of Louisville, Obie Award winner Les has directed Charles Mee’s The Glory of the World, Rebecca Gilman’s Luna Gale, Naomi Iizuka’s At the Vanishing Point, Lucas Hnath’s The Christians, Thornton Wilder’s Our Town, Will Eno’s Gnit, Todd Almond’s Girlfriend, and Eugene O’Neill’s Long Day’s Journey into Night for the company. Les also previously directed Big Love by Charles Mee at the Humana Fes-tival in 2000, and the site-specific production of Naomi Iizuka’s At the Vanishing Point at the 2004 Humana Festival. In the last 10 years, his shows have ranked among the year’s best in the New Yorker, the New York Times, Time Out New York, Time Magazine, and usa Today. His productions have been seen in New York at Playwrights Horizons, Signature Theatre Company, the Public Theater, Second Stage Theatre, Manhattan Theatre Club, Connelly Theater, Clubbed Thumb, and Soho Rep, and regionally at theatres such as the Mark Taper Forum, Steppenwolf Theatre Company, Goodman Theatre, Yale Repertory Theatre, American Conservatory Theater, La Jolla Play-house, and American Repertory Theater. In 2009, he made his Broadway debut with In the Next Room, or the vibrator play. He led the mfa directing program at University of California, San Diego from 1995 to 2003.

Annie SmartS C E N I C D E S I G N E R

Annie’s previous Berkeley Rep credits include Big Love; Concerning Strange Devices from the Distant West; Fêtes de la Nuit; Heartbreak House; In the Next Room, or the vibrator play; The Mystery of Irma Vep; Passing Strange; Rita Moreno: Life Without Makeup; Suddenly Last Summer; Taking Over; Three Sisters; Tiny Kush-ner; and To the Lighthouse. Annie is originally from London, where she designed sets and costumes for Joint Stock Theatre Group, the National Theatre, and the Royal Court, among many others. She recently designed At the Vanishing Point for Actors Theatre of Louis-ville. In the U.S., Annie has designed for many

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major theatres, including the Public Theater, Arena Stage, bam, Steppenwolf Theatre Com-pany, the Guthrie Theater, La Jolla Playhouse, and Long Wharf Theatre, among others. Now based in the Bay Area, her show designs include Blithe Spirit, Candida, Othello, The Tempest, Man and Superman, An Ideal Husband, Private Lives, John Steinbeck’s The Pastures of Heaven, Pygmalion, and Lady Windermere’s Fan at California Shakespeare Theater; and A Doll’s House, Night and Day, and The Threepenny Opera for American Conservatory Theater. She currently teaches costume and set design at the University of California, Berkeley.

Kristopher CastleC O S T U M E D E S I G N E R

Kristopher’s credits include Luna Gale, At the Vanishing Point, A Christmas Carol, Remix 38, The Ten-Minute Plays (2013 and 2014 Humana Festivals), Noises Off, Sleep Rock Thy Brain, True West, Death Tax, The Veri**on Play, and The Edge of Our Bodies at Actors Theatre of Louisville; [title of show] at Signature Theatre; Passing Strange and Jerry Springer: The Opera at Studio Theatre; My Way Little Girl at the Kennedy Center Millennium Stage; Cinderella at North Shore Music Theatre; La Bohème and Die Fledermaus at Catholic University of Amer-ica; The Shape of Things, Once Upon a Mattress, Castro’s Beard, Little Shop of Horrors, and Eleemosynary at Barrington Stage Company; and The Secret Garden, Oklahoma!, and Forever Plaid at Paper Mill Playhouse.

Isabella Byrd A S S O C I AT E L I G H T I N G D E S I G N E R

Isabella is a Brooklyn–based lighting designer working in theatre, opera, and experimental installation. Her recent credits include The Flick (the National Theatre), okay by Taylor Mac, Pirates of Penzance (Amarillo Opera), Returning to Albert Joseph (the Satori Group), Gilded Girls (Williams College Theatre Lab), Queen for a Day (Theatre at St. Clements), Bareknuckle (Vertigo Theatre), Remix 38 (Actors Theatre of Louisville, Humana Festival), and The Seagull (with John Gould Rubin). Her upcoming credits include associate design for Othello at New York Theatre Workshop. Isabella is associated with Playwrights Horizons, Monica Bill Barnes & Company, Prague Quadrennial 2015, Pig Iron Theatre Company, Lincoln Center, Spoleto Festival usa, Williamstown Theatre Festival, Dallas Theatre Center, and PigPen Theatre Co. She is the creative producer of 13Playwright’s implosion archive, 13p.org, and a design editor at Chance Magazine.

Bray PoorS O U N D D E S I G N E R

Bray’s Berkeley Rep credits include Eurydice; In the Next Room, or the vibrator play; Concerning Strange Devices from the Distant West; Red; and Dear Elizabeth. His recent work includes The Glass Menagerie at Toneelgroep Amsterdam,

The Last Match at the Old Globe, and 10 out of 12 at Soho Rep (directed by Les Waters). His Broadway credits include The Real Thing; In the Next Room, or the vibrator play; and American Plan. His sound design and music have been heard in New York at Playwrights Horizons, Second Stage Theatre, the Public Theater, Signature Theatre Company, New York The-atre Workshop, PS 122, and Clubbed Thumb, and regionally at Trinity Repertory Company, Arena Stage, Yale Repertory Theatre, Long Wharf Theatre, and South Coast Repertory, among others. He has also created multimedia art installations, as well as original music and sound for various media sites dedicated to social change. Upcoming: Branden Jacobs-Jen-kins’ War at Lincoln Center Theater.

Amy WegenerD R A M AT U R G

Amy is the literary director at Actors Theatre of Louisville, where she heads the literary department and coordinates the reading and selection process for the Humana Festival. In 15 seasons with Actors Theatre and four as literary manager at the Guthrie Theater, she has worked as a dramaturg on more than 100 productions and workshops of new plays and classics. Recent Actors Theatre credits include Long Day’s Journey into Night, Tom Jones, and Luna Gale, as well as the Humana Festival premieres of The Glory of the World (also at bam in New York), I Will Be Gone, The Grown-Up, Maple and Vine, Appropriate, Gnit, Eat Your Heart Out, The Veri**on Play, and Elemeno Pea. She has co-edited 16 published anthologies and holds degrees from Princeton and North-western University.

Drew FracherF I G H T D I R E C T O R

Drew is a fight master and past president of the Society of American Fight Directors. His work as a fight director has been seen at the-atres throughout the United States, including staging fights for the Tony Award–winning Best Revival of Company at the Ethel Barry-more in New York, NY. Other theatres include Actors Theatre of Louisville, Cincinnati Play-house in the Park, the Repertory Theatre of St. Louis, Cincinnati and Atlanta Operas, Missouri Repertory Theatre, the American Shakespeare Center, and the Alabama, Georgia, and Cincin-nati Shakespeare Festivals.

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Michael Suenkel P R O D U C T I O N S TA G E M A N A G E R

Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 22nd year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, the Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic The-atre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Karen SzpallerA S S I S TA N T S TA G E M A N A G E R

Karen is thrilled to be back for her 12th season at Berkeley Rep. Her favorite past Berkeley Rep productions include Tribes, The Wild Bride, The Lieutenant of Inishmore, Eurydice, Fêtes de la Nuit, Comedy on the Bridge/Brundibar, Compul-sion, and Concerning Strange Devices from the Distant West. Her favorites elsewhere include The Unfortunates, A Christmas Carol (2006–15), Armistead Maupin’s Tales of the City, 1776, Stuck Elevator, Blackbird, Curse of the Starving Class, and The Tosca Project at American Conservato-ry Theater; Anne Patterson’s art and theatrical installation Seeing the Voice: State of Grace and Anna Deavere Smith’s On Grace, both at Grace Cathedral; the national tour of Spamalot in San Francisco; Wild with Happy, Striking 12, and Wheelhouse at TheatreWorks; Ragtime and She Loves Me at Foothill Music Theatre; The 25th Annual Putnam County Spelling Bee at San Jose Repertory Theatre; Salomé at Aurora Theatre Company; and Urinetown: The Musical at San Jose Stage Company. Karen is the pro-duction coordinator at TheatreWorks.

Tony Taccone M I C H A E L L E I B E R T A R T I S T I C D I R E C T O R

During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning non-profit has earned a reputation as an interna-tional leader in innovative theatre. In those 19 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that trans-ferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drink-ing. Prior to working at Berkeley Rep, Tony served as artistic director of Eureka Theatre, which produced the American premieres of




plays by Dario Fo, Caryl Churchill, and David Edgar before focusing on a new generation of American writers. While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. He has collaborated with Kushner on eight plays at Berkeley Rep, including The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. To-ny’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, the Public Theater, and Seattle Repertory Theatre. As a playwright, he debuted Ghost Light, Rita Moreno: Life Without Makeup, and Game On, written with Dan Hoyle. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Susan Medak M A N A G I N G D I R E C T O R

Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident The-atres (lort) and treasurer of Theatre Commu-nications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired panels for the Massa-chusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berkeley Associa-tion (dba). She is the founding chair of the Berkeley Arts in Education Steering Commit-tee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

Theresa Von Klug G E N E R A L M A N A G E R

Theresa joined Berkeley Rep at the beginning of the 2015–16 season. She has over 20 years of experience in the New York not-for-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Most recently she was the interim general manager for the Public Theater and general manager/line producer for Theatre for a New Audience, where she opened its new state-of-the-art theatre in Brooklyn, and filmed a major motion picture of the inaugural production of Julie Taymor’s A Midsummer Night’s Dream, released June 2015. Theresa has worked as a production manager at the New Jersey Performing Arts Center and New York City Center, including the famous Encores! Great American Musicals in Concert, and as a field representative/lead negotiator for the Association of Theatrical Press Agents and Managers. She holds a MS in Labor

“Seeing my kids watch the show today, their faces lit up…..it reminds me of the real job of art: it's to make us feel alive, not just that we exist.”

