A conversation with Big Dance Theater's Annie-B Parson and Paul Lazar 12 · The program for Man in a Case 15
THE BERKELEY REP M AGA ZINE
2 013–14 · S P E C I A L I S S U E
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I N T H I S I S SU E
B E R K E L E Y R E P P R E S E N T S MAN IN A CAS E · 1 5
M E E T T H E C A S T & C R E W · 16
P ROL O G U E
CON T R I BU T OR S
A letter from the managing director · 5
Foundation, corporate, and in-kind sponsors · 24
Individual donors to the Annual Fund · 25
Memorial and tribute gifts · 27
R E P ORT
7
What’s so special about a special event? · 7
A day in the life of the Berkeley Rep School
of Theatre · 8
For the good of the group · 10
Michael Leibert Society · 27
A BOU T BE R K E L E Y R E P
Staff and affiliations · 28
Board of trustees and sustaining advisors · 29
F E AT U R E S
8
A conversation with Big Dance Theater’s
Annie-B Parson and Paul Lazar · 12
FYI
Everything you need to know about our box
office, gift shop, seating policies,
and more · 30
12
T H E B E R K E L E Y R E P M AG A Z I N E
20 1 3 –14 · S P EC I A L I S S U E
The Berkeley Rep Magazine is published
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PROL OG U E
from the Managing Director
Welcome to Berkeley Rep and our special
presentation of Man in a Case. We are delighted to share this
extraordinary show with you. This production is the second of
four special events scheduled in our 2013–14 season, beginning last fall with the extraordinary talents of Ian McKellen
and Patrick Stewart in No Man’s Land and concluding with the
return of virtuoso pianist Hershey Felder in June with Hershey
Felder as Leonard Bernstein in Maestro.
Between now and June, though, you have many opportunities to experience more terrific theatre here at Berkeley Rep
with our four remaining mainstage season productions. We hope you’ll want to see
The House that will not Stand, opening in early February. We commissioned this new
play from one of America’s most prolific and important young playwrights, Oakland–
born Marcus Gardley, and it’s shaping up to be a real treasure. It’s followed by the satirical and outrageous Accidental Death of an Anarchist, probably the most important
play by the Nobel Prize–winning playwright Dario Fo. Nina Raine’s Tribes was one of
the hot new off–Broadway plays last year. We think this play about a young deaf man
finding his way in the world­— a play that raises questions about the limits of language, words, and meaning, and that heightens their value—will resonate with Bay
Area audiences. Then join us for our final mainstage production in May when Pulitzer
Prize–winner Tony Kushner and Michael Leibert Artistic Director Tony Taccone team
up for the The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to
the Scriptures, an epic tale of love, family, sex, money, and politics.
Berkeley Rep presents stories that we hope will change the way you think about
theatre—and the way you think about life. We’re looking forward to these spring
shows, and nothing would make us happier than to share them with you.
Warmly,
Susan Medak
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6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
R E P ORT
Eve Ensler
Brian Copeland
Patrick Stewart
P H OTO BY C H E S H I R E I S A AC S
P H OTO BY J OA N M A R C U S
P H OTO BY K E V I N B ER N E .CO M
What’s so special
about a
special event?
Bringing more theatre to Berkeley
BY KYLE SIRCUS
The play’s the thing, so it seems.
Shakespeare said it and our audiences reinforce it season
after season. At Berkeley Rep, we’re proud to present seven
thrilling plays in each year’s subscription season. These shows
inspire imagination and pique our curiosity. Some have won
Tony Awards, and others are being seen on our stage for the
first time after being developed in The Ground Floor: Berkeley
Rep’s Center for the Creation and Development of New Work.
But if the play’s the thing, why not produce more of them?
Several years ago, we started asking ourselves this very question. Because of technical and personnel demands, our shows
run on relatively fixed schedules. We’re lucky already: with two
theatres, we often have two different shows running
simultaneously. Welcoming up to 2,000 people into our artistic home on a given day makes us beam with pride!
Where our subscription season ends, special events begin.
While all of our shows are special in their own right, ones that
fall outside of our regular season schedule offer us the chance
to stretch ourselves. A special event might afford an artist the
chance to try work in front of an audience for the first time. Eve
Ensler premiered Emotional Creature here, and Ian McKellen
and Patrick Stewart took on a revival of No Man’s Land before
making the trek from Berkeley to Broadway. Or it might mean
accommodating a busy artist’s schedule when it doesn’t align
with our calendar, as with Hershey Felder’s presentation of
George Gershwin Alone last summer (and his upcoming performance as Leonard Bernstein). Some, like Brian Copeland’s 10thanniversary reprise of his much-beloved Not a Genuine Black
Man this spring in our new Osher Studio, allow established
artists to revisit their most seminal work with new audiences.
Most importantly of all, we’ve stretched and expanded
our notion of a theatre season to bring you the highest quality
live theatrical productions. You may not know this, but you are
the reason artists like Mikhail Baryshnikov and Big Dance Theater come to work at Berkeley Rep. Artists value our audience’s
curiosity, intellectual prowess, and keen ability to appreciate
a wide array of art. So we hope you feel special. And we hope
you come back to see us again soon. Who knows what surprise
you might find in store?
2 0 1 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 7
R E P ORT
A day in the life of the
Berkeley Rep School of
Theatre
B Y T E L M A S H E P PA R D
Go outside the Roda Theatre and just a few steps past the box office,
and you’ll stumble upon a red brick building with two giant green doors. On the other
side of this gateway lives a world of rambunctious energy, busy with events, students,
theatre-making, and—sometimes—teachers dressed as mummies.
Built on the foundation of fostering the creative potential of its surrounding community, the Berkeley Rep School of Theatre has served over 225,000 people with its
eclectic programming since its inception in 2001.
From producing over 100 original plays to mentoring hundreds of young professionals through Berkeley Rep’s fellowship program, the School of Theatre’s daily calendar is
always full.
With so much going on, we wanted to give you a peek into the inner workings
of the School. Here’s your all-access pass to what may be happening on any given day.
8:32am
READY,
SET,
GO!
“How can an elephantheaded Hindu god regain his
confidence after breaking
his tusk? Will the other gods
tease him?” asks teaching
artist Marilet Martinez as she
reads Ganesha’s Sweet Tooth
in a Story Builders workshop
with first graders at Wildwood
Elementary in Piedmont.
B AC KG R O U N D P H OTO BY J A S O N R O D G ER S V I A C R E AT I V E CO M M O N S
S TO RY P H OTO S BY C H E S H I R E I S A AC S A N D J A R ED OAT E S
8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
>>
9:46am
>>
It’s week four of the
Performance Lab workshop
at San Lorenzo High School.
Jan & Howard Oringer
Outreach Coordinator Dave
Maier leads students in a
writing exercise as they
recall a vivid childhood
memory for a piece they’re
collectively creating.
10:21am
>>
Eight winter class registrations,
four 2014–15 fellowship
applications, and one voicemail
inquiring about the Summer
Theatre Intensive just came in.
6:55pm
A volunteer
docent greets
patrons just before
the 7pm pre-show
presentation in the
upper Roda lobby.
6:05pm
“Do-re-mi-fa-sola-ti-do,” sings
Rebecca Castelli
while leading
vocal warm-ups
during a private
voice lesson.
>>
>>
DONE!
Adult students in the
Introduction to Directing
class walk out the doors
of the School into the
chilly night, so ending
another day in the life of
the Berkeley Rep School of
Theatre.
>>
4:09pm
>>
3:37pm
A scurry of footsteps
and screams are heard
throughout the School of
Theatre when someone
shouts, “Where did
that bat go?” as middle
school students explore
spontaneity and reactions in
their Improvisation class.
>>
2:57pm
>>
“And what did she
say?” A group of
middle school girls
snack and gossip
in the School of
Theatre’s lobby before
their musical theatre
class gets started.
School Registrar Katie
Riemann receives a follow-up
phone call from an English
teacher at Martin Luther
King Jr. Middle School
in Berkeley, confirming
that everything is in place
for their Stage Combat
workshop next week.
Rachel Fink, director of the
Berkeley Rep School of
Theatre, is on a conference
call with other colleagues
throughout the state to plan
an arts advocacy initiative
with California Alliance for
Arts Education.
Members of Teen
Council skype with
teens from La Jolla
Playhouse and Center
Theatre Group about
the upcoming Theatre
Communications
Group’s national
conference in San Diego.
1:40pm
Associate Director MaryBeth
Cavanaugh checks the light board in
preparation for the Improvisation
Performance Lab show tomorrow
evening. The Bakery classroom has
been transformed into an intimate
performance space that will be
used for 11 class showcases over
the next two weeks.
1:02pm
11:55am
11:18am
>>
5:30pm
5:15pm
>>
The ceiling of the
School of Theatre
office shakes as 20
teens warm up in
the Loft classroom
overhead for the
Teen One-Acts
Festival rehearsal.
>>
High school students take
their seats in the Thrust for the
student matinee performance
of The Pianist of Willesden Lane.
>>
>>
10pm
>>
Berkeley Rep fellows from all
departments meet in the Harrison
campus conference room for a seminar
on résumé writing and successful
interview skills, led by Berkeley Rep’s
Production Manager Tom Pearl
and Human Resources Consultant
Laurel Leichter.
2 0 1 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 9
R E P ORT
For the good of the group
BY SARAH NOWICKI
1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
P H OTO S BY C H E S H I R E I S A AC S
If one is the loneliest number, two is
company, but three’s a crowd, what happens with a group of
10 or more? If you’re heading to a show at Berkeley Rep, it
means your social decuplet is eligible for discounts on tickets
to main- and limited-season productions. What’s more, many
local schools and organizations have found that attending
theatre as a group cultivates a uniquely shared experience.
The Jewish Federation of the East Bay arranged a private
reception for 100 guests in our Helen C. Barber lobby in
December before attending a performance of The Pianist of
Willesden Lane. The special night out culminated with the
lighting of the last candle on the Chanukah menorah.
“Once together, everyone was energized around the
common symbolism of the season,” says Joanna Neuman,
director of development at the Jewish Federation. “People
heard how wonderful the show was and wanted to go together
for that reason.”
For the last two years, Jeff Kramer, professor of theatre
and dance at Ohlone College in Fremont, has been organizing
group outings for his students to at least six Berkeley Rep
productions, including Chinglish, Vanya and Sonia and Masha
and Spike, and Tristan & Yseult. “We see 10 productions a
semester at theatres throughout the Bay Area, and Berkeley
Rep’s shows are always the highest-rated by my students,” says
Jeff. “Berkeley Rep’s staff go out of their way to accommodate
us and make the entire group booking process simple and
stress-free.”
From our flexible Entourage program, which allows
attendees to purchase tickets online using a discount code
designated for their group, to our Student Matinee Series,
in which middle and high school students can attend a
performance with their classmates at a subsidized rate,
reserving group tickets to a performance instantly creates a
memorable excursion with minimum effort — not to mention
great savings.
“Berkeley Rep’s staff go out of their
way to accommodate us and make
the entire group booking process
simple and stress-free.”
For information on group ticket rates and
Entourage, click berkeleyrep.org/groups
or call 510 647-2918.
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2 0 1 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1
A conversation with
Big Dance Theater’s
Annie-B Parson
BY ELIZABETH WILLIAMSON
In this interview with Elizabeth
Williamson, the senior dramaturg and director of new play
development at Hartford Stage, Annie-B and Paul discuss their
approach to the original source material for Man in a Case as
well as the unique design elements used in the production.
Elizabeth Williamson: You’ve developed shows from a wide
range of sources, from Flaubert, to Agnès Varda, to Euripides. What drew you to these stories of Chekhov’s?
Annie-B Parson: We have been borrowing small bits
of text from Chekhov plays for the past 20 years and using
them in assemblages, because like most theatre people we’re
continually reading Chekhov—he comes up a lot. I’ve choreographed some Chekhov pieces, and Paul’s acted in quite a few
[Three Sisters directed by Austin Pendleton, Brace Up! (Three
Sisters) by the Wooster Group, and a Russian production of
Ivanov], but Big Dance Theater had never done a full Chekhov
work. So when Misha [Mikhail Baryshnikov] suggested this, we
jumped on it.
Paul Lazar: So we read “Man in a Case” and I just felt that
even though it’s prose, not a play, it’s eminently actable—
because of the narrative, the sequence of events—an intensely introverted man falls in love with a noisy, extroverted
woman, she humiliates him and it kills him—this seemed to be
something that could be staged.
1 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
& Paul Lazar
P H OTO BY L E S L I E LYO N S
When you started developing the show, it was based on
one short story, “Man in a Case.” What led you to incorporate “About Love” as well?
Annie-B: A practical matter. It’s one of my favorite things,
when someone from the outside imposes a theatrical necessity—it could be spatial, temporal, or thematic—it traps you
in a way that can be really generative. In this case “Man in a
Case” was too short for a full evening, and I had fantasized
about doing “About Love” but couldn’t imagine how to express
it. However, when the practical question of needing 15 more
minutes to complete the evening came up, I returned to it.
