the berkeley rep magazine
2010–11 · issue 1
Amy Potozkin casts a
backward glance · 7
Compelled to tell
Anne Frank’s story · 18
Compulsion program
and artist bios · 27
2010/11
ANoThER ExTRAoRDiNARy SEASoN
Tony and Emmy Award–winning actor
Mandy Patinkin in Compulsion
A landmark theatrical event—
The Great Game: Afghanistan
Lemony Snicket’s The Composer is Dead
A double dose of the great Mike Daisey
Lynn Nottage’s Pulitzer Prize–
winning play Ruined
Sarah Ruhl explores Chekhov’s
classic The Three Sisters
A thrilling new show for the legendary
Rita Moreno by Tony Taccone
PLuS A SPECiAL ENgAgEMENT
Mary Zimmerman’s The Arabian Nights
TiCkET S oN SALE To SubSCRib ER S oNLy
SiNgLE TiCkETS oN SALE Now!
foR ThE bEST SEATS, bEST PRiCES,
AND fREE PERkS, SubSCRibE!
See any 3+ plays for as little as $27 each.
Call 510 647-2949 or click berkeleyrep.org.
S E A So N S P o N So R S
In this issue
c alendar
Unless otherwise noted, all pre- and
post-show events are for Compulsion.
Docent presentations take place one
hour before each Tuesday and Thursday
performance for the run of the show.
14
7
5
12
9
18
September
Prologue
Report
Features
A letter from the
artistic director
Casting a backward glance
Compelled to tell:
The many voices behind
the Anne Frank legacy
pag e 4
A letter from the
managing director
pag e 5
PAGE 7
Inside the art of casting
PAGE 8
Teens on the national stage
PAGE 9
What I really want to do
is produce!
PAGE 12
Berkeley Rep news:
Subscribe and save
The Arabian Nights returns
Online ticketing made simpler
Gearing up for The Great Game
PAGE 18
Rinne Groff talks
history, marionettes,
and Meyer Levin
PAGE 2 2
Who’s who in the
world of Compulsion
PAGE 2 5
PAGE 14
Berkeley Rep Present s
Compulsion
pag e 2 7
Profiles
pag e 2 9
Contributors
About Berkeley Rep
F YI
Foundation, corporate,
and in-kind sponsors
Staff and affiliations
pag e 4 4
Everything you need to
know about Berkeley Rep’s
box office, gift shop, seating
policies, and more
pag e 3 8
Individual donors to the
Annual Fund
Board of trustees
and sustaining trustees
pag e 4 5
Pag e 4 6
pag e 39
October
pag e 41
40th Anniversary Campaign
pag e 42
the berkele y rep m aga zine 2 0 1 0 – 1 1 · i s s u e 1
The Berkeley Rep Magazine is
published seven times per season.
Editor
Chad Jones
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725
or efelker@berkeleyrep.org.
Art Director
Cheshire Isaacs
Designer
Samantha Budd
Writers
Amanda Margulies
Madeleine Oldham
Kashara Robinson
Rachel Viola
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email info@berkeleyrep.org
2Tasting: Ale Industries, 7pm
3 Tasting: Dr. Kracker, 6pm
6 Teen Council meeting, 5pm
8Tasting: Back to Earth Catering, 7pm
9 Tasting: Artesa Vineyards, 7pm
10 Tasting: Scream Sorbet, 6pm
13Michael Leibert Society annual dinner,
6pm, Roda Theatre
15Post-show discussion, 8pm
22The Great Game: Afghanistan
opening-day marathon
22The Great Game: Afghanistan openingnight dinner, 6pm, Hotel Shattuck Plaza
24 The Great Game tasting: Numi Tea, 7pm
26 Post-show discussion, 8pm
29 The Great Game tasting: Numi Tea, 7pm
30The Great Game tasting: Numi Tea, 7pm
31 Compulsion final performance
November
Michael Leibert Society
12Sunday Sampler at the
School of Theatre, 1pm
13 First preview, 8pm
16Opening-night dinner, 6pm,
Roda Theatre
16 Opening night, 8pm
18Tasting: Happy Girl Kitchen, 7pm
19 Teen Night, 5:30pm
19 Tasting: Kokomo Wines, 6pm
20 Fall classes begin
23Compulsion producer night dinner,
6:30pm, Bistro Liaison
24 Tasting: Gather, 7pm
25 Backstage tour, 9:30am
30 Post-show discussion, 8pm
3Teen Council meeting, 5pm 4The Great Game producer night dinner,
6:30pm, Bistro Liaison
5 The Great Game tasting: Numi Tea, 7pm
6 The Great Game tasting: Numi Tea, 7pm
7The Great Game final
performance marathon
7 The Great Game tasting: Numi Tea, 7pm
25 Thanksgiving Holiday
26 The Composer Is Dead, first preview, 8pm
School of Theatre event
Donor appreciation event
prologue
from the artis tic direc tor
some people never die. they live on in our collective
consciousness, representing any number of ideas, values, or
emotions that we need periodically to access. The passing
of time does not diminish their impact. They do not gently
recede from our failing memory. Rather, they grow in size and
stature. In death they become more alive. For these select
few, death is merely a prelude to resurrection, a loving companion on their triumphant march toward immortality.
Anne Frank is one of these people. She died from typhus
at the age of 16 within the confines of a Nazi concentration
camp only one month before it was liberated by the Allies. This precocious young
woman left few worldly possessions behind, but one was a diary so full of yearning
and fear and intelligence and hope that it became a touchstone for all human suffering. The oppressed and the oppressor, the young and the old, the guilty and the
innocent—anyone needing to find meaning in the face of tragedy could find what
they were looking for nestled within the pages of this magical diary. The book, and
the brief life of its brilliant author, became the stuff of sacred mythology. In a very
short time, everyone, it seemed, could claim Anne Frank as his or her own.