—Jordan Winer, Drama Teacher at Berkeley High School, after the student matinee of Berkeley Rep’s Macbeth

Help inspire the next generation. Give today.berkeleyrep.org/give · 510 647-2906




Relations and Human Resources Management from Baruch College.

Peter Dean P R O D U C T I O N M A N A G E R

Peter arrived at Berkeley Rep in 2014 after a 20-year career in New York, Boston, and Denver. Prior to trekking across the country to find home, Peter was serving as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shake-speare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also spent time in New York helping Alex Timbers to develop Rocky the Musical, The Last Goodbye, and the cult classic Dance Dance Revolution the Musical. Other fa-vorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane The-atre, Little Flower of East Orange directed by the late Phillip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has had the honor of working with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shake-speare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.

Madeleine Oldham R E S I D E N T D R A M AT U R G / D I R E C T O R , T H E G R O U N D F L O O R

Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commission-ing and new play development, and drama-turged the world premiere productions of The House that will not Stand, Passing Strange, and In the Next Room, or the vibrator play, among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commission-ing program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin, csaD I R E C T O R O F C A S T I N G /A R T I S T I C A S S O C I AT E

This is Amy’s 26th season at Berkeley Rep. Through the years she has also had the plea-sure of casting plays for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Com-pany, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led work-shops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of csa, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

Jack & Betty Schafer S E A S O N S P O N S O R S

Betty and Jack are proud to support Berke-ley Rep. Jack just rotated off the Theatre’s board and is on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute where he served as board chair. Betty is on the boards of Earthjustice, Coro Foundation, Sponsors for Educational Oppor- tunity (seo), San Francisco Community College Foundation, and Brandeis Hillel Day School. They live in San Francisco.

Michael & Sue Steinberg S E A S O N S P O N S O R S

Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.

The Strauch Kulhanjian Family S E A S O N S P O N S O R S

Roger Strauch is a former president of Berke-ley Rep’s board of trustees and is currently

vice president of the board. He is chairman of the Roda Group (rodagroup.com), a venture-development company based in Berkeley focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of the UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

The Ira and Leonore S. Gershwin Philanthropic Fund/ Jean & Michael StrunskyE X E C U T I V E S P O N S O R S

Michael and Jean Strunsky have a long history with the arts. Mike manages the estate of his late uncle, Ira Gershwin, and promotes Ger-shwin music worldwide. He helped facilitate the Gershwin Room in Washington, DC, the Ira Gershwin Gallery at the Disney Concert Hall in LA, and the annual Gershwin Prize for Popular Song. Mike is a sustaining advisor to Berkeley Rep and serves on the board of the Michael Feinstein Foundation. He is a past member of the boards of the Goodspeed Op-era House, the Jewish Home of San Francisco, and the San Francisco Symphony. Jean and Mike co-manage the Ira and Leonore S. Gersh-win Philanthropic Fund and a Trust for the Mu-sic Division of the Library of Congress. They are members of the Library of Congress’ James Madison Council. Jean is an active Berkeley Rep trustee and has served as co-chair of the annual gala multiple times. She serves on Theatre Communications Group’s National Council and is a former board member of jvs, where she continues to co-chair the Employee of the Year Awards to select winners for the annual jvs Strictly Business Lunch.

Gail & Arne WagnerE X E C U T I V E S P O N S O R S

Arne Wagner retired from the law firm of Calvo Fisher & Jacob in San Francisco. In his retirement, he teaches high school math part-time and serves as treasurer for Tiba Founda-tion. Gail Wagner recently retired from Kaiser in San Leandro where she was their hematolo-gist and oncologist. She is the founder of Tiba Foundation (tibafoundation.org), an organiza-tion investing in community healthcare in an underprivileged district of western Kenya, in partnership with Matibabu Foundation. She is also on the board of Africa Cancer Foundation usa. Gail has been a Berkeley Rep trustee for



four years and, together, Gail and Arne have been attending the Theatre since they were students in 1972.

Scott & Sherry HaberS P O N S O R S

Scott and Sherry are thrilled to sponsor For Peter Pan on her 70th birthday. Scott and Sherry have been interested in the arts as long as they can remember, including choral and instrumental music, dance, and live theatre. Scott, who is a corporate law partner at Latham and Watkins llp, served on Berkeley Rep’s board of trustees from 2005 through 2014 and is currently a sustaining advisor to the board. Sherry teaches LaBlast dance class-es, serves as president of the Burlingame High School Music Boosters and volunteers with Pinewood High School parent group. It is with great pleasure that the Habers are able to support Berkeley Rep and exceptional regional theatre.

Marjorie RandolphS P O N S O R

Marjorie is a past president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She was the head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has sponsored more than 30 plays. A member of the California Bar and a former president of California Women Lawyers, she serves as a community board member and treasurer of the Psychoanalytic Institute of Northern California, a member of the Chabot Space & Science Center Foundation Leadership Coun-cil, and a member of the National Leadership Council for Futures Without Violence. She also serves on the boards of UC Press and Kronos Quartet.

BART S E A S O N S P O N S O R

Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can get discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun.

KPIX-TV (Channel 5) S E A S O N S P O N S O R

kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytell-ing. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as

its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative—look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organiza-tions such as Berkeley Rep, and are proud to serve as season media sponsors.

Peet’s Coffee S E A S O N S P O N S O R

Peet’s Coffee is proud to be the exclusive cof-fee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming. Peet’s is honored to support Berkeley Rep’s renovation of the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley, and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness, and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed® Gold certi-fied roaster in the nation.

Wells Fargo S E A S O N S P O N S O R

As the top corporate philanthropist in the Bay Area (according to the S.F. Business Times), Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance. Talk to a Wells Fargo banker today to see how they can help you become more financially successful.

Additional staffBandAnna McGahey—trombone, Michael Taylor—trum-pet, Liam Robertson—clarinet

Canine servicesBow Wow Productions

Deck crewGabriel Holman, Matt Reynolds, Thomas Weaver

ElectricsMelina Cohen-Bramwell, Gabriel Holman, Brad Hopper, Kevin August Landesman, Will Poulin, Minerva Ramirez, Sarina Renteria, Matt Reynolds, Corey Schaeffer, Andrea J. Schwartz, Kourtney Snow, Caitlin Steinmann, Molly Stewart-Cohn, Thomas Weaver, Lauren Wright

Props Amelia Burke-Holt, Noah Kramer, Rebecca Willis

Scene shopRoss Copeland, Noah Lange, Carl Martin, Read Tuddenham

WardrobeBarbara Blair, Christina Weiland

Medical consultation for Berkeley Rep provided by Cindy J. Chang MD, ucsf Assoc. Clinical Professor and Steven Fugaro, MD.

Did you know that you can purchase

GUARANTEED PARKING

for your next performance?

Find out more at

BERKELEYREP.ORG/PARKING or ask at the box office!




Relations and Human Resources Management from Baruch College.

Peter Dean P R O D U C T I O N M A N A G E R

Peter arrived at Berkeley Rep in 2014 after a 20-year career in New York, Boston, and Denver. Prior to trekking across the country to find home, Peter was serving as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shake-speare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also spent time in New York helping Alex Timbers to develop Rocky the Musical, The Last Goodbye, and the cult classic Dance Dance Revolution the Musical. Other fa-vorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane The-atre, Little Flower of East Orange directed by the late Phillip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has had the honor of working with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shake-speare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.

Madeleine Oldham R E S I D E N T D R A M AT U R G / D I R E C T O R , T H E G R O U N D F L O O R

Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commission-ing and new play development, and drama-turged the world premiere productions of The House that will not Stand, Passing Strange, and In the Next Room, or the vibrator play, among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commission-ing program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin, csaD I R E C T O R O F C A S T I N G /A R T I S T I C A S S O C I AT E

This is Amy’s 26th season at Berkeley Rep. Through the years she has also had the plea-sure of casting plays for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Com-pany, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led work-shops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of csa, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

Jack & Betty Schafer S E A S O N S P O N S O R S

Betty and Jack are proud to support Berke-ley Rep. Jack just rotated off the Theatre’s board and is on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute where he served as board chair. Betty is on the boards of Earthjustice, Coro Foundation, Sponsors for Educational Oppor- tunity (seo), San Francisco Community College Foundation, and Brandeis Hillel Day School. They live in San Francisco.

Michael & Sue Steinberg S E A S O N S P O N S O R S

Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.