Since we’d started working I had a stronger sense of what we
as a group could do in relation to Chekhov and I felt confident
about adapting it. And I love the contrast between the exteriority of “Man in a Case” and the interiority of “About Love.”
Plus, the two stories are actually two parts of a trilogy.
Paul: We’ve also discovered connections between the two
characters Misha plays. Even though the character in “Man in a
Case” seems so one-of-a-kind and the character in the second
story so like other people, they both have preconceived ideas
about how to live, even if it means living life in a case. The
protagonist of “About Love” is also in a case, because he has
a notion of what an honorable life is supposed to be and he
won’t defy it when he falls in love. Both he and the woman he
loves don’t act on their feelings, which leaves them in a sort of
purgatory. Chekhov was critical of both men for living in a case
of their own construction.
As Brian Kulick, the artistic director of Classic Stage
Company, says, you can distill the wisdom of Chekhov into two
words: Live Now.
and the architecture of the room as one, and simultaneously
from different perspectives—with cameras above, to the side,
at different angles—reminding you of multiple viewpoints, of
the twisting and turnings of our thinking, looking at the mind,
You often use a range of source material in creating your
and the ways we both make decisions and remember.
work. Beyond the stories, are there other sources you drew
Misha’s character is observing, reliving, and recalling his acon to create this show?
tions, feeling, defending, and contemplating his actions—as
Annie-B: Yes, quite a few. We started by looking at instrucyou do when you meditate on something very carefully.
tional videos because Belikov (the “man in a case”) is a lover
I think Chekhov’s stories are either written from the
of rules and prescribed behaviors, and because he’s a teacher.
outside, as in “Man in a Case” which feels like it is about life
And since the hunters frame the piece, we also borrowed from
observed, or from the inside as in “About Love.” “About Love”
YouTube clips of contemporary hunters’ everyday talk about
feels much more personal—it’s one of his stories where he
hunting. In terms of movement, we drew on folk dance matespills a drop of blood. Not that I’m trying to prove it’s biorial from the period, and we drew on images of surveillance
graphically based, as many scholars have—but it is palpably
cameras to reflect Belikov’s paranoia.
something he knows intimately about and had pain around.
Paul: On the first day of rehearsal we also tape—recorded
Paul: I think the video is very much part of our adaptation
people talking about their backgrounds and origins. We think
of the work. If you were just to take this story and give it to
where a Chekhov story can come out of now is the way people
a playwright and ask them to theatrically adapt it, with stage
in the contemporary moment talk, so that we could emerge
directions, dialogue, etc., that’s one way or style of telling it. I
out of that to tell the stories and then return back to that
think the way we use video and sound—and some of the video
contemporary world—to give
even has text scrolling through it—
some contemporary roots
in a certain sense it’s more evocato the piece. Chekhov is fortive of the experience of reading
If you’ve had the experience of
ever contemporary.
a story. Not in the sense that we
speak the text verbatim (which we
working with a real ensemble,
With Big Dance Theater, you
also do), but that in seeing a play
which I would say is a group who
have long-standing relationyou take some of the language,
has worked together for at least 7+
ships with many of the artand the imagery related to the
ists involved in each show.
language (sometimes obliquely) so
years, you’re really lucky because
How do those relationships
as to replicate the reading experiyou have a shared vocabulary, a
develop, and how do they
ence; it gives you the experience
shared aesthetic, and this can be
inform the work?
of imagistic resonance rather than
Annie-B: They deeply
literal representation.
quite a powerful art machine!
inform the work. If you’ve had
the experience of working
In this production you also have
with a real ensemble, which I
designers present, and working,
would say is a group who has worked together for at least 7+
on stage. What led to that choice?
years, you’re really lucky because you have a shared vocabuAnnie-B: I think it’s about transparency, issues of translary, a shared aesthetic, and this can be quite a powerful art
parency in theatre, and issues of transparency in Chekhov.
machine! So many things are left unsaid in rehearsal and then
Chekhov is brutally honest—which has always been one of
expressed in the work instead of discussed. I even have an idea
my favorite things in his work. By placing the designers and
of a piece that at a certain point actually creates work without
technicians on the stage we are showing the inside of making
the director, once the protocols for the piece are set, because
the piece; we show the seams, the honesty of our theatre, and
an ensemble is so in tune to the director, she could actually
I find this beautiful and worth exposing. Showing how things
step out. I was reading about how scientists do their best
work on stage is in part a reflection of Chekhov’s transparency.
work in a long-standing group and then they add someone
Paul: We didn’t do a playwright adaptation, where you’re
new to the group to mess everyone up (in a good way!) and
turning the story into a play, in which case we would want to
that would be Misha in this piece. We have the stability of an
mask the machinery of the illusion a little more. But it’s Chekensemble group of designers and performers, and the added
hov’s unvarnished contemporary quality and his not feeling at
element of a new voice/body in the mix, with his particular hisan historical distance that we’re going after. I wanted our world
tory, virtuosity, and perspective.
to be present in the piece. I also think that coming from the
less-traditional theatre, I’m inclined to ask myself about the
Your work makes a major use of design. Can you talk about
purpose of conventions that are just accepted: that we hide
how video functions in the show?
the technical elements, and have it be a mysterious magic. I
Annie-B: Video design is almost another character in the
like to ask whether that’s only convention or in fact appropripiece—it contemporizes the material because it is digital; it
ate to a piece and I didn’t see any reason to adhere to that
puts us automatically into the present. For “About Love,” video
here. It’s not a convention I particularly like. We often dispense
hones in and heightens the psychological perspective on how
with hiding the machinery and that felt good in this piece.
Reprinted with permission of Hartford Stage
the heart loves and protects itself, by looking at the people
201 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3
SNEAK
PE E K!
Exciting auction lots include...
• A private cocktail party with Hershey Felder
• A Chicago getaway with opening night tickets to Sting’s new musical
• A London West End theatre experience
• And much more!
SAVE THE DATE
Get your Glam and Glitz on for
Saturday, April 19, 2014
The Four Seasons Hotel San Francisco
SAVOR
World-class wines, craft spirits, and delectable hors d’œuvres
TOAST
Adventurous new plays from a Tony Award-winning theatre
FEAST
On a four-star gourmet dinner paired with stellar wines
BID
On spectacular experiences, vacation packages, wines, and restaurants
HOBNOB
With creatives, corporate innovators, and community leaders
Individual Tickets $750 · vip Tickets $1,250
Tables: Footlight $7,500 · Spotlight $12,500 · Limelight $18,000
To reserve, contact Lily Yang at lyang@berkeleyrep.org or 510 647-2909
BERKELE YREP.ORG/OVATION
Berkeley Repertory Theatre presents
B E R K E LE Y R E PE R TO RY T H E AT R E
TO N Y TACCO N E , M I C H A EL LEI B ER T A R T I S T I C D I R EC TO R
S U S A N M E DA K , M A N AG I N G D I R EC TO R
Adapted from Two Short Stories by Anton Chekhov: “Man in a Case” and “About Love”
Adapted and Directed by Paul Lazar & Annie-B Parson / Big Dance Theater
Choreographed by Annie-B Parson
JANUARY 25–FEBRUARY 16, 2014
SPECIAL PRESENTATION · RODA THE ATRE
Man in a Case is made possible thanks to the generous support of
S E A S O N PRO D U CE R
The Strauch Kulhanjian Family
PRO D U CE R S
David & Vicki Cox
A S S O CIAT E PRO D U CE R S
Edward Baker
Carol A. Giles
Don & Amy Louv
CAST
Belikov Mikhail Baryshnikov
Barbara Tymberly Canale
Ivan Chris Giarmo
Burkin Paul Lazar
Kovalenko Aaron Mattocks
Additional Onstage Appearance Tei Blow, Jeff Larson
Set Designer Peter Ksander
Costume Designer Oana Botez
Lighting Designer Jennifer Tipton
SEASON SPONSORS
Sound Designer Tei Blow
Video Designer Jeff Larson
Associate Video Designer Keith Skretch
Music Director Chris Giarmo
Production Stage Manager Brendan Regimbal
Assistant Director Aaron Mattocks
Assistant Set Designer Andreea Mincic
Assistant Lighting Designer Valentina Migoulia
Assistant Stage Manager Erin Mullin
Assistant Video Designer Steven Klems
Technical Director Nathan Lemoine
Sound Supervisor Anthony Luciani
General Manager Huong Hoang
Company Manager Katie Ichtertz
Produced by Baryshnikov Productions
Man in a Case was produced in association with ArKtype / Thomas O.
Kriegsmann, and commissioned and premiered by Hartford Stage Company,
Hartford, CT (Darko Tresnjak, Artistic Director; Michael Stotts, Managing
Director), premiering March 1, 2013
Partial support of open captioning is provided by
Theatre Development Fund
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BE R K E L E Y R E P PR E S E N T S
Mikhail Baryshnikov
B E L I KOV
Mikhail Baryshnikov, a
native of Riga, Latvia,
began studying ballet
at the age of 9. As a
teenager, he attended
the Vaganova Choreographic School in Leningrad, graduating from
student to principal
dancer of the Kirov Ballet in 1969. In 1974, he left the former Soviet
Union to dance with major ballet companies
around the world including the New York
City Ballet, where he worked with George
Balanchine and Jerome Robbins. In 1980 he
began a 10-year tenure as artistic director of
American Ballet Theatre, nurturing a new generation of dancers and choreographers. From
1990 to 2002, he was director and dancer with
the White Oak Dance Project, which he cofounded with choreographer Mark Morris. In
2005, he opened the Baryshnikov Arts Center
(bac), a creative home for local, national, and
international artists to develop and present
work. His film and television credits include
The Turning Point (Oscar nomination), White
Nights, and various television shows, including
three Emmy Award–winning specials. He has
appeared on Broadway in Metamorphosis, for
which he received a Tony nomination and a
Drama Desk Award, and in Forbidden Christmas or The Doctor and the Patient (Lincoln
Center Festival), Beckett Shorts (New York
Theatre Workshop), In Paris (Berkeley Rep, the
Broad Stage, Lincoln Center Festival, and an
international tour), and most recently in The
Old Woman (international tour) directed by
Robert Wilson. His many awards include the
Chubb Fellowship, the Commonwealth Award,
the Jerome Robbins Award, the Kennedy
Center Honors, and the National Medal of
Honor. In 2010, he was named an Officer of
the French Legion of Honor.
Tymberly Canale
BARBARA
Dancer, actor, choreographer, and teacher
Tymberly Canale has
collaborated and
performed with the
award-winning New
York City–based Big
Dance Theater since
1995. With this dynamic
experimental dance
theatre company, she has performed around
the world, and is currently at work on Alan
Smithee Directed This Play, a new work that will
premiere in Lyon, France in March 2014. She
received a 2010 New York Dance and Performance (Bessie) Award for her role in Comme
Toujours Here I Stand. Tymberly obtained her
profiles
mfa in dance in 2009 from Hollins University/
American Dance Festival and has recently
served on the faculty of Barnard College,
Peridance/Capezio Certificate Program, the
University of the Arts, Marymount Manhattan College, and the American Dance Festival.
Her choreographic credits include I Hate F***
Mexicans, written by Luis Enrique Gutiérrez
Ortiz Monasterio and directed by Danya
Taymor, Brecht’s play A Respectable Wedding
at New York University (directed by Karin
Coonrod), and Tristan Tzara’s The Gas Heart
(for Big Dance Theater), as well as assisting in
Theatre for a New Audience’s off–Broadway
production of John Ford’s The Broken Heart
and contributing movement for the David
Byrne/Alex Timbers/Annie-B Parson production of Here Lies Love.
and Mac Wellman’s Antigone (Classic Stage
Company, 2004). He also directed Young
Jean Lee’s We’re Gonna Die. He and Annie-B
Parson are currently creating a new piece, Alan
Smithee Directed This Play, which will open in
Lyon, France in spring 2014. He has performed
in the Wooster Group’s North Atlantic, Brace
Up, Emperor Jones, and The Hairy Ape. Other
stage credits include The Three Sisters at Classic Stage, Young Jean Lee’s Lear, Marie Irene
Fornes’ Mud, and Richard Maxwell’s Cowboys
and Indians. His film roles include Silence of the
Lambs, Philadelphia, The Host, and soon-to-bereleased Snow Piercer, as well as A Meaning Full
Life with Wallace Shawn and Kate Valk. Paul
teaches at nyu/Tisch School of the Arts.
Chris Giarmo
Aaron Mattocks, “one
of the finest young
actor-dancers in New
York” (New York Times),
is a Pennsylvania native,
Sarah Lawrence College
alumnus, and 2013 New
York Dance and Performance (Bessie) Award
nominee. He is an associate artist with Big Dance Theater under the
direction of Annie-B Parson and Paul Lazar,
whose productions include Supernatural Wife
(Brooklyn Academy of Music’s Next Wave
Festival, 2011), Comme Toujours Here I Stand
(New York Live Arts revival, 2012), Man in a
Case (Hartford Stage, 2013), and Alan Smithee
Directed This Play (spring 2014). He has created
roles in premieres by Doug Elkins, David Gordon, Stephen Petronio, Jodi Melnick, Steven
Reker, Phantom Limb (dirs. Jessica Grindstaff/
Erik Sanko), Yoshiko Chuma, Christopher Williams, Ursula Eagly, Kathy Westwater, and John
Heginbotham. He has appeared as a guest artist with Faye Driscoll, John Kelly, Dean Moss,
David Parker, and Third Rail Project’s Then She
Fell, and performed in projects by Courtney
Krantz, Abigail Levine, and Amanda Villalobos.
In addition to his work as a performer, Aaron is
a 2013–14 Context Notes Writer for New York
Live Arts, after recently completing a year as
guest editor for Movement Research’s Critical
Correspondence. His writing has also been
published on Culturebot, Hyperallergic, The
Performance Club, and The Brooklyn Rail.
I VA N/M U S I C D I R E C T O R
Chris Giarmo is an
artist, designer, and
composer based in New
York. He has performed
with Big Dance Theater
since 2005, composed
choral music for its 2011
production of Supernatural Wife at Brooklyn
Academy of Music’s
Next Wave Festival and in Paris, and will be
performing in and music directing its new
production, Alan Smithee Directed This Play,
premiering in Lyon, France in 2014. He is also
a founding member and resident composer
of New York–based theatre company Half
Straddle, whose productions include In the
Pony Palace/football, Seagull (Thinking of you),
and Away Uniform. His recent sound design/
composition credits include Young Jean Lee’s
Untitled Feminist Show, Faye Driscoll’s You’re
Me, Jackie Sibblies Drury’s We Are Proud to
Present a Presentation..., Mac Wellman’s 3 2’s
or afar, and Gertrude Stein’s Pink Melon Joy.
Chris has a solo music project titled Boys
Don’t Fight (boysdontfight.com) and is co-creator of Homoflix (homoflix.wordpress.com), a
queer film review blog with Jess Barbagallo.
Paul Lazar
A DA P T O R /C O - D I R E C T O R / B U R K I N
Paul Lazar co-founded
the Bessie and Obie
Award–winning Big
Dance Theater in 1991
with Annie-B Parson
and Molly Hickok. His
work with Big Dance
includes conceiving,
directing, and/or performing in such works
as Supernatural Wife (Brooklyn Academy of
Music, 2011), Comme Toujours Here I Stand (The
Kitchen, 2010) , Plan B (Japan Society, 2009),
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Aaron Mattocks
KOVA L E N KO/A S S I S TA N T D I R E C T O R
Anton Chekhov (1860 – 1904)
AU T H O R
Anton Chekhov was born in Taganrog, Russia,
on the Sea of Azov. He began writing essays
and short stories while studying medicine at
Moscow University. In 1886, he published his
first book of collected tales, Motley Stories.
Two years later he was awarded the Pushkin Prize for the collection In the Twilight.
In the years following, he produced his first
full-length play Ivanov (1887), followed by The
Wood Demon (1889), as well as publishing
a steady stream of short stories. Chekhov
wrote The Seagull in 1895, which was considered a failure at its premiere. In 1898 the play
was revived under the direction of the great
Constantin Sergeyevich Stanislavsky at the
Moscow Art Theatre, whose emphasis on
psychological complexity proved the production a resounding success. Under Stanislavsky,
Moscow Art Theatre also produced Three
Sisters and The Cherry Orchard as well as a
revision of his earlier work The Wood Demon,
which became Uncle Vanya. These four works
are considered Chekhov’s masterpieces.
Chekhov’s writing is fundamentally naturalistic; his characters portray the banality,
despair, jealousy, humor, silence, and stillness
of the human condition, and by reducing their
actions and dialogue to the simplest fibers, he
allows audiences of all backgrounds to identify
with his characters.
Annie-B Parson
A DA P T O R /C O - D I R E C T O R /
CHOREOGR APHER
Annie-B Parson co-founded the Obie and
Bessie Award–winning Big Dance Theater in
1991, and has created over 20 works that have
toured internationally. Big Dance has received
commissions from such esteemed venues as
the Walker Art Center, Théâtre National de
Chaillot in Paris, Brooklyn Academy of Music,
Japan Society, and Les Subsistances in Lyon,
France. Next up for bdt will be Alan Smithee
Directed This Play, which will premiere at Les
Subsistances in March 2014. Outside her work
with bdt, Annie-B most recently choreographed David Byrne’s Here Lies Love at The
Public Theater. She also choreographed two of
Mr. Byrne’s world tours (2008 and 2012), and
she will work with St. Vincent on her upcoming tour. Annie-B has created dance for opera
by composer Nico Muhly; theatre, including
The Broken Heart with Theatre for a New Audience, Sarah Ruhl’s Orlando, and Futurity with
American Repertory Theater; string quartets
including Ethel; and mtv (Salt-n-Pepa). Her
independent work also includes curation,
including Dancer Crush for New York Live Arts
in 2011, the memorial for Merce Cunningham
at Winter Garden in 2010, and Sourcing Stravinsky at Dance Theater Workshop in 2006. She
has been featured in Bomb Magazine, both as
subject and as interviewer. She has published
work in Contact Quarterly, Ballet Review, and
The Brooklyn Rail. Annie-B has been performing her lecture/video The Virtuosity of Structure
since 2008 with Chris Giarmo. She received
a Guggenheim Fellowship (2007), New York
Dance and Performance (Bessie) Awards
(2002 and 2010), the first Jacob’s Pillow
Award, and two Lucille Lortel Award nominations (2011 and 2012). Since 1993 Annie-B has
been an instructor of choreography at New
York University’s Experimental Theatre Wing.
Earthly Goods
APPAREL & FOOTWEAR FOR WOMEN
Peter Ksander
SET DESIGNER
Peter Ksander was one of the scenic designers for Berkeley Rep’s Pericles, Prince of Tyre
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BE R K E L E Y R E P PR E S E N T S
last season. His other design credits include
set and/or lighting designs for There There
with Kristen Kosmas and Paul Willis at the
Chocolate Factory Theater; Botanica with Jim
Findlay at 3LD Art and Technology Center; The
Brothers Size at The Public Theater and the Old
Globe; Othello at Theatre for a New Audience;
On the Levee at Lincoln Center Theater 3; 1:23
and Behind the Eye at Cincinnati Playhouse; A
House In Bali at Cal Performances and Brooklyn Academy of Music; Making of Americans
at the Walker Art Center; Laude in Urbis at
Compagnia de’ Colombari in Orvieto, Italy;
This Place is a Desert at Boston’s Institute of
Contemporary Art and The Public’s Under the
Radar Festival; Drum of the Waves of Horikawa
at the Theatre of a Two-Headed Calf; Roadkill
Confidential at Clubbed Thumb; and Saint
Joan of the Stockyards produced by Stillpoint
Productions at Performance Space 122. His
design work has appeared in the Buenos Aires
in Translation Festival, the Exit Festival, the
Maison des Arts de Créteil, the Ontological
Hysteric Incubator, pica’s tba Festival, the
National Theatre of Hungary, and Massachusetts Institute of Technology. In 2008 he won
an Obie Award for the scenic design of Untitled
Mars (this title may change) at P.S. 122. Peter
holds an mfa from California Institute of the
Arts and is an associate professor at Reed College in Portland, Oregon.
Oana Botez
COSTUME DESIGNER
Oana Botez, a native of Romania, has designed
for major theatre, opera, and dance companies
including the National Theatre of Bucharest
and has been involved in different international theatre festivals such as the Quadrennial
Scenography Show in Prague. Oana is part of
the first Romanian theatre design catalogue
Scenografica. Since 1999, when she moved to
New York, she has collaborated with Robert
Woodruff; Richard Foreman; Maya Beiser;
Richard Schechner; Andrei Serban; János Szász;
Blanka Zizka; Brian Kulick; Zelda Fichlander;
Annie-B Parson & Paul Lazar; Jackson Gay; Eric
˘
˘ Karin Coonrod; Jay Scheib;
Ting; Razvan
Dinca;
Rebecca Taichman; Kristin Marting; Evan Ziporyn; Eduardo Machado; Gus Solomons, Jr. &
Paradigm; Carmen De Lavallade; Dušan Týnek
Dance Theatre; Rania Ajami; Gisela Cardenas;
Tony Speciale; Pavol Liska & Kelly Copper;
Michael Barakiva; Matthew Neenan; Molissa
Fenley; Zishan Ugurlu; Michael Sexton; Pig Iron
Theatre Company; the Play Company; Charles
Moulton; and Ripe Time, among others. Oana
has an mfa in design from nyu/Tisch School
of the Arts and was part of nea/tcg Career
Development Program. She has received a
Princess Grace Award, a Barrymore Award,
and a Drammy Award.
profiles
Jennifer Tipton
Keith Skretch
Jennifer Tipton is well known for her work in
theatre, dance, and opera. Her recent work
in opera includes L’Elisir d’Amore directed by
Bartlett Sher at the Metropolitan Opera, and
Elektra for Lyric Opera of Chicago and Maria
Stuarda at the Metropolitan, both directed
by David McVicar. Her recent work in dance
includes Alexei Ratmansky’s Romeo and Juliet
for the National Ballet of Canada and Paul
Taylor’s Gossamer Gallants. In theatre her
recent work includes Designated Mourner
at The Public Theater and The Testament of
Mary on Broadway at the Walter Kerr Theatre.
Jennifer teaches lighting at the Yale School of
Drama. She received the Dorothy and Lillian
Gish Prize in 2001, the Jerome Robbins Prize in
2003, and in 2004 the Mayor’s Award for Arts
and Culture in New York City. In 2008 she was
made a United States Artists “Gracie” Fellow
and a MacArthur Fellow.
Keith Skretch designs video for performance
and installation, working with New York–based
theatremakers including Mallory Catlett, Palissimo, John Gould Rubin, Jay Scheib, and Daniel
Fish, and Los Angeles companies including
Playwrights’ Arena, the Fountain Theatre,
and CalArts Center for New Performance.
He’s created immersive installations such as
Display Replay (CalArts New Works Festival)
and Good/Bad/Ugly (Bushwick Starr), and his
experimental animation Waves of Grain has
screened at film festivals internationally. He
recently toured with Radiolab’s live stage show
Apocalyptical. Keith holds an AB from the University of Chicago and an mfa from CalArts.
LIGHTING DESIGNER
Tei Blow
SOUND DESIGNER
Tei Blow is a performer and sound designer
based in Brooklyn, New York. Born in Japan
and raised in the United States, Tei’s work
incorporates photography, video, and sound
design with a focus on technological processes
and their artifacts. He has written songs for
the film Loveless, built interactive video sets for
Brooklyn band Steve Burns (and the Struggle),
and made designs for Dmitry Krymov Laboratory, Mikhail Baryshnikov, Jodi Melnick, Ann
Liv Young, Big Dance Theater, David Neumann,
and Deganit Shemy & Company. He also performs in Royal Osiris Karaoke Ensemble with
Sean McElroy and with the bands Frustrator!
and Perfect Shapes on Enemies List Recordings. He is the recent recipient of a Franklin
Furnace grant.
Jeff Larson
VIDEO DESIGNER
Man in a Case marks Jeff Larson’s third collaboration with Annie-B Parson and Paul
Lazar, having previously designed video for
Big Dance Theater’s Supernatural Wife and the
2009 New York Dance and Performance (Bessie) Award–winning Comme Toujours Here I
Stand. Most recently, he designed video for We
Are Proud to Present a Presentation... directed
by Eric Ting at Soho Rep. Jeff directed the
critically acclaimed Get Mad at Sin! — featuring Andrew Dinwiddie as evangelical firebrand
Jimmy Swaggart — presented at the Chocolate
Factory Theater in New York City, the Fusebox
Festival in Austin, the tba Festival in Portland,
and at the San Diego Museum of Art. Jeff is
co-curator of “everyone’s favorite performance
series,” Catch (catchseries.org). He is an adjunct faculty member with the Department of
Design for Stage and Film at nyu/Tisch School
of the Arts. Visit jeff-larson.com.
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A S S O C I AT E V I D E O D E S I G N E R
Andreea Mincic
A S S I S TA N T S E T D E S I G N E R
Andreea Mincic, originally from Romania and
now based in New York City, designs sets and
occasionally costumes for theatre, dance, and
opera productions. She was the assistant scenic designer for Berkeley Rep’s Pericles, Prince
of Tyre last season. She recently designed Play/
Pause with Susan Marshall & Company and
House of Dance with New York City Players.
Regular collaborators in New York include
Half Straddle, Hoi Polloi, the Builders Association, 31Down, Yoav Gal, and John Gould
Rubin. Additional collaborators nationally and
internationally include Incubator Arts Project,
Banana Bag & Bodice, Big Dance Theater,
Hartford Stage, LaGuardia Performing Arts
Center, Labyrinth Theater Company, Büro für
Off-Theater, and the National Center of Dance
— Bucharest, among others. Andreea is a 2011
Henry Hewes Design Awards nominee for
Three Pianos with Hoi Polloi.