The Strauch Kulhanjian Family S E A S O N S P O N S O R S

Roger Strauch is a former president of Berke-ley Rep’s board of trustees and is currently

vice president of the board. He is chairman of the Roda Group (rodagroup.com), a venture-development company based in Berkeley focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of the UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

The Ira and Leonore S. Gershwin Philanthropic Fund/ Jean & Michael StrunskyE X E C U T I V E S P O N S O R S

Michael and Jean Strunsky have a long history with the arts. Mike manages the estate of his late uncle, Ira Gershwin, and promotes Ger-shwin music worldwide. He helped facilitate the Gershwin Room in Washington, DC, the Ira Gershwin Gallery at the Disney Concert Hall in LA, and the annual Gershwin Prize for Popular Song. Mike is a sustaining advisor to Berkeley Rep and serves on the board of the Michael Feinstein Foundation. He is a past member of the boards of the Goodspeed Op-era House, the Jewish Home of San Francisco, and the San Francisco Symphony. Jean and Mike co-manage the Ira and Leonore S. Gersh-win Philanthropic Fund and a Trust for the Mu-sic Division of the Library of Congress. They are members of the Library of Congress’ James Madison Council. Jean is an active Berkeley Rep trustee and has served as co-chair of the annual gala multiple times. She serves on Theatre Communications Group’s National Council and is a former board member of jvs, where she continues to co-chair the Employee of the Year Awards to select winners for the annual jvs Strictly Business Lunch.

Gail & Arne WagnerE X E C U T I V E S P O N S O R S

Arne Wagner retired from the law firm of Calvo Fisher & Jacob in San Francisco. In his retirement, he teaches high school math part-time and serves as treasurer for Tiba Founda-tion. Gail Wagner recently retired from Kaiser in San Leandro where she was their hematolo-gist and oncologist. She is the founder of Tiba Foundation (tibafoundation.org), an organiza-tion investing in community healthcare in an underprivileged district of western Kenya, in partnership with Matibabu Foundation. She is also on the board of Africa Cancer Foundation usa. Gail has been a Berkeley Rep trustee for



four years and, together, Gail and Arne have been attending the Theatre since they were students in 1972.

Scott & Sherry HaberS P O N S O R S

Scott and Sherry are thrilled to sponsor For Peter Pan on her 70th birthday. Scott and Sherry have been interested in the arts as long as they can remember, including choral and instrumental music, dance, and live theatre. Scott, who is a corporate law partner at Latham and Watkins llp, served on Berkeley Rep’s board of trustees from 2005 through 2014 and is currently a sustaining advisor to the board. Sherry teaches LaBlast dance class-es, serves as president of the Burlingame High School Music Boosters and volunteers with Pinewood High School parent group. It is with great pleasure that the Habers are able to support Berkeley Rep and exceptional regional theatre.

Marjorie RandolphS P O N S O R

Marjorie is a past president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She was the head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has sponsored more than 30 plays. A member of the California Bar and a former president of California Women Lawyers, she serves as a community board member and treasurer of the Psychoanalytic Institute of Northern California, a member of the Chabot Space & Science Center Foundation Leadership Coun-cil, and a member of the National Leadership Council for Futures Without Violence. She also serves on the boards of UC Press and Kronos Quartet.

BART S E A S O N S P O N S O R

Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can get discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun.

KPIX-TV (Channel 5) S E A S O N S P O N S O R

kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytell-ing. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as

its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative—look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organiza-tions such as Berkeley Rep, and are proud to serve as season media sponsors.

Peet’s Coffee S E A S O N S P O N S O R

Peet’s Coffee is proud to be the exclusive cof-fee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming. Peet’s is honored to support Berkeley Rep’s renovation of the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley, and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness, and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed® Gold certi-fied roaster in the nation.

Wells Fargo S E A S O N S P O N S O R

As the top corporate philanthropist in the Bay Area (according to the S.F. Business Times), Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance. Talk to a Wells Fargo banker today to see how they can help you become more financially successful.

Additional staffBandAnna McGahey—trombone, Michael Taylor—trum-pet, Liam Robertson—clarinet

Canine servicesBow Wow Productions

Deck crewGabriel Holman, Matt Reynolds, Thomas Weaver

ElectricsMelina Cohen-Bramwell, Gabriel Holman, Brad Hopper, Kevin August Landesman, Will Poulin, Minerva Ramirez, Sarina Renteria, Matt Reynolds, Corey Schaeffer, Andrea J. Schwartz, Kourtney Snow, Caitlin Steinmann, Molly Stewart-Cohn, Thomas Weaver, Lauren Wright

Props Amelia Burke-Holt, Noah Kramer, Rebecca Willis

Scene shopRoss Copeland, Noah Lange, Carl Martin, Read Tuddenham

WardrobeBarbara Blair, Christina Weiland

Medical consultation for Berkeley Rep provided by Cindy J. Chang MD, ucsf Assoc. Clinical Professor and Steven Fugaro, MD.

Did you know that you can purchase

GUARANTEED PARKING

for your next performance?

Find out more at

BERKELEYREP.ORG/PARKING or ask at the box office!



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We thank the many institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between February 2015 and March 2016.

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Greenleaf PlattersJazzcaffèKevin Berne ImagesLa MediterraneeLa NoteLatham & Watkins llpMatch VineyardsMayer Brown llpPathos Organic Greek KitchenPhil’s SlidersPicante

PiQPublic Policy Institute

of CaliforniaQuady WineryRevival Bar + Kitchen The Ritz-Carlton, San FranciscoSt. George Spirits Sweet AdelineTigerlily BerkeleyVenus RestaurantWhole Foods Market

Hotel Shattuck Plaza is the official hotel of Berkeley Rep.

Pro-bono legal services are generously provided by Farella Braun & Martel llp, Latham & Watkins llp, and Mayer Brown llp

MATCHING GIFTSThe following companies have matched their employees’ contributions to Berkeley Rep. Please contact your company’s HR office to find out if your company matches gifts.

Adobe Systems Inc. · Advent Software · American Express · Apple · Applied Materials · Argo Group · at&t · Bank of America · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Dolby · Gap · Genentech · Google · ibm Corporation · John Wiley & Sons, Inc. · kla Tencor · Lawrence Livermore National Laboratory · Macy’s Inc. · Matson Navigation Company · Microsoft · Morrison & Foerster · norcal Mutual Insurance Company · Nvidia · Oracle Corporation · Salesforce.com · Shell Oil · Sidley Austin llp, San Francisco · Synopsys · The Walt Disney Company · Union Bank, The Private Bank · visa u.s.a., Inc.

G I F T S O F $ 10 0,0 0 0 A N D A B OV EEdgerton FoundationThe California EndowmentThe William & Flora Hewlett FoundationThe Shubert Foundation

G I F T S O F $50,0 0 0 –9 9,9 9 9The Reva and David Logan FoundationNational Endowment for the ArtsThe Bernard Osher FoundationThe Harold and Mimi Steinberg Charitable Trust

G I F T S O F $2 5,0 0 0 –49,9 9 9AnonymousBayTree FundThe Frank H. & Eva B. Buck FoundationThe Ira and Leonore S. Gershwin Philanthropic FundWallis FoundationWoodlawn Foundation

G I F T S O F $5,0 0 0 –9,9 9 9AnonymousBerkeley Civic Arts ProgramDistracted Globe FoundationEast Bay Community FoundationAnn and Gordon Getty FoundationPanta Rhea FoundationRamsay Family FoundationThe Ida and William Rosenthal Foundation

G I F T S O F $ 750 –4,9 9 9Alameda County Arts Commission/artsfundBerkeley Association of RealtorsJoyce & William Brantman FoundationCivic Foundationjec Foundationtwanda Foundation

S P O N S O R S G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9

Mechanics Bank Wealth ManagementThe Morrison & Foerster Foundation

CO R P O R AT E PA R T N E R S G I F T S O F $ 6 ,0 0 0 –1 1 ,9 9 9

Armanino llpCity National BankDeloitteLG Wealth Management llcMeyer SoundPanoramic InterestsSchoenberg Family Law GroupU.S. Bank

CORPORATE SPONSORSS E A S O N S P O N S O R SG I F T S O F $ 1 0 0,0 0 0 A N D A B OV E

E X ECU T IV E S P O N S O R S G I F T S O F $ 2 5,0 0 0 –49,9 9 9

LE A D S P O N S O R G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

IN-KIND SPONSORS

Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.

Institutional PartnersBERKELEY REP THANKS

PE R FO R M A N C E S P O N S O R S G I F T S O F $ 3,0 0 0 – 5,9 9 9

4U SportsBayerGallagher Risk Management ServicesMacy’s

B U S I N E S S M E M B E R S G I F T S O F $ 1 , 5 0 0 –2 ,9 9 9

Bank of the WestBluesCruise.comCooperative Center Federal Credit UnionMcCutcheon ConstructionOliver & Company

American Express



PA R T N E R S$ 3,0 0 0 – 5,9 9 9Anonymous (6)Marcia & George ArgyrisStephen Belford & Bobby MinklerBecky & Jeff BleichCynthia & David BogolubKim Boston K Jim ButlerBrook & Shawn ByersRonnie CaplaneJennifer Chaiken & Sam HamiltonConstance CrawfordKaren & David CrommieLois M. De DomenicoDelia Fleishhacker EhrlichNancy & Jerry FalkKaren Galatz & Jon WellinghoffRichard & Lois HallidayEarl & Bonnie HamlinVera & David HartfordRenee Hilpert K Richard N. Hill & Nancy LundeenJames C. Hormel &

Michael P. Nguyen, in honor of Rita Moreno

Lynda & Dr. J. Pearce HurleyKathleen & Chris JacksonSeymour Kaufman & Kerstin

EdgertonDuke & Daisy KiehnRosalind & Sung-Hou KimLouise Laufersweiler &

Warren SharpChristopher & Clare LeePhyra McCandless &

Angelos KottasMiles & Mary Ellen McKeyMichele & John McNellisToby Mickelson & Donald BrodyEddie & Amy OrtonJanet OstlerSandi & Dick PantagesPease Family FundKermit & Janet PerlmutterIvy & Leigh RobinsonDavid S. H. Rosenthal &