Valentina Migoulia
A S S I S TA N T L I G H T I N G D E S I G N E R
Valentina Migoulia is a lighting designer, production electrician, and visual artist working
out of New York. She has worked on previous
tours, including In Paris (Berkeley Rep, the
Broad Stage, Lincoln Center Festival, and an
international tour) and Spectral Scriabin (White
Light Festival, 2011).
Brendan Regimbal
P R O D U C T I O N S TAG E M A N AG E R
Brendan Regimbal is a New York theatre artist
who has been working in the city since 2004.
He worked as Richard Foreman’s production/
stage manager and assistant director from
2006–10. He is one of the founding members
and curators of Incubator Arts Project. He creates work with his partner Samara Naeymi, the
most recent of which, entitled Aviary, was seen
at Incubator Arts Project. He has collaborated
with several downtown theatre companies
and artists including Big Dance Theater, New
York City Players, Elevator Repair Service,
Radiohole, Object Collection, Reid Farrington,
Title:Point Productions, 31 Down, the Paper
Industry, and Sponsored By Nobody.
Erin Mullin
A S S I S TA N T S TAG E M A N AG E R
Erin Mullin is a Brooklyn–based theatre artist
and technician. Recent show credits include
props run crew for Here Lies Love and Fun
Home, both at The Public Theater, and production stage manager for I Think I’m Falling: A
Concert at New York University’s Experimental Theatre Wing. Erin has interned with the
Wooster Group and New York City Players
and is thrilled to be working on Man in a Case.
Big Dance Theater
Founded in 1991, Big Dance Theater, led by
co-artistic directors Annie-B Parson and Paul
Lazar, has created over 20 dance/theatre
works using sources ranging from Euripides,
Flaubert, and Twain to the illicit tapes of
Richard Nixon to Okinawan pop. Big Dance
Theater received New York Dance and Performance (Bessie) Awards in 2002 and 2010; the
company was awarded an Obie in 2000, and
the first Jacob’s Pillow Dance Festival Award
in 2007. Big Dance Theater is an inaugural
member of the Hatchery Project, a residency
consortium. Most recent commissions have
been from Brooklyn Academy of Music, Les
Subsistances (Lyon, France), Théâtre National
de Chaillot (Paris, France), the Anticodes
Festival, and the Walker Art Center. Big Dance
Theater has been presented nationally by
Brooklyn Academy of Music, New York Live
Arts, Dance Theater Workshop, the Kitchen,
Classic Stage Company, Japan Society,
Jacob’s Pillow Dance Festival, the Museum of
Contemporary Art (Chicago), the Walker Art
Center, the International Festival of Arts and
Ideas (New Haven), Yerba Buena Center for
the Arts, On the Boards, ucla Live, and Spoleto Festival. Internationally, the company has
performed at many festivals and theatres in
France, Italy, Belgium, the Netherlands, Brazil,
and Germany. Big Dance Theater is creating
a film version of Another Telepathic Thing with
Jonathan Demme.
Baryshnikov Productions
PRODUCER
Baryshnikov Productions is designed to bring
the distinctive voices of innovative directors,
choreographers, and artists to the world’s
most well-respected stages. Under this umbrella, the company has produced and toured
the White Oak Dance Project (1990–2002),
Forbidden Christmas or The Doctor and the
Patient (2004–06), Beckett Shorts (2007), and
In Paris (2010–12). Baryshnikov Productions’
current project is The Old Woman.
ArKtype/Thomas O. Kriegsmann
A S S O C I AT E P R O D U C E R
A producer of acclaimed international projects
and tours, ArKtype’s work has been seen
worldwide, including projects with Mikhail
Baryshnikov, Yaël Farber, Peter Brook, Jay
Scheib, Julie Taymor, Yaron Lifschitz, Dmitry
Krymov, and Victoria Thiérrée-Chaplin.
Recent premieres include the off-Broadway
run of “Nalaga’at” Theater Deaf-blind Acting
Ensemble’s Not by Bread Alone. ArKtype has
also collaborated with Rude Mechanicals
(Austin), Theatre for a New Audience, Big
Dance Theater, Aurélia Thiérrée (France),
Andrew Ondrejcak/Shara Worden, Jessica
Blank & Erik Jensen, Circa (Brisbane, Australia),
Lisa Peterson & Denis O’Hare, tpo (Italy), Erth
Visual & Physical Inc. (Sydney), Sam Green/Yo
La Tengo, Arcane Collective (Dublin, Ireland),
Joshua Light Show, and the World/Inferno
Friendship Society. Upcoming premieres
include Sam Green’s The Great Heart of Humanity, Jay Scheib’s Platonov or the Disinherited, Jessica Blank & Erik Jensen’s How to Be a
Rock Critic, and Dayna Hanson’s The Clay Duke.
More information at arktype.org.
Hartford Stage Company
COMMISSIONER
Now in its 5oth anniversary season, Hartford
Stage is one of the nation’s leading resident
theatres, known internationally for producing
classics, provocative new plays and musicals,
and neglected works from the past, as well as
a distinguished education program that reaches 21,000 students annually. Hartford Stage
co-produced the world premiere of Man in a
Case last season, and the theatre is currently
represented on Broadway with the musical
A Gentleman’s Guide to Love and Murder at
the Walter Kerr Theatre. Currently under the
leadership of Darko Tresnjak, artistic director,
Art inspires imagination—
sparking creativity, innovation, and
understanding. It’s ambitious, but we’re trying
to change the world, one play at a time.
Make a dramatic change.
Give today.
berkeleyrep.org/give · 510 647-2906
Mona Golabek in The Pianist
of Willesden Lane
P h oTo by m e L Lo PI x .co m
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and Michael Stotts, managing director, Hartford Stage has earned many of the nation’s
most distinguished awards, including a Tony
Award for Outstanding Regional Theatre, the
Margo Jones Award for Development of New
Works, Obie Awards, two New York Critics
Circle Awards, a Dramatists Guild/cbs Award,
and an Elliot Norton Award, and has produced
nationally renowned titles, including the
Broadway productions of Matthew Barber’s
Enchanted April, Timberlake Wertenbaker’s
Our Country’s Good, and The Gershwin’s Fascinating Rhythm; the off-Broadway productions of Horton Foote’s The Orphans’ Home
Cycle and The Carpetbagger’s Children, and a
landmark production of Harper Lee’s To Kill a
Mockingbird. Recent new work includes Daniel
Beaty’s Resurrection (later retitled Through the
Night) and Breath and Imagination, Michael
Kramer’s Divine Rivalry, Eve Ensler’s Necessary
Targets, Edward Albee’s At Home at the Zoo,
and Matthew Lombardo’s Tea at Five. The leading provider of theatre education programs
in Connecticut, Hartford Stage’s offerings
include student matinees, in-school theatre
residencies, teen performance opportunities,
theatre classes for students (ages 3–18) and
adults, afterschool programs, and professional
development courses.
Tony Taccone
MICHAEL LEIBERT
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director
of Berkeley Rep, the Tony Award–winning
nonprofit has earned a reputation as an
international leader in innovative theatre. In
those 16 years, Berkeley Rep has presented
more than 70 world, American, and West
Coast premieres and sent 22 shows to New
York, two to London, and now one to Hong
Kong. Tony has staged more than 35 plays in
Berkeley, including new work from Culture
Clash, Rinde Eckert, David Edgar, Danny Hoch,
Geoff Hoyle, Quincy Long, Itamar Moses,
and Lemony Snicket. He directed the shows
that transferred to London, Continental Divide
and Tiny Kushner, and two that landed on
Broadway as well: Bridge & Tunnel and Wishful
Drinking. Tony commissioned Tony Kushner’s
legendary Angels in America, co-directed its
world premiere, and this season marks his
eighth collaboration with Kushner when he
directs The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the
Scriptures. Tony’s regional credits include
Actors Theatre of Louisville, Arena Stage,
Center Theatre Group, the Eureka Theatre,
the Guthrie Theater, the Huntington Theatre
Company, Oregon Shakespeare Festival, The
Public Theater, and Seattle Repertory Theatre.
As a playwright, Tony recently debuted Ghost
Light and Rita Moreno: Life Without Makeup.
His latest play, Game On, written with Dan
Hoyle, will premiere in April 2014 at San Jose
Repertory Theatre. In 2012, Tony received
the Margo Jones Award for “demonstrating a
significant impact, understanding, and affirmation of playwriting, with a commitment to the
living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration
and operations of the Theatre. She has served
as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent
the interests of nonprofit theatres across the
nation. Susan chaired two panels for the Massachusetts Arts Council and has also served
on program panels for Arts Midwest, the Joyce
Foundation, and the National Endowment
for the Arts. Closer to home, Susan chairs
the Downtown Berkeley Business Improvement District and serves as president of the
Downtown Berkeley Association. She is the
founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified
School District and the Berkeley Cultural
Trust. She was awarded the 2012 Benjamin Ide
Wheeler Medal by the Berkeley Community
Fund. Susan serves on the faculty of Yale
School of Drama and is a proud member of the
Mont Blanc Ladies’ Literary Guild and Trekking
Society. She lives in Berkeley with
her husband.
profiles
Stage Toronto, Eclipsed by Danai Gurira at Yale
Repertory Theatre and Woolly Mammoth
Theatre Company, The Good Negro by Tracey
Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa
Davis at the Contemporary American Theatre
Festival, Angela’s Mixtape by Eisa Davis at Synchronicity Performance Group, New Georges,
and Bus and Family Ties at the Play Company
for the Romania Kiss Me! Festival. Liesl’s other
credits include California Shakespeare Theater,
Huntington Theatre Company, Center Stage
in Baltimore, Sundance East Africa, Manda
Island, Kenya, Oregon Shakespeare Festival,
La Jolla Playhouse, and Huntington Theatre
Company, among others. Liesl serves as the
program associate at Sundance Institute
Theatre Program, focusing on its activities
in East Africa, and she was recently made an
artist trustee with the Sundance Institute’s
board of trustees. She was awarded the inaugural Susan Stroman Directing Award from
the Vineyard Theatre, the nea/tcg Directors
Grant, and the New York Theatre Workshop
Casting/Directing Fellowship. She is a native
of Cape Town, South Africa.
Madeleine Oldham
R E S I D E N T D R A M AT U R G/ D I R E C T O R ,
T H E G R O U N D F LO O R
Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley
Rep’s programs for education provided live
theatre for more than 20,000 students annually. In 1995, she became general manager, and
since then has overseen the day-to-day operations of the Theatre. She has represented the
League of Resident Theatres during negotiations with both Actors’ Equity Association and
the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep,
Karen worked for Theatre Bay Area as director
of theatre services and as an independent
producer at several Bay Area theatre companies. She has served on the boards of Climate
Theater, Overtone Theatre Company, Park Day
School, and the Julia Morgan Center. Karen is
married to arts attorney MJ Bogatin.
Madeleine is the director of Berkeley Rep’s
recently launched Ground Floor and the
Theatre’s resident dramaturg. She oversees
commissioning and new play development,
and dramaturged the world premiere productions of Passing Strange and In the Next
Room (or the vibrator play), among others. As
literary manager and associate dramaturg at
Center Stage in Baltimore, she produced the
First Look reading series and headed up its
young audience initiative. Before moving to
Baltimore, she was the literary manager at
Seattle Children’s Theatre, where she oversaw
an extensive commissioning program. She also
acted as assistant and interim literary manager
at Intiman Theatre in Seattle. Madeleine
served for four years on the executive committee of Literary Managers and Dramaturgs
of the Americas and has also worked with
act (Seattle), Austin Scriptworks, Crowded
Fire, the Eugene O’Neill Theatre Center, the
Kennedy Center, New Dramatists, Playwrights
Center, and Portland Center Stage.
Liesl Tommy
Amy Potozkin
After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic
team at Berkeley Rep in 2013. She is an awardwinning director whose world premieres
include Party People by Universes at Oregon
Shakespeare Festival, The White Man—A
Complex Declaration of Love by Joan Rang
with DanskDansk Theatre in Denmark, Peggy
Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/Canadian
A native New Yorker, Amy moved west
in 1990 when she was hired to work for
Berkeley Rep. Through the years she has also
had the pleasure of casting projects for act
(Seattle), Arizona Theatre Company, Aurora
Theatre Company, B Street Theatre, Bay Area
Playwrights Festival, Dallas Theater Center,
Marin Theatre Company, the Marsh, San Jose
Repertory Theatre, Social Impact Productions
Karen Racanelli
G E N E R A L M A N AG E R
A S S O C I AT E D I R E C T O R
2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
A R T I S T I C A S S O C I AT E /
CASTING DIREC TOR
Inc., and Traveling Jewish Theatre. Amy cast
roles for various indie films: Conceiving Ada,
starring Tilda Swinton; Haiku Tunnel and the
upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond
Redemption by Britta Sjogren. Amy received
her mfa from Brandeis University, where she
was also an artist in residence. She has been a
coach to hundreds of actors, teaches acting at
Mills College, and leads workshops at Berkeley
Rep’s School of Theatre and numerous other
venues in the Bay Area. Amy is a member of
csa, the Casting Society of America.