Vicky ReichBeth & David Sawi

Stephen Schoen & Margot FraserLinda & Nathan SchultzBeryl & Ivor SilverAudrey & Bob SockolovVickie SoulierDeborah TaylorPamela Gay Walker/

Ghost Ranch ProductionsPatricia & Jeffrey WilliamsSheila WishekSally Woolsey

B E N E FAC TO R S$ 1 , 5 0 0 –2 ,9 9 9Anonymous (8)Mel Adamson K Naomi Auerbach & Ted LandauNina AuerbachLinda & Mike BakerMichelle L. Barbour Don & Gerry Beers M David Beery & Norman AbramsonAnnikka BerridgeBluesCruise.comBrian Bock and Susan RosinCaroline BoothLinda BrandenburgerBroitman-Basri FamilyDon & Carol Anne BrownKatherine S. Burcham M Stephen K. Cassidy &

Rebecca L. PowlanLeslie Chatham & Kathie WestonBetsey & Ken Cheitlin, in honor of

Melvin & Hella CheitlinTerin ChristensenEd Cullen & Ann O'ConnorJames CuthbertsonBarbara & Tim Daniels K M Jim & Julia DavidsonRichard & Anita DavisIlana DeBare & Sam SchuchatDavid & Helen DichekFrancine & Beppe Di PalmaBecky DraperSusan English & Michael KalksteinBill & Susan Epstein, in honor of

Marge RandolphMerle & Michael Fajans

Cynthia A. FarnerLisa & Dave FinerAnn & Shawn Fischer HechtLinda Jo Fitz M Patrick FlanneryJames & Jessica Fleming Jacques FortierThomas & Sharon FrancisHerb & Marianne FriedmanDon & Janie Friend, in honor of

Bill & Candy FalikChristopher R. Frostad M James GalaDennis & Susan Johann GilardiMarjorie Ginsburg &

Howard SlyterDaniel & Hilary B. GoldstinePhyllis & Gene GottfriedRobert & Judith GreberWilliam James GregoryAnne & Peter GriffesGarrett Gruener & Amy SlaterMs. Teresa Burns Gunther &

Dr. Andrew GuntherMigsy & Jim HamasakiBob & Linda HarrisRuth HennigarIn memory of Vaughn &

Ardis HerdellHoward Hertz & Jean KroisBill Hofmann & Robbie Welling M The Hornthal Family Foundation,

in honor of Susie Medak’s leadership

Rick Hoskins & Lynne FramePaula Hughmanick &

Steven BergerGeorge & Leslie HumeIngrid JacobsonBeth & Fred KarrenDoug & Cessna KayeBill & Lisa KellySteve K. KisperskyJean & Jack KnoxLynn Eve Komaromi, in honor of

the Berkeley Rep StaffJohn Kouns & Anne Baele KounsHelen E. LandRobert Lane & Tom Cantrell

Randy Laroche & David LaudonSherrill Lavagnino &

Scott McKinneyAndrew Leavitt & Catherine LewisEllen & Barry LevineBonnie Levinson & Dr. Donald KayErma LindemanJennifer S. LindsayTom Lockard & Alix MarduelJohn Maccabee K Vonnie MadiganElsie MalloneeNaomi & Bruce MannHelen Marcus & David WilliamsonLois & Gary MarcusSumner & Hermine MarshallCharlotte & Adolph MartinelliRebecca MartinezJill H. MatichakErin McCuneKirk McKusick & Eric Allman Dan MillerAndy & June MonachScott Montgomery & Marc RandJerry MosherMarvin & Neva MoskowitzDaniel Murphy & Ronald HaydenJudith & Richard OkenSheldeen OsborneJoshua Owen & Katherine RobardsJudy O’Young, MD & Gregg HauserMatt Pagel & Corey RevillaGerane Wharton ParkBob & MaryJane PauleyTom & Kathy PendletonDavid & Bobbie PrattCarol Quimby-BonanAndrew Raskopf &

David Gunderman Bill Reuter & Ruth MajorJohn & Jody RobertsHoracio & Angela RodriguezDeborah Romer & William TuckerBoyard & Anne RoweEnid & Alan Rubin, in honor of

Rebecca MartinezLisa Salomon & Scott ForrestMonica Salusky &

John K. Sutherland

Jeane & Roger SamuelsenStephen C. SchaeferJackie & Paul SchaefferDan Scharlin & Sara KatzJoyce & Jim SchnobrichNeal Shorstein, MD &

Christopher Doane, in honor of Gail Wagner, MD

Mark Shusterman, M.D.Edie Silber & Steve BomseDave & Lori SimpsonStephen Stublarec &

Debra S. BelagaAmrita Singhal & Michael TubachCherida Collins Smith Ed & Ellen Smith Sherry & David Smith David G. SteeleAndrew & Jody TaylorAlison Teeman &

Michael Yovino-YoungSusan TerrisSamuel TestWilliam van Dyk & Margi SullivanJonathan & Kiyo WeissBeth WeissmanWendy WillrichSteven Winkel & Barbara SahmCharles & Nancy WolframRon & Anita WornickSam & Joyce ZanzeMark Zitter & Jessica Nutik ZitterJane & Mark Zuercher

S E A S O N S P O N S O R S$ 1 0 0,0 0 0 +Jack & Betty Schafer Michael & Sue SteinbergThe Strauch Kulhanjian Family

LE A D S P O N S O R S$ 5 0,0 0 0 – 9 9,9 9 9Martha Ehmann ConteBruce Golden & Michelle MercerFrances Hellman & Warren BreslauWayne Jordan & Quinn DelaneyMs. Wendy E. JordanJane Marvin/Peets CoffeeStewart & Rachelle OwenMary Ruth Quinn & Scott ShenkerSteve Silberstein

E X ECU T IV E S P O N S O R S$ 2 5,0 0 0 –49,9 9 9Edward D. BakerRena BranstenJohn & Stephanie DainsBill Falik & Diana CohenKerry Francis & John Jimerson M Edward KaufmannPam & Mitch NichterMarjorie RandolphSheli & Burt Rosenberg, in honor of

Leonard X Rosenberg

Jack & Valerie Rowe Jean & Michael StrunskyGuy TiphaneGail & Arne Wagner

S P O N S O R S$ 12 ,0 0 0 –2 4 ,9 9 9AnonymousBarbara & Gerson BakarCarole B. BergMaria Cardamone & Paul MatthewsSusan ChamberlinDavid & Vicki CoxThalia DorwickRobin & Rich EdwardsDavid & Vicki FleishhackerPaul Friedman & Diane Manley M Paul Haahr & Susan KarpScott & Sherry HaberJack KlingelhoferDixon LongSandra & Ross McCandlessDugan MooreLeonard X & Arlene B. RosenbergJoan Sarnat & David HoffmanLiliane & Ed SchneiderNorah & Norman StoneJanis TurnerFelicia Woytak & Steve Rasmussen

A S S O CIAT E S P O N S O R S$ 6 ,0 0 0 – 1 1,9 9 9Anonymous (3)Shelley & Jonathan BaggEdith BarschiNeil & Gene BarthValerie Barth & Peter Wiley Lynne CarmichaelDaniel Cohn & Lynn BrintonJulie & Darren CookeRobert Council & Ann Parks-CouncilDaryl Dichek & Kenneth Smith, in memory

of Shirley D. SchildOz Erickson & Rina AlcalayWilliam Espey & Margaret Hart Edwards M Tracy & Mark FerronJohn & Carol Field, in honor of

Marjorie RandolphVirginia & Timothy FooJill & Steve FugaroMary & Nicholas GravesDoug & Leni Herst, in honor of Susie MedakHitz FoundationChristopher Hudson & Cindy J. Chang, MDWanda KownackiTed & Carole KrumlandZandra Faye LeDuffPeter & Melanie Maier, in honor of

Jill FugaroDale & Don Marshall

Martin & Janis McNairSusan Medak & Greg Murphy,

in honor of Marcia SmolensJohn & Helen Meyer / Meyer SoundSteven & Patrece Mills M Mary Ann & Lou PeoplesPeter Pervere & Georgia CasselBarbara L. PetersonSue Reinhold & Deborah NewbrunKaye RossoPat RougeauPatricia Sakai & Richard ShapiroCynthia & William SchaffEmily ShanksPat & Merrill ShanksKaren Stevenson & Bill McClaveLisa & Jim TaylorWendy WilliamsLinda & Steven WolanMartin & Margaret Zankel

ARTISTIC DIRECTOR’S CIRCLE

We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between February 2015 and March 2016.

To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.

SPONSOR CIRCLE

Donors to the Annual Fund

BERKELEY REP THANKS

LEGEND K in-kind giftM matching gift

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.