WOOD-FIRED PIZZA • 35 BEERS ON TAP
HEATED BEERGARDEN • FIREPIT
2182 SHATTUCK AVENUE
ACROSS THE STREET FROM DOWNTOWN BERKELEY BART
The Strauch Kulhanjian Family
510.843.8277
JUPITERBEER.COM
SEASON PRODUCERS
Roger Strauch is a former president of
Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is
chairman of the Roda Group (rodagroup.com),
a venture-development company based in
Berkeley, focused on cleantech investments,
best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq:
szym, solazyme.com). Roger is chairman of
the board of CoolSystems, a medical technology company, and a member of UC Berkeley
Engineering Dean’s college advisory board.
He is chairman of the board of trustees for
the Mathematical Sciences Research Institute
(msri); a member of the board of Northside
Center, a mental-health services agency based
in Harlem, New York City; and a co-founder
of the William Saroyan Program in Armenian
Studies at Cal. His wife, Julie A. Kulhanjian, is
an attending physician at Oakland Children’s
Hospital. They have three children.
David and Vicki Cox
PRODUCERS
Dave and Vicki have been active in the theatre world for nearly 30 years, first with the
Guthrie, where Dave was at one-time chair of
the board, and with Berkeley Rep, where he is
a trustee. Vicki, a women’s rights activist, is a
past national board member of Americans for
the UN Population Fund and Planned Parenthood. The retired ceo of Cowles Media, Dave
pursues interests in media and environmental
causes. Previously, he was the board chair of
Earthjustice and Link Media. The Coxes love
Berkeley Rep’s dedication to risk-taking and its
emphasis on contemporary plays, as well as
its commitment to developing theatre works
and artists.
Z SPACE
presents
featuring
THE BENGSONS
ZSS
Directed by Anne Kauffman
Book by Kate E. Ryan
A folk rock odyssey
about love, loss & life
2/20 - 4/6, 2014
Tickets: $10 - $70
Purchase online at www.zspace.org
By phone at 866.811.4111
BART
SEASON SPONSOR
Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more
than 100 million passengers annually. bart is
the backbone of the Bay Area transit network
with trains traveling up to 80 mph to connect
26 cities located throughout Alameda, Contra
Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports.
bart’s all-electric trains make it one of the
greenest and most energy-efficient systems
in the world with close to 70 percent of its
all-electrical power coming from hydro, solar,
Artisanal items
made by Berkeley Rep staff, now in the Hoag Theatre Store
201 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1
BE R K E L E Y R E P PR E S E N T S
and wind sources. Many new projects are
underway to expand bart, allowing it to serve
even more communities and continue to offer
an ecofriendly alternative to cars. For more
info, visit bart.gov.
San Francisco Chronicle
SEASON SPONSOR
The San Francisco Chronicle is the largest
newspaper in Northern California and the
second largest on the West Coast. Acquired by
Pulitzer Prize
for drama
Hearst Corporation in 2000, the San Francisco
Chronicle was founded in 1865 by Charles and
Michael de Young and has been awarded six
Pulitzer Prizes for journalistic excellence. The
Chronicle is committed to coverage of local
issues and those topics with national impact.
SFGate.com publishes San Francisco Chronicle
news coverage and features online, and adds
more features not available in the print version, such as breaking news, reader forums,
photo galleries, multimedia presentations, as
Tony AwarD
for Best Play
profiles
well as real estate, classified, recruitment, and
auto databases. Combined with SFGate.com,
the San Francisco Chronicle reaches 1.7 million
Bay Area adults each week.
Wells Fargo
SEASON SPONSOR
As a top corporate giver to Bay Area nonprofits for many years, Wells Fargo recognizes
Berkeley Repertory Theatre for its leadership
in supporting the performing arts and its
programs. As the oldest and largest financial
services company headquartered in California,
Wells Fargo has top financial professionals
providing business banking, investments, brokerage, trust, mortgage, insurance, commercial
and consumer finance, and much more. Talk to
a Wells Fargo banker today to see how we can
help you become more financially successful.
LaUrence Olivier Award
for Best New Play
Additional Thanks
Tour representation
ArKtype/Thomas O.
Kriegsmann
Wardrobe
Emily Hartman
Chris Weiland
Accountant
Bruce Nadell, cpa;
Nadell Franco Weinberger, llp
Acknowledgements
Baryshnikov Productions wishes to thank
Darko Tresnjak, Michael
Stotts, Maxwell
Williams, Bryan T.
Holcombe, and the
staff of Hartford Stage
Company;
Georgiana Pickett,
Eleanor Wallace, Kristen
Miles and the staff
of Baryshnikov Arts
Center; Cynthia Hedstrom, Sandra Garner,
Bill Kennedy and the
staff of The Performing
Garage; Kevin Cunningham and the staff of
3LD Art & Technology
Center; The Chocolate
Factory; Performance
Space 122; Will Knapp,
Masha Tsimring, Jenni
Bowman, Alexandra
Rosenberg and Santino
Lo; Countryman Microphones, Inc.
Insurance
The Whitmore Group,
Ltd.
Costume construction
Colin Davis Jones
Studio
Travel arrangements
Greg Minch, altour
Freight arrangements
Clark Transfer
Audio engineer
Xochitl Loza
By
Follow spot operator
Thomas Weaver
Directed by
Scene shop
Patrick Keene
Ben Sandberg
Stephanie Shipman
Read Tuddenham
Bruce Norris
Michael Butler
Stage carpenter
Kourtney McCrary
January 31 - March 1, 2014
For tickets:
Season
Partner
Season
Sponsor
The Resident Professional
Theatre Company of the
Lesher Center for the Arts
Michael Butler,
artistic Director
w w w . C e n t e r R E P. o r g
2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
Scott DeniSon,
Managing Director
Thank you from Big Dance Theater to: Aaron
Rosenblum, Tommy Kriegsmann, Brad Harris,
Molly Hickok, and Joyce Ketay.
Man in a Case was developed, in part, at The Performing Garage
and at 3LD Art & Technology Center, New York City.
Text features excerpt from “High Windows” by Philip Larkin, from
The Complete Poems: Philip Larkin, fsg, 2012. Music credits:
“Coming Around Again” by Carly Simon; “Opus 17a” composed by
Hanne Darboven, performed by Robert Black.
SAN FRANCISCO’S PREMIERE
NON-PROFIT THEATER COMPANY
THIS SPRING THE INTERNATIONAL HIT ARRIVES AT A.C.T.
“BROOK’S [DIRECTION] IS
TRANSCENDING…
IMMEASURABLY ENRICHING”
“EXQUISITELY
PERFORMED AND ALMOST
UNBEARABLY MOVING”
New York Post
Mail on Sunday, London
“[PETER BROOK IS] THE
MOST INFLUENTIAL STAGE
DIRECTOR ALIVE”
New York Times
“A BITTERSWEET
AND BEAUTIFULLY
PERFORMED FABLE.”
The Sunday Times, London
“UNFORGETTABLE.
THEATRE AS IT SHOULD BE.”
The Daily Telegraph, London
New York Daily News
THE SUIT BASED ON THE SUIT BY CAN THEMBA, MOTHOBI MUTLOATSE AND BARNEY SIMON ADAPTATION, DIRECTION AND MUSIC BY PETER BROOK, MARIE-HÉLÈNE ESTIENNE AND FRANCK KRAWCZYK
BEGINS APR 23
We acknowledge the following Annual Fund supporters whose contributions
from November 2012 through November 2013 helped to make possible
the Theatre’s artistic and community outreach programs.
CON T R I BU TOR S
institutional supporters
G IF T S O F $ 100,000 AN D AB OVE
G IF T S O F $2 5,000 –49,999
G IF T S O F $5,000 –9,999
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
Anonymous
The Ira and Leonore Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
Anonymous
Berkeley Civic Arts Program
East Bay Community Foundation
Ann and Gordon Getty Foundation
Ramsay Family Foundation
G IF T S O F $50,000 –99,999
Crescent Porter Hale Foundation
Koret Foundation
The Kenneth Rainin Foundation
The Bernard Osher Foundation
National Endowment for the Arts
COR P OR AT E S P ON S OR S
S E A SO N S P O N SO R S
G IF T S O F $2 5,000 –49,999
G IF T S O F $10,000 –24,999
G IF T S O F $12 ,000 –24,999
G IF T S O F $750 –4,999
Alameda County Arts Commission/artsfund
Joyce & William Brantman Foundation
Civic Foundation
Dramatist’s Guild Fund
The Entrekin Foundation
jec Foundation
G IF T S O F $3,000 –5,999
Bank of the West
Mechanics Bank Wealth Management
The Morrison & Foerster Foundation
Union Bank
4U Sports
Gallagher Risk Management Services
The Safeway Foundation
G IF T S O F $6,000 –11,999
Bingham McCutchen llp
BluesCruise.com
Macy’s
Armanino llp
Chevron
Deloitte
Meyer Sound
Oliver & Company
Panoramic Interests
Peet’s Coffee & Tea
Schoenberg Family Law Group
ubs
U.S. Bank
G IF T S O F $1, 500 –2 ,999
G IF T S O F $500 –1,499
Grizzly Peak Winery
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program
offers excellent opportunities to network, entertain clients, reward employees,
increase visibility, and support the arts and arts education in the community.
For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S
M AT C H I NG G I F T S
act Catering
Angeline's Louisiana Kitchen
Aurora Catering
Autumn Press
Back to Earth Organic Catering
Belli Osteria
Bistro Liaison
Bobby G’s Pizzeria
Bogatin, Corman & Gold
build Pizzeria
Café Clem
Comal
Cyprus
Distillery No. 209
Domaine Carneros by Taittinger
Donkey & Goat Winery
East Bay Spice Company
etc Catering
Eureka!
Four Seasons San Francisco
five
Gather Restaurant
Green Waste Recycle Yard
Greene Radovsky Maloney Share
& Hennigh llp
Hotel Shattuck Plaza
Hugh Groman Catering
Jazzcaffè
Kevin Berne Images
La Mediterranee
La Note
Latham & Watkins, llp
Match Vineyards
Mint Leaf
Patricia Motzkin Architecture
Paul Hastings
Phil’s Sliders
Picante
PiQ
Pyramid Alehouse
Quady Winery
Raymond Vineyards
Revival Bar + Kitchen
Ricola usa
St. George Spirits
Sweet Adeline
Tres Agaves
Turkish Kitchen
Venus Restaurant
Zut! on 4th
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
Pro-bono legal services are
generously provided by
Latham & Watkins, llp.
The following companies have matched their employees’
contributions to Berkeley Rep. Please call the
Development Department at 510 647-2906 to find out if
your company matches gifts.
Adobe Systems Inc. · Advent Software · Alexander &
Baldwin · American Express · Apple · Argonaut Group,
Inc. · at&t · Bank of America · Bechtel Corporation ·
BlackRock · Bristol Myers Squibb · Charles Schwab & Co,
Inc · Chevron Corporation · Clorox · Constellation Energy ·
Franklin Templeton · Gap · Google · Hewlett Packard ·
ibm Corporation · JD Fine and Company · John Wiley &
Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence
Livermore National Laboratory · Lexis-Nexis · Macy's Inc.·
Matson Navigation Company · Microsoft · Morrison &
Foerster · Motorola Mobility · mrw & Associates llc ·
norcal Mutual Insurance Company · Oracle
Corporation · Perforce · Ruppenthal Foundation for the
Arts · Salesforce.com · The Doctors Company · The Walt
Disney Company · visa u.s.a., Inc. · Willis Lease Finance
Corporation
24 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
BRT044 Man in a Case copy.indd 24
1/16/14 10:10 AM
Great theatre is made possible by the generosity of our community.
We gratefully acknowledge the following contributors to
Berkeley Rep, who champion the Theatre’s artistic and outreach
programs. To make your gift and join this distinguished group, visit
berkeleyrep.org/give or call 510 647-2906.