We gratefully recognize the following members of the Annual Fund whose contributions were received in February and March 2016:S U PP O R T E R S$ 2 5 0 –49 9Anonymous (9) · Mark & Bonnie Andersen · Laurence Anderson · Dorothy & Ervin Behrin · Gail Berger · Beverly Blatt & David Filipek · James & Elizabeth Branson · John H. Buckman · Fran Burgess · Sophia & Virginia Cafaro-Mirviss · Lawrence & Marilyn Capitelli · Catherine Corison · Jane & Tom Coulter · Philip & Carolyn Cowan · Jeff & Laura Critchfield · Dennis T. De Domenico & Sandra Brod · David Drubin · Kathy & Leonard Duffy · Michael Ehrenzweig & Josh Bettenhausen · Caryll Farrer · Stephen Follansbee & Richard Wolitz · Beverlee French & Craig L. Rice · Arlene Getz · Dr. & Mrs. Arnold Goldschlager · Mr. & Mrs. Ervin Hafter · Carol & Don Hardesty · Dr. & Mrs. Alan Harley · Dee Hartzog · Paula Hawthorn & Michael Ubell · Laurin Herr & Trisha Gorman-Herr · Robert Jacob & Diane Penn · Marty & Ellen Jaffe · Katharine Jennings · Karen Johanson · Ann L. Johnson · Marcia Kadanoff · Lisa & David Kaplan · Kenneth Kulander · Sally A. Lewis · Marcia C. Linn · Jeffrey Livingston, in honor of John & Gina Hook · Martha & Arthur Luehrmann · Jane & Bob Lurie · Paul Mariano · Paul McCabe · Robert McDowell · John G. McGehee · Steven McGlocklin · Yael & Gavriel Moses · Barbara Mowry · Teresa & Mike Olson · David Pasta, in memory of

Gloria J.A. Guth · Suzanne Pierce, in honor of Carol D. Soc · Fred & Judy Porta · Sara Rahimian · Susan Robertson · Nancy Saldich · Barbara & Steve Segal · Renee Simi · Camilla Soghikian · Julie Stahl · Susan Tulis, in honor of John & Gina Hook · Dorothy Walker · Emily & Bob Warden · Ms. H. Leabah Winter, in memory of Barry Dorfman, MD · Susan & Harvey Wittenberg

CO N T R I B U TO R S$ 15 0 –2 49 Anonymous (14) · Claire Allphin · David Arpi & Natalie Gubb · Susan Avila · Karlotta Bartholomew & Aubrey Cramer · Mary Ann & Len Benson · Thomas G. Bertken · Constance Boulay · Pat & Mary Boyle · Aida Brenneis · Monroe & Kate Bridges · Howard Brownstein & Janna Ullrey · June & Michael Cohen · Mick & Kay Cooke · Harley Cooper · Jeanne M. Cox · Faith & Bob Cushman · Marc Davis and Nancy Turak · Allan Defraga · Sue & Peter Elkind · David & Denise English · Barry & Cheri Feiner · Matthew Finch · Mrs. Robert Force · Jean M. Furgerson · Keith Goldstein & Donna Warrington · Barbara & Barry Gross, in memory of Norma Louise Combs · Christina Halsey · Lori Hanninen & Jeff Wheaton · Kathy Hasten · Austin & Lynne Henderson · Dr. & Mrs. Charles E. Jackson · Margaret E. Jones · Kimberley Kahler · Cynthia Koenigsberg & Harry Patsch · John Kruse & Gary Beuschel · Nancy Lumer · Steve & Linda Lustig · Gail MacGowan · Mike & Linda Madden · Lisa Manning · Chris & Sarah Martiniak · Judith Maurier · Ben McClinton & Karen Rosenbaum · Judeth McGann · Beatrice McIntosh · Steve Merlo · Karin Meyer & John Woodfill · Sandra Miyahara · Mary & Dennis Montali · Robert & Mia Morrill · Lisa Nestore · Dr. & Mrs. Ernest Newbrun · Wendy Niles · Karl Francis Nygren · Howard & Charlene Okamoto · Ruy Pereira &

Linda Zweig · Barbara Peterson · Meshulam Plaves · Danilo Purlia & Catherine Kuss · Danielle Rebischung · Karen & Jeff Richardson · Margaret Riley & Kevin Depew · Craig F. Robieson · Kim Rohrer · Robert & Winnie Sayre · Peter Schmitz · Richard J. Schoofs · Dana & Peggy Shultz · Sandy Shin · Christine Silver · Gail Smith-Pratt & Jeff Pratt · Patricia Sparkman · Alan & Charlene Steen · Ingrid Stephen · Cecilia Storr & Mark Chaitkin · Christy Story · Suzanne & Svend Svendsen · Dana Swisher · Margaret Takahashi · Marion Taylor · Jason Thomas & Marco Aurelio · Rick Trautner · Grace Ulp · Mary Wadsworth M · Patricia Walsh · Karen & Stephen Wiel · G. Geoffrey Wood

FR I E N D S$ 75 –149 Anonymous (22) · Michael Alef · Elinor Armer · Esther Arnold · Julie Baeder · Catherine Bailey & Jack Telian · Barbara Barer · Cathryn W. Barrett · Carol & Michael Bartlett · Gale Bataille · Joan Baylie & James Mullins · Jim & Donna Beasley · Lucy Bernholz & Paula Fleisher · Jennifer & Frank Block · Jennifer Boehler & Mark Anderson · William C Bourke · Craig Broscow M · Marc Beam & Paul Burwick · Katherine Byrne · Laura Call · W. Bradford Carson · Helene & Norman Cavior · Jean Comer · Doug & Rosemary Corbin · Susan & Don Couch · Thomas & Suellen Cox · Rich Craig · Catherine Crystal & Eric Crystal · Erin E. Cullnan · Dr. General Scott Davie · Hardy & Judi Dawainis · Richard A. Denton · Char Devich & Alana Devich · Helen Edelman · Anne & Hal Eisenberg · Linda Esquivel · Peter Ewell & Helga Recke · Mimi Felson · Maureen Fitzgerald & Douglas Dohrer · Carolyn Foland · Marvin Freid · Christine Frick · Carol Gadas · Jeannette A. Gape · Janice & Chuck Gebhardt · George Gemignani · Sandra Gerstel · Marian

Gex · Steven Goldberg · Gayle & Steve Goldman · Ian M. Goldstein · Bill & Chris Green · Nancy J. Greenberg · Sheldon & Judy Greene · Marjorie Hamm & Angela Bottum · Neil Handelman & Karyn O'Mohundro · Anthea Hartig · Henry L. Hecht · Carolyn Hedgecock · Derek & Christina Heins · Mary Kay Henderson · Kristi Hernandez · Dr. Robert R. Herrick & Ms. Willma Zinser · Donald E. Hershman, DPM · Nancy Higham · Susan L. Hill · Dolores Hiskes · Patsy Hom · Frances Hopson · Marcia Huberman · Sandra Iwamoto · Jane Kadner · Gerald Kaminski · Ray Kaplan · Marlene & Ilan Keret · Bonnie McPherson Killip · Susan Kinloch · Joel H. Kreisberg · Gloria Kwei · Nancy Larson · Ragna A. Larusdottir · Joyce Lashof · Paula Lavine · William Leach · Lannon Leiman & Frederick Seil · David Leinbach · Donald Leonard · Diane Levy · Ken & Judy Linhares · Trudy Lionel · Lawrence Litt · Lorena Liu Lee · Kerri & Mark Lubin · Gerry Mack · Gordon & Carol Manashil · Patrick McCleskey · Kathryn McGeorge · David & Wendy McGrath · Debra & David McMahon · Alrie Middlebrook · Ms. Peggy Mihm · Patrick & Jane Miller · Robert Moench · Gerald T. Moran · Brad Mulvey · Linda Nakell & Robert Dawson · Haggai Niv · Donna Norquist, in memory of Carl Norquist · Bruce Nunley · Peter Nussbaum & Aleta Wallace · Linda & Gregory Orr · Joan & Allen Perlof · Mr. & Mrs. William Plageman · Steven Potter · Sheila & Myron Puckett, in memory of Jean Murphy · Marilyn Radisch · Mahendra Ranchod·Dave Richanbach · Katie Riemann K · The Rev. Dr. Bonnie Ring · Geraldine Riordan · Mary Rooney-Zarri & Philip Zarri · John G. Rosenberg & Diane Gerstler · Kathy Rosselle · Tracie E. Rowson · Priscilla Royal · Daniel & Gail Rubinfeld · Larry E. Ruff · Eleanor Rush & Jim Puskar · John & Melanie Sandler · Roland & Aase Schoen · Steven Schultz & Nancy Ulmer ·

C H A M PI O N S$ 1 ,0 0 0 –1 , 49 9Anonymous (7) · Tracy Achorn · Gertrude E. Allen, in memory of Robert Allen · Roy & Judith Alper · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Ross E. Armstrong · Barbara Jones & Massey J. Bambara M · Leslie & Jack Batson · Patti Bittenbender · Dr. S. Davis Carniglia & Ms. M. Claire Baker · Paula Carrell · Stan & Stephanie Casper · Ed & Lisa Chilton · Patty & Geoff Chin · Chris & Martie Conner · Phyllis Coring K · John & Izzie Crane · Mike & Pam Crane · Teri Cullen · Meredith Daane M · Abby & Ross Davisson · Harry & Susan Dennis · Robert Deutsch · Corinne & Mike Doyle · David & Monika Eisenbud · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Dean Francis · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Judith & Alex Glass · Ann Harriman, in memory of Malcolm White · Elaine Hitchcock · Mr. & Mrs. Harold M. Isbell · Ken & Judith Johnson · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Marilyn Kecso · Christopher Killian & Carole Ungvarsky · Janet Kornegay and Dan Sykes · Woof Kurtzman & Liz Hertz · William & Adair Langston · Linda Laskowski · Glennis Lees & Michael Glazeski · Nancy & George Leitmann, in memory of Helen Barber · Ms. Sidne S. Long · Jay & Eileen Love · Meg Manske · John E. Matthews · Brian & Britt-Marie Morris · Margo Murray · Paul Newacheck · Claire Noonan & Peter Landsberger · Judy Ogle · Lynette Pang & Michael Man · Charles R. Rice · Maxine Risley, in memory of James Risley · Richard Rouse M · Deborah Dashow Ruth, in memory of Leo P. Ruth · Mitzi Sales & John Argue · Teddy & Bruce Schwab · Seiger Family Foundation ·

Brenda Buckhold Shank, M.D., Ph.D. · Joshua & Ruth Simon · Alice & Scott So · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie Stenzel · Michael Tilson Thomas & Joshua Robison · Pate & Judy Thomson · Alistair & Nellie Thornton · Deborah & Bob Van Nest · Sallie Weissinger · Lee Yearley & Sally Gressens

A DVO C AT E S$ 5 0 0 – 9 9 9Anonymous (23) · Denny Abrams · Fred & Kathleen Allen · Kerrie Andow · Robert & Evelyn Apte · Jerry & Seda Arnold · Gay & Alan Auerbach · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Celia Bakke · Steve Benting & Margaret Warton · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · The Blackman Family · Gun Bolin · Ellen Brackman & Deborah Randolph · Diane Brett · Eric Brink & Gayle Vassar M · Jill Bryans · Wendy Buchen · Barbara & Robert Budnitz · Don Campbell and Family · Dr. Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Carolle J. Carter & Jess Kitchens · Laura Chenel · Kim & Dawn Chase · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Robert & Blair Cooter · Philip Crawford · Sharon & Ed Cushman · Jill & Evan Custer · Dr. & Mrs. John Damron · Robert & Loni Dantzler · Pat & Steve Davis · Jacqueline Desoer · Noah & Sandra Doyle · Kristen Driskell · Linda Drucker & Lawrence Prozan · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Meredith & Harry Endsley M · Gini Erck & David Petta · Michael Evanhoe · James Finefrock & Harriet Hamlin · Brigitte & Louis Fisher · Martin & Barbara Fishman · Patrick Flannery · Robert Fleri, in

memory of Carole S. Pfeffer · Midge Fox K · Nancy H. Francis · Harvey & Deana Freedman · Paul & Marilyn Gardner · David Gaskin & Phillip McPherson · Tim Geoghegan · Robert Goldstein & Anna Mantell · Susan & Jon Golovin · Jane Gottesman & Geoffrey Biddle · Priscilla Green · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Ken & Karen Harley· Janet Harris· Dan & Shawna Hartman Brotsky M · Geoffrey & Marin-Shawn Haynes · Irene & Robert Hepps · Steven Horwitz K · Helmut H. Kapczynski & Colleen Neff · Patricia Kaplan · Marjorie & Robert Kaplan, in honor of Thalia Dorwick · Natasha Khoruzhenko & Olegs Pimenovs · Mary S. Kimball · Sue Fisher King · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · Judith Knoll · Joan & David Komaromi · Yvonne Koshland · Jennifer Kuenster & George Miers · Natalie Lagorio · Jane & Michael Larkin · Almon E. Larsh Jr · Henry Lerner · Ray Lifchez · Renee M. Linde · Mark & Roberta Linsky · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Sue & Phil Marineau · Caroline McCall & Eric Martin · Marie S. McEnnis · Sean McKenna · Christopher McKenzie & Manuela Albuquerque · Brian McRee · Ruth Medak · Jamie Miller, in memory of Helene Sabin · Jeff Miner · Geri Monheimer · Ronald Morrison · Patricia Motzkin & Richard Feldman · James & Katherine Moule · James Musbach · Ron Nakayama · Kris & Peter Negulescu · Jeanne E. Newman · Pier & Barbara Oddone, in memory of Michael Leibert · Peggy O'Neill · Carol J. Ormond · Mary Papenfuss & Roland Cline · Nancy Park · Brian D. Parsons · James Pawlak · Kyle Peacock · P. David Pearson · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · Lewis Perry · Suzanne Pierce, in honor of Carol

D. Soc · F. Anthony Placzek · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Rich Price · Linda Protiva · Laurel & Gerald Przybylski · Dan & Lois Purkett · Kathleen Quenneville · David & Mary Ramos · Sheldon & Catherine Ramsay · Adam Rausch K · Arthur Reingold & Gail Bolan · Helen Richardson · Wesley Richert · Paul & Margaret Robbins · Gary Roof & Douglas Light · Ronald & Karen Rose · Geri Rossen · Jirayr & Meline Roubinian · Eve Saltman & Skip Roncal, in honor of Kerry Francis & John Jimerson · Dorothy R. Saxe · Joyce & Kenneth Scheidig · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Dr. David Schulz M · Cynthia Sears · John & Lucille Serwa · Lyman Shaffer · Margaret Sheehy · Steve & Susan Shortell · Margaret Skornia · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Dr. & Mrs. Joseph Terdiman · Prof Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · Sharon Ulrich & Marlowe Ng · Mark Valentine & Stacy Leier-Valentine · Gerald & Ruth Vurek · Jon K. Wactor · Adrian & Sylvia Walker · Louise & Larry Walker · Kate Walsh & Dan Serpico · Buddy & Jodi Warner · Dena & Wayne Watson-Lamprey · Mike Weinberger & Julianne Lindemann · Harvey & Rhona Weinstein · William R. Weir · Robert & Sheila Weisblatt · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Jill Wild · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · Carol Katigbak Wong · Caroline Wood · Evelyn Wozniak · Margaret Wu & Ciara Cox · Sandra Yuen & Lawrence Shore

Donors to the Annual FundBERKELEY REP THANKS



Donors to the Annual FundBERKELEY REP THANKS

Sustaining members as of March 2016:Anonymous (6)Norman Abramson & David BeerySam AmblerCarl W. Arnoult & Aurora PanKen & Joni AveryNancy AxelrodEdith BarschiNeil & Gene BarthSusan & Barry BaskinCarole B. BergLinda BrandenburgerBroitman-Basri FamilyBruce Carlton &

Richard G. McCallStephen K. CassidyPaula Champagne & David WatsonAndrew Daly & Jody TaylorM. Laina DickerThalia DorwickRich & Robin Edwards Thomas W. Edwards &

Rebecca Parlette-EdwardsBill & Susan EpsteinWilliam Espey & Margaret

Hart EdwardsCarol & John FieldDr. Stephen E. Follansbee &

Dr. Richard A. Wolitz Kerry Francis

Dr. Harvey & Deana FreedmanJoseph & Antonia FriedmanPaul T. FriedmanDr. John FrykmanLaura K. FujiiDavid Gaskin &

Phillip McPhersonMarjorie Ginsburg &

Howard SlyterMary & Nicholas GravesElizabeth GreeneJon & Becky GretherRichard & Lois Halliday Julie & Paul HarknessLinda & Bob HarrisFred HartwickRuth HennigarDouglas J. HillHoskins/Frame Family TrustLynda & Dr. J. Pearce HurleyRobin C. JohnsonLynn Eve KomaromiBonnie McPherson KillipScott & Kathy LawZandra Faye LeDuffInes R. LewandowitzDot LofstromDale & Don MarshallSumner & Hermine MarshallRebecca MartinezSuzanne & Charles McCulloch

John G. McGeheeMiles & Mary Ellen McKeyMargaret D. & Winton McKibbenSusan Medak & Greg MurphyStephanie MendelToni MesterShirley & Joe NedhamPam & Mitch NichterSheldeen G. OsborneSharon Ott Amy Pearl ParodiBarbara L. PetersonRegina PhelpsMargaret PhillipsMarjorie RandolphBonnie Ring Living TrustTom RobertsDavid RovnoTracie E. RowsonDeborah Dashow RuthPatricia Sakai &

Richard ShapiroBetty & Jack SchaferBrenda Buckhold Shank,

M.D., Ph.D.Valerie SopherMichael & Sue SteinbergDr. Douglas & Anne Stewart Jean StrunskyHenry TimnickGuy Tiphane

Phillip & Melody TrappJanis Kate TurnerDorothy WalkerWeil Family Trust—Weil FamilyKaren & Henry WorkMartin & Margaret Zankel

Gifts received by Berkeley Rep:Estate of Suzanne AdamsEstate of Helen BarberEstate of Fritzi BeneschEstate of Nelly BerteauxEstate of Jill BryansEstate of Nancy CroleyEstate of John E. &

Helen A. ManningEstate of Richard MarkellEstate of Gladys Perez-MendezEstate of Margaret PurvineEstate of Peter SlossEstate of Harry WeiningerEstate of Grace Williams

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected].