LEG E N D
K
in-kind gift
M
CON T R I BU TOR S
donors to the annual fund
matching gift
P RODUC E R C I RC L E
S E A S O N PRO D U CE R S
$ 10 0,0 0 0 +
The Strauch Kulhanjian Family
LE A D PRO D U CE R S
$ 5 0,0 0 0 – 9 9,9 9 9
Rena Bransten
Bruce Golden & Michelle Mercer
Mary & Nicholas Graves
Wayne Jordan & Quinn Delaney
John & Helen Meyer
Jack & Betty Schafer
E XECU TIV E PRO D U CE R S
$ 2 5,0 0 0 –49,9 9 9
Martha Ehmann Conte
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson M
Frances Hellman & Warren Breslau
Pam & Mitch Nichter
Stewart & Rachelle Owen
Marjorie Randolph
Dr. & Mrs. Philip D. Schild
Michael & Sue Steinberg
Jean & Michael Strunsky
Guy Tiphane
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PRO D U CE R S
$ 12 ,0 0 0 –2 4 ,9 9 9
Anonymous
Barbara & Gerson Bakar
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Carole B. Berg
Thalia Dorwick
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David & Vicki Fleishhacker
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Martin & Margaret Zankel
A S S O CIAT E PRO D U CE R S
$ 6,0 0 0 – 11,9 9 9
Anonymous (3)
Edward Baker
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Valerie Barth & Peter Wiley M
Steve & Blair Buster
Susan Chamberlin
Robert Council & Ann Parks-Council
David & Vicki Cox
Tom Dashiell
Oz Erickson & Rina Alcalay
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Hitz Foundation
Ms. Wendy E. Jordan
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Emily Shanks M
Pat & Merrill Shanks
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D ONOR C I RC L E
PRE S ID E N T S
D IREC TO R S
$ 3,0 0 0 – 5,9 9 9
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (3)
Tony Amendola & Judith Marx
Edith Barschi
Neil & Gene Barth
Drs. Don & Carol Anne Brown
Tracy Brown & Greg Holland
Jim Butler
C. William Byrne M
Lynne Carmichael
Jennifer Chaiken & Sam Hamilton
Earl T. Cohen & Heidi M. Shale
Daniel Cohn & Lynn Brinton
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Vera & David Hartford
Ann & Shawn Fischer Hecht
Richard N. Hill & Nancy Lundeen
James C. Hormel
Lynda & Dr. J. Pearce Hurley
Kathleen & Chris Jackson
Ashok Janah K
Robert Kelling
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Lynn Eve Komaromi
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Don & Amy Louv M
Peter & Melanie Maier
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Grey Maus(e)
Phyra McCandless & Angelos Kottas
Susan Medak & Greg Murphy
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Pease Family Fund
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Riva Rubnitz
Beth & David Sawi
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Sheila Wishek
Sally Woolsey
Anonymous (9)
Pat Angell
Marcia & George Argyris
Martha & Bruce Atwater
Nina Auerbach
Richard & Debbie Ault K
Don & Gerry Beers M
David Beery & Norman Abramson
Cynthia & David Bogolub
Caroline Booth
Linda Brandenburger
Broitman-Basri Family
Thomas & Tecoah Bruce
Kerry Tepperman Campbell
Ronnie Caplane
Stephen K. Cassidy & Rebecca L. Powlan
Paula Champagne & David Watson
LinChiat Chang K
The Cheitlin Family
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Ed Cullen & Ann O'Connor K
James Cuthbertson
John & Stephanie Dains
Ilana DeBare & Sam Schuchat
Francine & Beppe Di Palma
Brooke Facente
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Gail & Bob Hetler
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The Hornthal Family Foundation
Rick Hoskins & Lynne Frame
Paula Hughmanick & Steven Berger
George & Leslie Hume
Mr. & Mrs. Harold M. Isbell
Herrick and Elaine Jackson,
The Connemara Fund
Beth & Fred Karren
Rosalind & Sung-Hou Kim
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Helen E. Land
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Judith & Richard Oken
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Janet Ostler
Joshua Owen & Katherine Robards
Gerane Wharton Park
Bob & MaryJane Pauley
Tom & Kathy Pendleton
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
Gladys Perez-Mendez
Barbara Peterson
Susie & Eric Poncelet
David Pratt
Elizabeth Ratner
John Ravitch
Jonathan & Hillary Reinis
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
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Marc Roth
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Kae Skeels
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Stephen Stublarec & Debra S. Belaga
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Deborah Taylor
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Susan & David Terris
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Beth Weissman
Jim & Maria Weller
Grace Williams
Patricia & Jeffrey Williams
Charles & Nancy Wolfram
Ron & Anita Wornick
Jane Zuercher
201 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5
CON T R I BU TOR S
donors to the annual fund
PL AY W RI G H T S
$ 1,0 0 0 –1, 49 9
Anonymous (7) · Donald & Margaret
Alter · Juli Betwee · Paula Carrell · Stan &
Stephanie Casper · Naveen Chandra &
James Lengel · Ed & Lisa Chilton · Richard &
Linnea Christiani · Katherine Copic & Daniel
Spoonhower M · Barbara & Tim Daniels M K ·
Ric de Barros · Harry & Susan Dennis ·
Corinne & Mike Doyle · Becky Draper ·
Bill & Susan Epstein · Gary Facente · Paul
Feigenbaum & Judy Kemeny· Frannie Fleishhacker · Nancy H. Francis ·
Christopher R. Frostad M · Karl & Kathleen
Geier · Phyllis & Eugene Gottfried · Diana
Grand & Jon Holman · Jennifer Heyneman
Sousae· Adrienne Hirt & Jeffrey Rodman ·
Elaine Hitchcock · Barry & Jackie Hoffner ·
Randall Johnson · Barbara E. Jones · Tom
& Mary Anne Jorde · Seymour Kaufman
& Kerstin Edgerton · Christopher Killian
& Carole Ungvarsky · Mary S. Kimball ·
William & Adair Langston · R. Jay & Eileen
Love · Larry & Corinne Marcus · John E.
Matthews · Erin McCune & Nicholas
Virene · Daniel and Beverlee McFadden ·
John G. McGehee · Kirk McKusick & Eric
Allman · Marc Elliott Mosko · Timothy
Muller · Margo Murray · Claire Noonan &
Peter Landsberger · Richard Ostreicher &
Robert Sleasman · Robyn & David Owen M ·
David & Julieta Peterson · Gregory C.
Potts · Andrew Raskopf · Charles R. Rice ·
Horacio Rodriguez · Sheli Rosenberg · Susan
Rosin & Brian Bock · Rob & Eileen Ruby ·
Susie Sargent & Michael Webb K · Seiger
Family Foundation · Neal Shorstein, MD &
We gratefully recognize
the following members
of the Annual Fund
whose contributions were
received from October to
November 2013
S U PP O R T E R S
$ 2 5 0 –49 9
Anonymous (2) · Jim & Donna Beasley · Mary
Ann & Len Benson · Diane Brett · Alex Byron
& Nicole Maguire · Robert & Margaret Cant ·
Dan & Allyn Carl · Holly Christman, MD &
Max Perr · Michael Ehrenzweig · James Finefrock & Harriet Hamlin · Nancy E. Fleischer ·
Lucia and John Gilbert · Anne & Peter Griffes ·
Fran Hildebrand · Juli Kauffman · Joan & David
Komaromi · Shirley Langlois · Bertram Lubin &
Vivian Scharlach · Mary & Terry MacRae · Chris
& Sarah Martiniak · Christopher McKenzie &
Manuela Albuquerque · Joanne Medak · Ralph
& Melinda Mendelson · Lise Pearlman · Carla
& David Riemer · Jirayr & Meline Roubinian ·
Tracie E. Rowson · Barbara & Jerry Schauffler ·
Dr. David Schulz · Cherida Collins Smith ·
Mark Valentine & Stacy Leier-Valentine ·
Carol Verity · William R. Weir · Richard & Dyjan Wiersba · Sandra Yuen & Lawrence Shore ·
Steven & Victoria Zatkin Family Fund of the Jewish Community Foundation of the East Bay
CO N T RIB U TO R S
$ 15 0 –2 49
Anonymous (5) · Fred & Joanne Abrams · Bill
& Marsha Adler · Myrna Aronoff · Andrea
Arrick · Elizabeth Balderston · Robin & Edward
Blum · Jacquelyn Brown & Ken Prochnow ·
Christopher Doane · Dave & Lori Simpson·
Ed & Ellen Smith · George & Camilla Smith·
Annie Stenzel · Tim Stevenson & David
Lincoln King · Nancy & Fred Teichert · Pate
& Judy Thomson · Deborah & Bob Van
Nest · Wendy Willrich · Steven & Linda
Wolan · Lee Yearley & Sally Gressens · Sam
& Joyce Zanze
AC TO R S
$500–999
Anonymous (15) · Robert & Evelyn Apte ·
Gertrude & Robert Allen · Steven &
Barbara Aumer-Vail · Todd & Diane Baker ·
Jonathan Berk & Rebecca Schwartz ·
Richard & Kathy Berman · Robert Berman
& Jane Ginsburg · Caroline Beverstock ·
Steve Bischoff · Patti Bittenbender · Nancy
Blachman and David desJardins · Dr. Kevin
& Mrs. Riva Bobrowsky · Fraser Bonnell ·
Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus
Burmeister · David Burnett · Robert & Janet
Campbell M · Bruce Carlton · Carolle J.
Carter & Jess Kitchens · Michael C. Chang ·
Jeff Chanin & Karen Lovdahl · Kim & Dawn
Chase · Patty Chin · Terin Christensen ·
Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert
& Blair Cooter · Dee Cosetto · John & Izzie
Crane M · Barbara & John Crary · Copley
Crosby · Teri Cullen · Robert & Loni Dantzler · Narsai & Venus David K · Pat & Steve
Davis · Jackie Desoer · Edmund DuBois ·
Drs. Nancy Ebbert & Adam Rochmes ·
Anita C. Eblé · Burton Peek Edwards &
Lynne Dal Poggetto · Sue & Peter Elkind ·
Alan Burckin, M.D. & Carol Olmert · Yvonne
Chong · Greg & Barbara Ciapponi · Brigitte
Devaux M · Meredith & Harry Endsley · Mary
& Douglas Fraser · Steve & Marian Gold ·
Helene Good · Nina G. Green · Cecille & Alex
Gunst · Mary & George Hake M · Austin &
Lynne Henderson · Kyle Hinman · Belle Huang
& Ed Blumenstock · Paulette Johnson · Sheila
Jordan · Cynthia Koenigsberg & Harry Patsch
· Drs. Yvonne LaLanne & Mark M. Rubenstein
· Marilyn Leavitt · Suzanne McCombs ·
Kathryn Pirman · Margaret Sheehy · Richard
& Darlene Smith · Beverly Stevens · Douglas
& Susan Taylor · Edward & Carrie Thomas ·
Karen Trilevsky · Dorothy Wechsler · Marsha
Weintraub & Stuart Hellman
FRIE N D S
$ 75 –149
Anonymous (7) · Edward Abeleven · Matthew
& Marcia Allen · JoAnne Appel · Clara Arakaki ·
Sara Armstrong · Larry & Barbara Babow · Lisa
& David Baker · Lynda H. Barber · Genie Barry
& Jido Cooper · Alice Bartholomew · Karlotta
Bartholomew · Charles Benedict · Sally Benjamin · Jeffry & Diane Bernstein · Ruth Ann
Binder & Matt Rossiter · Beverly Blatt & David
Filipek · Pat & Mary Boyle · Aida Brenneis ·
Monroe & Kate Bridges · Byron Brown · Jane
Buerger · Barbara and J. Martin Carovano ·
Carol & Orlo Clark · Tom Consoli · Rollin
& Pamela Coville · Su Cox & Cathy Keyes ·
Doris Davis · Judy Derman & Richard Berger ·
Ann Doerr · Kathy Down & Greg Kelly· Janet
Eadie · John Eckmann · Carol Egan · Anne
& Hal Eisenberg · Anita Feinstein · Susan
Girard · Beth Gleghorn · Diane Gorczyca ·
Joan & LeRoy Green · Aniruddha Gupta · Gary
Hammond · Donna Harris & Lyla Cromer ·
Donald E. Hershman, DPM · Andrew Hirss ·
Constance Holmes · Kristen Jones · Harlan &
Pearl Kann · Vivian Keh & Jonathan Hue M ·
26 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
Roger & Jane Emanuel · Gini Erck & David
Petta · Martin & Barbara Fishman · Patrick
Flannery · Michael & Victoria Flora · Lisa
Franzel & Rod Mickels · Donald & Dava
Freed · Stewart & Joyce Freedman · Paul Gill
& Stephanie D'Arnall · Judith & Alex Glass ·
Paul Goldstein & Dena Mossar · Robert
Goldstein & Anna Mantell · Jane Gottesman & Geoffrey Biddle · Dan Granoff ·
Sheldon & Judy Greene · Don & Becky
Grether · Dan & Linda Guerra · Eric and
Elaine Hahn · Kate Hartley & Mike Kass ·
Dee Hartzog · Richard L. Hay · Geoffrey
& Marin-Shawn Haynes · Diane Hembry ·
Bill Hendricks · Daria Hepps · Irene &
Robert Hepps · Howard Hertz & Jean
Krois · Marilynn Hodgson · Rosalie Holtz ·
Morgan Hough · Leonard & Flora Isaacson ·
Mr. & Mrs. Edwin Ives · Ken & Judith
Johnson · Helmut H. Kapczynski & Colleen
Neff · Lisa and John Katovich K · Dennis
Kaump · Steve Kispersky · Jeff Klingman
& Deborah Sedberry· Janet Kornegay and
Dan Sykes · Jennifer Kuenster & George
Miers · Charles Kuglen · Woof Kurtzman &
Liz Hertz · Henry & Natalie Lagorio · John
Leys · Ray Lifchez · Dottie Lofstrom · James
Lyons · Judy MacDonald Johnston · Sarah
McArthur & Michael LeValley · Tania &
David Madfes · Bruce & Pamela Maigatter ·
Joan & Roger Mann · Sue & Phil Marineau ·
Josephine Maxon · Marie S. McEnnis · Sean
McKenna· Alison McLean · Ash McNeely ·
Ruth Medak · Caryl & Peter Mezey · Geri
Monheimer · Brian & Britt-Marie Morris ·
Jerry Mosher · Moule Family Fund · Lance
Nagel · Ron Nakayama · Jeanne E. Newman ·
Marlowe Ng & Sharon Ulrich · Hung
Nguyen · Jennifer Puck & Robert Nussbaum ·
Judith Ogle · Nancy Park · Lewis Perry ·
Pherwani Family · James F. Pine M ·
Malcolm & Ann Plant· Andrea Plastas ·
Gary F. Pokorny · Charles Pollack & Joanna
Cooper · Donovan & Anna Prostrollo · Dan
& Lois Purkett · Kathleen Quenneville K ·
Chuck & Kati Quibell · Sheldon & Catherine Ramsay · Lucas Reiner & Maud Winchester · Ian Reinhard · Paul & Margaret
Robbins · Joan Roebuck & Anne McGrew ·
Deborah Dashow Ruth · Dairne Ryan ·
Dorothy R. Saxe · Bob & Gloria Schiller ·
Mark Schoenrock & Claudia Fenelon ·
Teddy & Bruce Schwab · Brenda Buckhold
Shank, M.D., Ph.D. · Margaret Sheehy ·
Mary Shisler K · Steve & Susan Shortell ·
Suzanne Slyman · Jerry & Dick Smallwood ·
Sigrid Snider · Christina Spaulding · Robert
& Naomi Stamper · Herbert Steierman ·
Lynn M. & A. Justin Sterling · Monroe W.
Strickberger · Shayla Su M · Prof. Jeremy
Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · William van Dyk
& Margi Sullivan · Gerald & Ruth Vurek ·
Louise & Larry Walker · Wendy Ward ·
Dena & Wayne Watson-Lamprey · Michael
Weinberger & Julianne Lindemann · Carmi
Weininger · Sallie Weissinger · Dr. Ben &
Mrs. Carolyn Werner · Ann Harriman · Oliver Williamson · Fred Winslow & Barbara
Baratta · Robert & Myrna Witt · Ron &
Anita Wornick · Kent Wright K · Margaret
Wu & Ciara Cox
Mike & Mary Jo Kelly · Ellen Kruse · Judith &
David Lee · Harry & Eileen Lewis · Elizabeth S.
Lindgren-Young & Robert Young · Gail MacGowan · Toni Mayer & Alan Lazere · Katherine
McKenzie · Betsy Mellins & Paul Mendelman ·
James Mendez · Susan Merrill · Jeff Miner ·
George Moore · Ronald & Irene Nakasone ·
Shirley Negrin · Bill & Jane Neilson · Marilyn
K. Nelson · Judith Norberg · Pier & Barbara
Oddone · Dr. Patrick O’Halloran · Gene &
Helen Oliver · Thomas Owen · Elizabeth &
Ted Peña · Phyllis Pottish-Lewis & Adam
Lewis · Barry & Haiganoush Preisler · Gayna
& Michael Radtke · Glenn Reid · Margaret
Rienzi · Donald Riley & Carolyn Serrao ·
Todd & Susan Ringoen · Dr. Norma Fiedotin ·
Stephen B. Ruben · Wondie Russell · Peter
Schrag · Diane Schreiber & Bryan McElderry ·
George & Linda Sensabaugh · Lawrence &
Reiko Sheppard · Bonnie Siegel · Crystal Silva ·
Patricia Smith · Anne & Douglas Stewart ·
Susanne Stoffel & Michael Coan · Diane
Talbert · David J. Thomas · Tom and Renee
Tissue · M. Vought · Marlene & Jerry Walters ·
Louis Weckstein & Karen Denevi · Raymond
Weisberg · Susan Whitman & Mark Gergen ·
Jennifer Winch · Donna & Clifford Yokomizo ·
Stan Zaks · Marti & Shelly Zedeck
Cumberpatch · Jean Cunningham · Cynthia S.
Darling · Janet Davalle · Melissa Davis · John
Diller & Melissa Levine · Melinda A. Drayton ·
Patricia Durham · Stephanie Durran · Linda L.
Ellinwood · Kathy Evans · Marna & Phil Eyring ·
Malcolm Feeley · Laura Fichtenberg · Richard
Foster · Murray Friedman · Kathleen Gee ·
Amy & Michael Gerbus · Diana Godfrey ·
John Godsey · James Gosling · Christopher &
Carol Gray · Geri Green · Valerie Gutwirth ·
Jane Headley · Stephen Headley · Tina
Hittenberger · Kristina Holland · Patricia
Holt · Donna Homer · Robin Horner · Clennis
Justice · Irene Katsumoto · Jennifer Kawar ·
Deborah Kimsey · Christine Kinavey · Max
Kirkeberg · Nina Kloian · Dale Koistinen ·
Robert Kolenkow · Sandra D. Lee · Barbara
Leopold · James Leventhal & Karen Klier ·
George & Debra Lewinski · Sukey Lilienthal ·
Fred Lipschultz · Jennifer London · Hannah
Love · Elizabeth R. Macken · Debra Mauro ·
Susan McConkey · Barbara McFadden · Ray &
Margaret McKnight · John Mendelson · Mr.
& Mrs. Donald C. Meyers · Harriett Michael ·
Alec Miller · Karen Mitra · Raymond Montoya·
Kathryn Morimoto · Dr. & Mrs. Charles Moser ·
Margaret Murphy & Kenneth Gibson · Sigrid
K. Nicholas · Sharmon Nicoll · Jennifer Normoyle · Alan & Carol Oller · Richard Page &
Susan Audep-Page · Dean J. Pasvankias · Leslie
M. Radin · Maya Rath · Dr. & Mrs. Stanley
Reich · Gary Robinson · Rowena Robles · Maria
Roden · Mary Rodocker · Marilyn l. Rogers ·
Renee R. Ross · M. Ryce · Andrew Sallach · Ann
Marie Sanders · David & Kathleen Sanders ·
Letitia Sanders & Don Downing · Caroline
Schoenbach · Iris E. Segal · Edna Shipley · Jean
Snyder · Bruce C. Stein · Christy Story · Sara
Stutz · Sandy & Selma Tandowsky · Vanessa
Topper · M. Christine Torrington · Mary Van
Voorhees · Brandon Weethee · Peter Whitehead · Ray Zenoni · Mary Zeppa
PAT RO N S
$ 1 –74
Anonymous (4) · Laurie Adams · Susan Adler ·
Tom Allen · Beryl Baker · Troy Barnes · Frank &
Lee Battat K · Brian & Mary Bechtel · Richard
& Jan Bergamini · Jerry Berkman · Franklin
Biggs · Elaine Binger · Odette Blachman ·
Katherine Blenko · Evan Bloom · Nona Bock ·
Benita & Burton Boxerman · Sheila Braufman
& Toby Gidal · Lori Breunig · Sally Brown ·
Kay Browne · Kris Byrne · Daniel Carroll MD ·
Ken Chew · Sandra Chutorian · George &
Jane Collier · Janet Cooper · John & Mary
CON T R I BU TOR S
donors to the annual fund
Sustaining members
as of December 2013:
Anonymous (4)
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Carole B. Berg
Linda Brandenburger
Jill Bryans
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Bill & Susan Epstein
William Espey & Margaret Hart
Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey &
Deana Freedman
Dr. John Frykman
Paul T. Friedman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Mary & Nicholas Graves
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez
Suzanne & Charles McCulloch
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Toni Mester
Shirley & Joe Nedham
Pam & Mitch Nichter
Sharon Ott
Amy Pearl Parodi
Gladys Perez-Mendez
Barbara Peterson
Regina Phelps
Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Michael & Sue Steinberg
Karen Stevenson
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust
—Weil Family
Grace Williams
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies
otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest
standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.
M E MOR I A L A N D
T R I BU T E G I F T S
The following members
of the Berkeley Rep
community made
gifts in memory and
in honor of friends,
colleagues, and loved
ones from November
2012 to November 2013.
In Memory of Helen Barber
Shirley & Lew Albright
Clark & Francine Burnham
Charles & Melanie Callander
John & Barbara Callander
Lucy Campbell
Chan & Susan Chuongvan
Anne M. Coffey
Eugene Coffey
Marilyn DeLorenzo
K. Bruce & Lois Friedman
Kenneth W. Gerver
The Bonkettes
Larry & Susan Halperin
Mrs. Barbara Heard
Josh & Faye Jacobs
Donald Jacobus
Stewart A. Judson
Allen & Kathleen Lauer
John & Joni Lawler
Nancy & George Leitmann
Norman & Florence Lind
Melinda Mendelson
Laura W. Moran
Carla R. Petievich
Dr. & Mrs. Andrew Pollak
Nancy Reynolds
Julianne H. Rumsey
Paul Sack
Mitzi Sales & John Argue
Jonathan & Sheryl Schreiber
The Swain Family
Edward & Susan Waller
W. Clark Wurzberger
In honor of Susan Medak
Terry Pink & John Blaustein
Joanne Medak
In honor of Marge Randolph
Bill & Susan Epstein
Nina & Claude Gruen
In honor of Leonard X Rosenberg
Benita & Burton Boxerman
Sheli Rosenberg
In honor of Marcia Smolens
Jay & Susan Mall
Susan Medak & Greg Murphy
Anonymous, in honor of
Julie & Patrick Kennedy
Anonymous, in memory of Sky Parsons
Pat Angell, in memory of Gene Angell
Kristen Badgley, in memory of
Helen Joo's mother
Allan & Muriel Brotsky, in memory of
Dr. Leonard Gordon
Jane Buerger, in memory of Judith A. Schmitz
Gary & Diana Cramer, in memory of
Doris Titus
Anita & Herbert Danielsen, in honor of
Sara Danielsen & Sean Tarrant
Elizabeth Anne Doyle, in memory of
John Doyle
Melinda A. Drayton, in honor of
Nandi Drayton
Wendy Dwyer, in honor of The Dwyer Family
Brooke Facente, in honor of
Jane and Gary Facente
Mr. & Mrs. Fink, in honor of Rachel Fink
Don & Janie Friend, in honor of
Bill & Candy Falik
William Goodell, in memory of
Carol G. Goodell
Richard & Sylvia Hammond, in honor of
Leo Blitz & Family
Linda Headrick, in honor of Ann Brannen
David Hester & Karen Jannetti Hester,
in honor of Anna M. Morrison
Juraj & Elisabeth Hostynek, in honor of
Andrej Hostynek
Barbara E. Jones in memory of
William E. Jones
Tom & Mary Anne Jorde, in honor of
Pat Sakai & Dick Shapiro
Julie Kastrup, in memory of Dan Murphy
Lynn Eve Komaromi, in honor of the
Berkeley Rep Staff
Debie Krueger, in memory of Alex Maffei
Mary & Terry MacRae, in honor of
the Libitzkys
Peter & Melanie Maier, in honor of Jill Fugaro
Chris Mehling, in honor of Wendy Williams
Carrol Mills, in memory of Stan Eremia
Geri Monheimer, in honor of Sharon and
Randy Kinkade
Susan Montauk, in memory of
Clare Montauk
Thomas Neale, in memory of Jean Culhane
Pier & Barbara Oddone, in memory of
Michael Leibert
David Pasta, in memory of Gloria Guth
Lise Pearlman, in memory of
Amalia Pearlman
Elizabeth & Ted Peña, in honor of Oscar
Peña, with thanks to Ben Hanna
Paul & Kerry Perez, in honor of Dixon Long
Laurel Przybylski, in memory of
Maryann Herber
Sheila & Myron Puckett, in memory of
Jean Murphy
Lois & Dan Purkett, in honor of Merton
Johnson & Mary Rowe M
Veronica Rabuy, in honor of Zoe Inciong
Maya Rath, in honor of
Shirley & Philip Schild
Veronica Schwalbach, in memory of
Catherine Day
Ethan & Kira Silverman, in honor of Ross &
Sandy McCandless
Heather Sirk, in honor of Emily Small-Coffaro
Katrina & John Staten, in memory of
Wallace Johnson
Prof. Jeremy Thorner & Dr. Carol Mimura,
in memory of James Toshiaki Mimura
Raymond Weisberg, in memory of
Marilyn Weisberg
Ms. H. Leabah Winter, in memory of
Barry Dorfman, MD
The Zeiger Family, in memory of
Phyllis Sagle
201 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
A BOU T BE R K E L E Y R E P
staff and affiliations
Michael Leibert Artistic Director
Tony Taccone
A R T I S T IC
Associate Director
Liesl Tommy
Artistic Associate
& Casting Director
Amy Potozkin
Artistic Associate
Mina Morita
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Associate
Julie McCormick
Theatre Communications Group/
Visiting Artistic Associate
Maureen Towey
Artists under Commission
David Adjmi
Glen Berger
Jackie Sibblies Drury
Marcus Gardley
Rinne Groff
Dominic Orlando
KJ Sanchez
Naomi Wallace
P RODUC T ION
Production Manager
Tom Pearl
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Cynthia Cahill
Leslie M. Radin
Karen Szpaller
Kimberly Mark Webb
Production Assistants
Megan McClintock
Amanda Warner
S TAG E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P ROP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Associate Technical Director
Colin Babcock
Shop Foreman
Sam McKnight
Master Carpenter
E.T. Hazzard
Carpenter
Jamaica Montgomery-Glenn
Managing Director
Susan Medak
S C E N IC A R T
Charge Scenic Artist
Lisa Lázár
COSTUMES
Costume Director
Maggi Yule
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Assistant Costume Designer
Amy Bobeda
E L E C T R IC S
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
S OU N D
Sound Supervisor
James Ballen
Sound Engineer
Angela Don
A DM I N I S T R AT ION
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Karena Fiorenza Ingersoll
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Associate General Manager/
Human Resources Manager
David Lorenc
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of
Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Campaign Manager
Libbie Hodas
Institutional Grants Manager