Margaret Scott & Kathleen Slobin · James L. Seeman · Boris Shekhter · Carol Shen and Larry Dodge · Lillian Shiiba · Wendy Silvani · Neil Sitzman · Tim & Lucy Smallsreed · Fred Sperber · Alice Steiner · Alan Stern · Marc Sternberger · Jay Streets · Renee Swayne · Charlene Tung · Harvey Tureck & Susan Tait · Wilbur Tusler · Sayre Van Young & Diane Davenport · Maureen Vavra · Stanyan Vukovich · Edwin A. Waite · Phyllis Weber · Peter Weiser & John Hudson · Thomas Weston · Susan Whitman & Mark Gergen · Alice Wilkins · Barbara Williams · Wilma Wool · Dr. & Mrs. Mark J. Yanover · Marjorie Yasueda & Dale Knutsen · Al Zemsky

PAT RO N S$ 1 –74 Anonymous (18) · Roberta Abel · Noliwe Alexander · Aurelia Alston · Miriam Amado · Kathy Armstrong · Norman Bailiff & Fran Cooper · Blythe Baldwin · Helen Barbato · Cris Bautista · Jennifer Bell · Linda J Benton · Laurence J. Berger · Maryanne Berry · Kyle Biehle · Millard Billings · Elaine Binger · Diana

Black-Kennedy · Mary & Frederick Blume · Lauren Boas Hayes · Joan Bodway · Amy Boyd · Nancy Broderick · Marilee Brooks · Susan Browne · Julie & Stan Burford · Judith Burns · Donna Calame · Sharon Calkin Family · Heather D. Cann · Hector Cardenas · Samantha Cardenas · Jennifer & Dan Cavenaugh · Leslie Chalmers · Darlene Chan · Christy Chung · Eurie Chung · R. Arlene Coleman · Judith Collier · Jeanne Cooper · Kimberly Cress · Catherine Dahlstrom · Darby's Dad · Vincent DeNave · Irene Desonie · Maria Drake · Mari-lynne Earls · Chandra Easton · Roberta Fanning · David Faulkner · Nicole C. Fee · Richard K. Feldman · Michelle Ferguson · Michael Fink · Ann Finlayson · Nancy Fitzmaurice · Sabrina Folsom · Elton Fong · Shira Freehling · Nancy M. Friedman & Terry Hill · Kelli M. Frostad · Charles Goetzl & Eric Fine · Barry & Erica Goode · Lauren M. Goodrich · Tracy Green · Zachary & Carolyn Griffith · Dr. & Mrs. Robert & Margaret Grosse · Judy Grossman · Jody Hahn · Elna Hall · Garrison Hall · Patricia A. Hare · Peter Hobe & Christina Crowley · Elizabeth Hodder · Kay Hogan · Lena Hwang ·

Ruth Ichinaga · Allison Janoch · Mark Jarrett · Josephine Jarvis · Susan Jergesen · Dale F Johnson · Nick Kazaglis · Vera Kerekes · Hong Jik Kim · Jang Ock Kim · Sophia Kim & Dominic Wang · Mr. & Mrs. Troy Kitchens · Ruth & Jay Koch · Michael Kohane · Michele Koning · Martin Kosina · Al Kwak · Katherine Land · Amelia Langston · Laura Larkin · Pauline Layer · Jenny Lee · Maria & Jan Leeman · Catherine Lewis · Joyce Liu-Countryman · Dr. Bruce R. Locke · Robert S. Lord · Nicholas D. Manfredi · Jose Martinez · Paul & Claire Maxwell · David May · Don Mayou · Brandon McDonnell · Jacqueline C. McMahan · Grace McMahon · Harry J. Mersmann · Michele Mont-Eton · Claudia Moore · Mary Jean Moore · Penelope More · Doryanna M. Moreno · Cindy Morris · Deirdre Moy · Katherine K. Murphy · Joyce Murray · Haruko Nagaishi · Gloria O'Dell · Richard Page & Susan Audep-Page · Milton Palmer · John R. Petrovsky · Ken Pinhero · John & Carol Pitts · Tony Politopoulos · Randall Pollard · Christy Ponte · Carol Possin · Becky Potter · Linda Quaintance · Katherine Randolph · Eun Rhee · Helen Rosen · David

Ross · Laurie Rucker · Darius I. Rudominer · Peter Rudy · Fred Runner · Kathleen Russell · Linda Russell · M. Ryce · Karen Schiller · Melissa Schoen · Judith & Peter Schumacher, in honor of Jessica Broitman · Karen Schwartz · Ellen & Mike Shaler, in memory of Mrs. Bernice Rothberg · Sophie Shang · Irwin & Annette Shapiro · Ruth Shapiro · Michael Sherman · Deborah Sherwood & Davis Ja · Candice Shibata · Ms. Michelle W Shieh · Shirley & Ron Shiromoto · Marian Shostrom · Alan Silverman · Janice Sinclaire · Bridget Smith · Susan Sniderman · Andrea Sohn · Howard Sohn · Mark & Etai Sondag · Phyllis Sorensen · Joan Sperans, in honor of Steve Flint · Anitra Squires · Lydia Stack · Larue Stephens · Mary Steward · Dorian Stull · Douglas Styles · Matyas Sustik · Kai-Yao To · Shirley R. Trimble · Nancy Vandell · Irina Vaysberg · Edward Vine · Virginia Warnes · Wendy Watling · Janice Wenning · Nessa & Robert Wilk · Gail Wilkinson · Lewis M. Williams · Travis Winfrey · Susana Winkel · Zee Wong · Hildred Yost · Donald Zimmerman · Pamela D. Zucker

The Society welcomes the following new members:Kevin Shoemaker



Michael Leibert Artistic Director Tony Taccone

Managing Director Susan Medak

BERKELEY REP STAFF

ARTISTIC Director of Casting & Artistic Associate Amy PotozkinDirector, The Ground Floor/ Resident Dramaturg Madeleine OldhamLiterary Manager Sarah Rose LeonardGround Floor Visiting Artistic AssociateSK Kerastas TCG Artist-in-ResidenceReggie D. WhiteAssociate ArtistLiesl TommyArtists under CommissionDavid Adjmi · Todd Almond · Christina Anderson · Glen Berger · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · Lisa Peterson · Sarah Ruhl · Joe Waechter

PRODUCTIONProduction ManagerPeter DeanAssociate Production ManagerAmanda Williams O’SteenCompany ManagerJean-Paul Gressieux

STAGE MANAGEMENTProduction Stage ManagerMichael SuenkelStage ManagersLeslie M. Radin · Karen Szpaller · Julie Haber · Kimberly Mark WebbProduction AssistantsAmanda Mason · Sofie Miller · Betsy Norton

STAGE OPERATIONSStage SupervisorJulia Englehorn

PROPERTIESProperties SupervisorJillian A. GreenAssociate Properties SupervisorGretta GrazierProperties ArtisanViqui Peralta

SCENE SHOPTechnical DirectorJim SmithAssistant Technical DirectorMatt RohnerShop ForemanSam McKnightMaster CarpenterJamaica Montgomery-GlennCarpenterPatrick Keene

SCENIC ARTCharge Scenic ArtistLisa Lázár

COSTUMESCostume Director Maggi YuleAssociate Costume Director/ Hair and Makeup SupervisorAmy Bobeda

DraperAlex ZeekTailorKathy Kellner GriffithFirst HandJanet ConeryWardrobe SupervisorBarbara Blair

ELECTRICSMaster ElectricianFrederick C. GeffkenProduction ElectriciansChristine CochraneKenneth Coté

SOUND AND VIDEOSound SupervisorJames BallenSound EngineersAngela DonAnnemarie ScerraVideo SupervisorAlex Marshall

ADMINISTRATIONControllerSuzanne PettigrewGeneral ManagerTheresa Von Klug Associate General Manager/ Human Resources ManagerDavid LorencDirector of TechnologyGustav DavilaAssociate Managing Director/ Manager, The Ground FloorSarah WilliamsExecutive AssistantAndrew SusskindBookkeeperKristine TaylorPayroll AdministratorRhonda ScottSystems & Applications DirectorDiana AmezquitaSystems Assistant Debra WongYale Management FellowAdam Frank

DEVELOPMENTDirector of DevelopmentLynn Eve KomaromiAssociate Director of DevelopmentDaria HeppsDirector of Individual Giving Laura Fichtenberg Director of Special Events Julie CervettoSpecial Events ManagerKelsey HoganIndividual Giving ManagerJoanna TaberDevelopment Database CoordinatorJane VoytekDevelopment Operations AssociateBeryl BakerExecutive AssistantEmma Nicholls

BOX OFFICETicket Services DirectorDestiny AskinSubscription Manager Laurie Barnes

Box Office ManagerRichard RubioTicket Services SupervisorSamanta CubiasBox Office AgentsSophia Brady · Christina Cone · Carmen Darling · Jordan Don · Julie Gotsch · Eliza Oakley

MARKETING & COMMUNICATIONSDirector of Marketing, Communications, and Patron EngagementPolly Winograd IkonenDirector of Public RelationsTim EtheridgeMarketing DirectorPeter YonkaArt DirectorNora MerecickyCommunications ManagerKaren McKevittWebmasterChristina ConeVideo & Multimedia ProducerChristina KolozsvaryProgram AdvertisingEllen FelkerFront of House DirectorKelly KelleySenior House ManagerDebra SelmanAssistant House ManagersJessica Charles · Steven Coambs · Aleta George · Mary Cait Hogan · Ayanna Makalani · Sarah Mosby · Tuesday RayConcessions ManagerHugh DunawayConcessionairesJessica Bates · Samantha Burse · Steven Coambs · Nina Gorham · Daron Jennings · Sarah Mosby · Benjamin Ortiz · Sandy Valois

OPERATIONSFacilities DirectorMark MorrisetteFacilities ManagerLauren ShorofskyBuilding EngineerThomas TranMaintenance TechnicianJohnny Van ChangFacilities AssistantsSophie Li · Alex Maciel · Carlos Mendoza · Oliver Sweibel · Jesus Rodriguez · LeRoy Thomas