Bethany Herron
Special Events Manager
Lily Yang
Individual Giving Associate
Joanna Taber
Development Database
Coordinator
Jane Voytek
2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
General Manager
Karen Racanelli
Development Associate
Beryl Baker
PAT RON S E R V IC E S
Patron Services Manager
Katrena Jackson
House Manager
Debra Selman
Assistant House Managers
Natalie Bulkley · Aleta George ·
Emily Hartman · Ayanna Makalani ·
Anthony Miller · Read Tuddenham
Concessionaires
Leah Barish · Laurie Barnes ·
Natalie Bulkley · Samantha Burse ·
Emily Fassler · Renee Gholikely ·
Alana Godner-Abravanel · Wendi
Gross · Emily Hartman · Mary
Kay Hickox ·  Kimberly “Mik”
Jew · Maria Jimenez · Nima
Khoshnevis-Rad · Devon
Labelle · Margot Leonard · Hanna
Lennett · Jamie McClave · Sarah
Nowicki · Jenny Ortiz · Benjamin
Sandberg · Amanda Spector ·
Andrew Susskind · Read
Tuddenham · Nancy Villatoro
Usher Coordinators
Nelson & Marilyn Goodman
B OX OF F IC E
Ticket Services Manager
Destiny Askin
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
Christina Cone · Samanta
Cubias · Luisa Frasconi · Sherice
Jones · Eliza Oakley · Tom
Toro · Aaron Walburg · Amanda
Warner · Crystal Whybark
M A R K E T I NG &
C OM M U N IC AT ION S
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations
Voleine Amilcar
Art Director
Nora Merecicky
Video & Multimedia Producer
Pauline Luppert
Communications Manager
Karen McKevitt
Marketing Manager
Kyle Sircus
Audience Development Manager
Sarah Nowicki
Webmaster
Christina Cone
Program Advertising
Ellen Felker
OP E R AT ION S
Facilities Director
John Horton
Facilities Manager
Lauren Shorofsky
Building Engineer
Thomas Tran
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Kevin Barry · Sonny Hudson ·
Sophie Li · Carlos Mendoza · Jesus
Rodriguez · Oliver Sweibel
BERKELEY REP
S C HO OL OF T H E AT R E
Director of the School of Theatre
Rachel L. Fink
Associate Director
MaryBeth Cavanaugh
Jan & Howard Oringer
Outreach Coordinator
Dave Maier
Community Programs Manager
Benjamin Hanna
School Administrator
Kashara Robinson
Registrar
Katie Riemann
Faculty
Alva Ackley · Jeffrey Bihr · Erica
Blue · Rebecca Castelli · Jiwong
Chong · Iu-Hui Chua · Laura
Derry · Deborah Eubanks · Lucille
Freedman · Christine Germain ·
Nancy Gold · Gary Graves · Marvin
Greene · Gendell Hing-Hernández·
Andrew Hurteau · Aaron Jessup ·
Ben Johnson · Dave Maier · Julian
López-Morillas · Patricia Miller ·
Edward Morgan · Michael Navarra ·
Madeleine Oldham · Slater Penney
Marty Pistone · Diane Rachel ·
Rebecca Stockley · Bruce Williams
Outreach Teaching Artists
Michael Barr · Mariah Castle ·
Gendell Hing-Hernández · Ben
Johnson · Hannah Lennett · Marilet
Martinez · Jack Nicolaus · Sarita
Ocón · Carla Pantoja · Patrick
Russell · Tommy Shepherd · Reggie
White · Elena Wright
Teacher Advisory Council
Molly Aaronson-Gelb · Julie Boe ·
Amy Crawford · Beth Daly · Jan
Hunter · Marianne Philipp · Richard
Silberg · John Warren · Jordan Winer
Docent Committee
Thalia Dorwick, Director
Matty Bloom, Core content
Nancy Fenton, Procedures
Jean Holmes, Visuals
Charlotte Martinelli, Off-site
contact & recruitment
201 3–14 B E R K E L E Y R E P
F E L L OW S H I P S
Bret C. Harte Young
Director Fellow
Jacob Harvey
Company/Theatre
Management Fellow
Rae Surbaugh
Costume Fellow
Franzesca Mayer
Development Fellow
Annalise Baird
Education Fellows
Gabriella Mingoia
Alexandra Williams-Fleck
Graphic Design Fellow
Jared Oates
Harry Weininger Sound Fellow
Sarah Jacquez
Lighting / Electrics Fellow
Jack Horwitch
Marketing &
Communications Fellow
Telma Sheppard
Peter F. Sloss Literary/
Dramaturgy Fellow
Sam Basger
Production Management Fellow
Emily Fassler
Properties Fellow
Ashley Nguyen
Scenic Art Fellow
Gena Whitman
Scenic Construction Fellow
Claudia Peterson
Stage Management Fellow
Sofie Miller
Affiliations
The directors and choreographer are
members of the Society of Stage Directors
and Choreographers, Inc., an independent
national labor union. The Scenic, Costume,
Lighting, and Sound Designers in lort
Theatres are represented by United Scenic
Artists Local usa-829, iatse.
BOA R D OF T RU ST E E S
Thalia Dorwick, PhD
PRE S ID E N T
Helen Meyer
VI CE PRE S ID E N T
Jill Fugaro
VI CE PRE S ID E N T
Emily Shanks
T RE A S U R E R
Scott R. Haber
S ECRE TA RY
Roger A. Strauch
CH AIR , T RU S T E E S CO M M IT T E E
William T. Espey
CH AIR , AU D IT CO M M IT T E E
Marjorie Randolph
I M M E D IAT E PA S T PR E S ID E N T
PA S T PRE S ID E N T S
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
B OA R D M E M B E R S
Carrie Avery
Becky Bleich
Martha Ehmann Conte
David Cox
Robin Edwards
William Falik
Lisa Finer
David Fleishhacker
Paul T. Friedman
Bruce Golden
David Hoffman
Carole S. Krumland
Dale Rogers Marshall
Sandra R. McCandless
Julie M. McCray
Susan Medak
Pamela Nichter
Stewart Owen
Leonard X Rosenberg
Jack Schafer
Richard Shapiro
Jean Z. Strunsky
Tony Taccone
Gail Wagner
Felicia Woytak
S U S TAIN IN G A DVI S O R S
Carole B. Berg
Rena Bransten
Stephen K. Cassidy
Diana J. Cohen
John Field
Nicholas M. Graves
Richard F. Hoskins
Dugan Moore
Pat Rougeau
Richard A. Rubin
Patricia Sakai
Michael Steinberg
Michael Strunsky
Martin Zankel
Visit our
neW bar
f e at u r i n g
cr af t cock tail s
c u r at e d b y
Founding Director Michael W. Leibert
Producing Director, 1968–83
201 3–1 4 · S P E C I A L I S S U E · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9
FYI
Latecomers
Please arrive on time. There is no late seating, except at the discretion of the house manager.
Connect with us online!
Theatre info
Considerations
Visit our website berkeleyrep.org
You can buy tickets and plan your visit,
read our blog, watch video, sign up for
classes, donate to the Theatre, and explore
Berkeley Rep.
Emergency exits
Please note the nearest exit. In an emergency,
walk—do not run —to the nearest exit.
Accessibility
Both theatres offer wheelchair seating and
special services for those with vision- or
hearing-impairment. Assistive listening
devices are available at no charge in both
theatre lobbies. Scripts for the hearing
impaired are available in the box office.
Open captioning is available for at least one
performance of every season production.
No food or glassware in the house
Beverages in cans, bottles, or cups with
lids are allowed.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Recycle and compost your waste
Help us be more green by using the
recycling and compost containers found
throughout the Theatre.
Phones / electronics / recordings
Please make sure your cell phone, pager,
or watch alarm will not beep. Doctors may
check pagers with the house manager and
give seat location for messages. Use of
recording equipment or taking of photographs in the theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look at the
set, but please don’t step onto the stage.
Some of the props can be fragile, and are
placed precisely.
No children under 7
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre.
No babes in arms.
facebook.com/
berkeleyrep
@berkeleyrep
foursquare.com/
berkeleyrep
yelp.com/
berkeleyrep
We’re mobile!
Download our free iPhone or Google Play
app — or visit our mobile site —to buy
tickets, read the buzz, watch video, and
plan your visit.
Android
iPhone
Tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
Educators
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Theatre store
Berkeley Rep merchandise and show-related
books are available in the Hoag Theatre
Store in the Roda Theatre.
Theatre maps
stage
T H RU S T
Ticket exchange
Only subscribers may exchange their tickets
for another performance of the same show.
Exchanges can be made online until midnight (or 7pm by phone) the day preceding
the scheduled performance. Exchanges are
made on a seat-available basis.
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647‑2949; email info@berkeleyrep.org;
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L I S S U E
stage
seating sections:
RO DA
• premium • a • b
stage
stage
stage
seating sections:
• premium • a • b
stage
music
dance
theater
Cal Performances
U
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I
V
E
R
S
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Y
O
F
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A
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I
F
O
R
N
I
A
,
B
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K
E
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2013–2014
SeaSon
Y
Trey
McIntyre
project
Performing two new
McIntyre works:
a debut exploring
alienation and social
tension, and an
exploration of the life
of Freddie Mercury set
to excerpts from 16
classic Queen songs.
Mar 21 & 22
zeLLerBaCH HaLL
Les Ballets
Trockadero de
Monte Carlo
Campy and hysterical,
this all-male drag
ballet specializes
in a loving critique
of the conventions
of ballet, delighting
knowledgeable
ballet audiences and
novices alike.
Mar 25
zeLLerBaCH HaLL
alvin ailey
american
Dance
Theater
Featuring:
Two Bay Area premieres
Two Alvin Ailey/
Duke Ellington premieres
Bill T. Jones’s
award-winning
D-Man In The Waters
april 1– 6
zeLLerBaCH HaLL
World premiere!
Mark Morris
Dance Group
Acis and
Galatea
Music by Handel
(arr. Mozart)
Mark Morris, director &
choreographer
Philharmonia Baroque Orchestra
Nicholas McGegan, conductor
Philharmonia Chorale
Bruce Lamott, director
april 25 – 27
zeLLerBaCH HaLL
calperformances.org 510.642.9988
Connect
Download the Cal Performances
mobile app for iOS or Android
and buy tickets on-the-go. Now
with select your own seating!
SeaSon
SponSor:
World premiere
One of “10 reasons for
theater lovers to leave
New York in 2014”
—Time magazine
Written by Marcus Gardley
Directed by Patricia McGregor
Commissioned by Berkeley Rep
Jan 31–Mar 16
Written and performed by Brian Copeland
Directed by David Ford
special presentation · starts apr 23
Written by Dario Fo
Directed by Christopher Bayes
mar 7–apr 20
“Big, brilliant…
smart, lively!”
—ne w york times
Tribes
By nina raine
Directed by Jonathan moscone
apr 11–may 11
“Rich, deep, beautiful!”
—the new yorker
The Intelligent
Homosexual’s Guide to
Capitalism and Socialism
with a Key to the Scriptures
Written by Tony Kushner
Directed by Tony Taccone
may 16–Jun 29
“A captivating performance
of a fascinating life.”
—la weekly
Hershey Felder as
Leonard Bernstein
in Maestro
Book by Hershey Felder
music and lyrics by
Leonard Bernstein and others
Directed by Joel zwick
Jun 5–22
season sponsors
Call 510 647-2949
Click berkeleyrep.org