BERKELEY REP SCHOOL OF THEATREDirector of the School of TheatreRachel HullAssociate DirectorMaryBeth CavanaughProgram Manager, Training and Community ProgramsAnthony JacksonRegistrarKatie RiemannCommunity Programs AdministratorModesta TamayoFacultyAndy Alabran · Bobby August Jr. · Erica Blue · Rebecca Castelli · Jiwon Chung · Sally Clawson · Dex Craig · Laura Derry · Deborah Eubanks ·

Maria Frangos · Nancy Gold · Gary Graves · Marvin Greene · Susan-Jane Harrison · Andrew Hurteau · Julian López-Morillas · Dave Maier · JanLee Marshall · Patricia Miller · Jack Nicolaus · Slater Penney · Marty Pistone · Diane Rachel · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Rebecca StockleyJan and Howard Oringer Teaching ArtistsErica Blue · Carmen Bush · Khalia Davis · Amber Flame · Safiya Fredericks · Gendell Hing-Hernández · Dave Maier · Marilet Martinez · Michelle Navarette · Jack Nicolaus · Carla Pantoja · Marcelo Pereira · Radhika Rao · Salim Razawi · Lindsey Schmelzter · Teddy Spencer · Simon Trumble · Elena Wright · Patricia Wright · Michelle WymanTeen Core CouncilBridey Caramagno · Carmela Catoc · Fiona Deane-Grundman · Lucy Curran · Tess DeLucchi · Devin Elias · Adin Gilman-Cohen · Max Hunt · Michael Letang · Joi Mabrey · Genevieve Saldanha · Christian Santiago · Maya Simon · Chloe SmithDocent Co-Chairs Matty Bloom, ContentJoy Lancaster, RecruitmentSelma Meyerowitz, Off-Sites and ProceduresFor Peter Pan on her 70th birthday DocentsMichelle Barbour, Lead Docent · Matty Bloom · Ellen Kaufman · Dale Marshall · Joan Sullivan · Rebecca Woolis

2015–16 BERKELEY REP FELLOWSHIPSBret C. Harte Directing FellowMolly HoulahanCompany Management FellowEmilie PassCostume FellowAnna SlotterbackDevelopment/Fundraising FellowLoren HiserEducation FellowJamie Yuen-ShoreGraphic Design FellowItzel OrtuñoHarry Weininger Sound FellowSam FisherLighting/Electrics FellowHarrison Pearse BurkeMarketing & Communications FellowLorenz Angelo GonzalesPeter F. Sloss Literary/ Dramaturgy FellowKatie CraddockProduction Management FellowKatherine DeVoltProperties FellowSamantha VisbalScenic Art FellowMelanie TreuhaftScenic Construction FellowShannon PerryStage Management FellowJames McGregor

BOARD OF TRUSTEES

FOUNDING DIRECTORMichael W. Leibert Producing Director, 1968–83

PresidentStewart OwenVice PresidentsRoger A. StrauchJean Z. StrunskyTreasurerEmily ShanksSecretaryLeonard X RosenbergChair, Trustees CommitteeJill FugaroChair, Audit CommitteeKerry L. FrancisImmediate Past PresidentThalia Dorwick, PhDBoard MembersCarrie AveryEdward D. Baker David CoxRobin EdwardsLisa Finer David FleishhackerPaul T. FriedmanKaren GalatzBruce GoldenDavid Hoffman Susan KarpJonathan C. LoganJane MarvinSandra R. McCandlessSusan Medak Pamela NichterRichard M. ShapiroTony TacconeGail WagnerFelicia Woytak

Past PresidentsHelen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. OliverMarjorie RandolphHarlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Martin Zankel

Sustaining AdvisorsCarole B. Berg Rena BranstenDiana J. CohenWilliam T. EspeyWilliam Falik John FieldNicholas M. Graves Scott HaberRichard F. HoskinsCarole KrumlandDale Rogers MarshallHelen MeyerDugan MooreMary Ann Peoples Peter PervereMarjorie RandolphPat Rougeau Patricia SakaiJack SchaferWilliam SchaffMichael SteinbergMichael StrunskyMartin Zankel



LatecomersPlease arrive on time. Late seating is not guaranteed.

Connect with us online!Visit our website berkeleyrep.orgYou can buy tickets and plan your visit, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Theatre infoEmergency exitsPlease note the nearest exit. In an emergency, walk—do not run—to the nearest exit.

AccessibilityBoth theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge. Scripts are available in the box office.

Ticket exchangeSubscribers may exchange their tickets for another performance of the same show— for free (no fees)! Online or by phone.Nonsubscribers may also exchange their tickets, but an exchange fee and reasonable restrictions will apply, by phone or in person only.All exchanges can be made until 7pm the day preceding the scheduled performance. All exchanges are made on a seat-available basis.

EducatorsBring Berkeley Rep to your school! Call the School of Theatre at 510 647-2972 about free and low-cost workshops for elementary, middle, and high schools. Call the box office at 510 647-2949 about discounted subscriptions for preschool and K–12 educators.

ConsiderationsNo food or glassware in the houseBeverages in cans or cups with lids are allowed.

No smokingThe use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard.

Please keep perfume to a minimumMany patrons are sensitive to the use of perfumes and other scents.

Phones / electronics / recordingsPlease make sure your cell phone or watch alarm will not beep. 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, but please don’t step onto the stage.

Bringing children to the TheatreMany Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. All attendees must have a ticket: no lap-sitting and no babes in arms.

Tickets/box officeBox office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click berkeleyrep.org anytime Fax: 510 647-2975

Under 30? Half-price advance tickets!For anyone under the age of 30, based on availability. Proof of age required. Some restrictions apply.

Senior/student rushFull-time students and seniors 65+ save $10 on sections A and B. One ticket per ID, one hour before showtime. Proof of eligibility required. Subject to availability.

Group ticketsBring 10–14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge.

Entourage ticketsIf you can bring at least 10 people, we’ll give you a code for 20% off tickets to up to five performance dates. Learn more at berkeleyrep.org/entourage.

Student matineeTickets are just $10 each. Learn more at berkeleyrep.org/studentmatinees.Sorry, we can’t give refunds or offer retroactive discounts.

Request informationTo request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647-2949; email [email protected]; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize [email protected].

Theatre maps

seating sections: • premium • a • b

stage

stage


stage

stage

P E E T ’ S

O S H E R S T U D I O


stage

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RO DA

facebook.com/ berkeleyrep

@berkeleyrep

vimeo.com/berkeleyrep

@berkeleyrep

FYI

We’re mobile!Download our free iPhone or Google Play app —or visit our mobile site —to buy tickets, read the buzz, watch video, and plan your visit.



LatecomersPlease arrive on time. Late seating is not guaranteed.

Connect with us online!Visit our website berkeleyrep.orgYou can buy tickets and plan your visit, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Theatre infoEmergency exitsPlease note the nearest exit. In an emergency, walk—do not run—to the nearest exit.

AccessibilityBoth theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge. Scripts are available in the box office.

Ticket exchangeSubscribers may exchange their tickets for another performance of the same show— for free (no fees)! Online or by phone.Nonsubscribers may also exchange their tickets, but an exchange fee and reasonable restrictions will apply, by phone or in person only.All exchanges can be made until 7pm the day preceding the scheduled performance. All exchanges are made on a seat-available basis.

EducatorsBring Berkeley Rep to your school! Call the School of Theatre at 510 647-2972 about free and low-cost workshops for elementary, middle, and high schools. Call the box office at 510 647-2949 about discounted subscriptions for preschool and K–12 educators.

ConsiderationsNo food or glassware in the houseBeverages in cans or cups with lids are allowed.

No smokingThe use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard.

Please keep perfume to a minimumMany patrons are sensitive to the use of perfumes and other scents.

Phones / electronics / recordingsPlease make sure your cell phone or watch alarm will not beep. 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, but please don’t step onto the stage.

Bringing children to the TheatreMany Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. All attendees must have a ticket: no lap-sitting and no babes in arms.

Tickets/box officeBox office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click berkeleyrep.org anytime Fax: 510 647-2975

Under 30? Half-price advance tickets!For anyone under the age of 30, based on availability. Proof of age required. Some restrictions apply.

Senior/student rushFull-time students and seniors 65+ save $10 on sections A and B. One ticket per ID, one hour before showtime. Proof of eligibility required. Subject to availability.

Group ticketsBring 10–14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge.

Entourage ticketsIf you can bring at least 10 people, we’ll give you a code for 20% off tickets to up to five performance dates. Learn more at berkeleyrep.org/entourage.

Student matineeTickets are just $10 each. Learn more at berkeleyrep.org/studentmatinees.Sorry, we can’t give refunds or offer retroactive discounts.

Request informationTo request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647-2949; email [email protected]; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize [email protected].

Theatre maps


stage

stage


stage

stage

P E E T ’ S

O S H E R S T U D I O


stage

stage

RO DA

facebook.com/ berkeleyrep

@berkeleyrep

vimeo.com/berkeleyrep

@berkeleyrep

FYI

We’re mobile!Download our free iPhone or Google Play app —or visit our mobile site —to buy tickets, read the buzz, watch video, and plan your visit.



APR.COMOver 30 Offices Serving The San Francisco Bay Area 866.468.0111

NEVERNEVERLANDMore than just a home, it’s

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Untitled-8 1 9/25/15 10:46 AM

berkeley rep: for peter pan on her 70th birthday

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