But ownership does not come without disputes over territorial rights—and Anne
Frank’s legacy includes a monstrous battle over who had the right to serve as creative
guardian of her story. Inspired by the real-life story of Meyer Levin (the celebrated author of the novel Compulsion, a book that fictionalizes historical events), Rinne Groff’s
new play embodies Mr. Levin in the character of Sid Silver and his 20-year obsession
to become Anne’s chief artistic interpreter. Sid champions Anne as the voice of every
Jew, and fights to the death to defend what he believes to be her (and his) honor. It
is a complicated, bizarre, and unique love story, describing a torrid, self-destructive
affair between a man and an icon. Everyone surrounding Sid is drawn into the bloody
vortex of his fantastical relationship. And at stake is nothing less than a piece of
Anne’s immortality.
Our excitement in producing Rinne’s fascinating play is amply increased by her
ongoing collaboration with director Oskar Eustis, formerly of the Bay Area and now
firmly ensconced at The Public Theater in New York. We happily welcome Rinne
and Oskar to Berkeley Rep, along with their superb design team and scintillating
cast: Matte Osian, Hannah Cabell, and Mandy Patinkin, who himself has achieved
near-iconic status as one of our most gifted performers. Together they have applied
the full measure of their creative talents to present an intriguing story that dares
to re-imagine history. It promises to be a terrific start to this, our 42nd season. We
sincerely hope you enjoy it, and we thank you for taking the journey.
Tony Taccone
4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
prologue
from the M anaging direc tor
GISSV
German International School
of Silicon Valley
welcome to the 2010/11 season at berkeley rep.
As always, we’ve endeavored to put together a season in
which each play stands on its own but which, when seen as a
whole, becomes a rich, complex medley of ideas, styles, emotions, personalities, and performances. I am always exhilarated by the unexpected moments of recognition, contradiction,
and surprise that arise from the experience of seeing such a
diverse range of work. I hope you have that same experience
and find it as rewarding.
While our tickets are reasonably priced, I simply can’t resist the opportunity to remind you that the absolute best prices—there is no beating
them—are reserved for people who purchase three plays or more. See all seven great
plays and get the best value for your dollar.
Some of you like to arrive at the theatre with clean slates—no expectations, no
prejudices—just your innate good taste and intelligence. Good for you! We are happy
to stay out of your way. There are, however, many members of our audience who prefer
to come to the theatre armed with research, fully informed and ready to do battle with
the writers and directors who have laid each play at your feet. We have been thinking
about you and we are ready for you. If you haven’t already discovered our website,
berkeleyrep.org, I hope you’ll check it out. We have more information than ever to help
you become well informed about each and every production. You can hear directors
and actors discussing their approach to the scripts. You can access dramaturgical
background prior to your visit. You can follow the links we offer to explore further
themes and issues inspired by the production. Or if you prefer real time rather than
virtual opportunities, join us any Tuesday or Thursday at 7pm, when our docents
provide half-hour introductions to the current play. You can also call the box office to
find out which performances will be followed by a moderated conversation.
As if that isn’t enough, in addition to all the online and in-person opportunities
we offer to enrich your experience, I challenge you to do something really daring and
make this the season you sign up for a class at our School of Theatre. While many
of our programs are geared toward school-age children, and our outreach programs
reach thousands of students in hundreds of classrooms each year, fully 50% of our
classes here on Addison Street, in the Nevo Education Center, are geared toward
adults. Maybe this is the year to exercise your creative muscles. Consider a beginning acting class and you’ll never watch a play the same way again. Or sign up for
improvisation, stage combat, or playwriting, and you may discover a whole new you.
Berkeley Rep’s classes attract adults of all ages and all levels of experience. Don’t be
shy! Just try it.
Whether you are looking for background on a play, searching for classes, or just
checking ticket availability, I urge you to stay in touch. Throughout the year we’ll keep
adding programs, special events, exclusive offers, and unique opportunities, and
we want you to enjoy all of it. For now though, we are glad to have you here for the
opening production of our season.
Warmly,
The Best of two Worlds Learning in German and English
Berkeley Campus at 1 Lawson Rd, Berkeley, CA 94707
• Growing K-5 campus in Berkeley
• Accepting applications for children
entering Kindergarten and Grades 1-4
• High-standard bilingual educational
concept (German-English)
• Integrated curriculum fosters
holistic and individual development
• Afterschool Program
tel (510) 558 0436
fax (650) 254 0749
ouses!
Open H am
10
9
Oct
- 6:30pm
Nov 11
email berkeley@gissv.org
web www.berkeley.gissv.org
BRINGING DOWN
THE HOUSE
26
FOR THE PAS
PAST
YEARS!
Figuratively speaking,
of course!
BROKERS
Mary Canavan & Marilyn Pursley
R E A LT O R S
Martha Becker • Kathleen Curry
Tracy Davis • Lee Goodwin • Lorri Holt
Colleen Larkin • Sandy Parker
Cameron Parkinson • Carol Parkinson
Kathryn Stein • Joann Sullivan
Helen Walker • Linda Wolan
Susan Medak
A LOCALLY OWNED & INDEPENDENTLY
OPERATED BERKELEY BUSINESS
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 5
September 2010
Volume 43, No. 1
Paul Heppner
Publisher
Jody Chatalas
Managing and Online Editor
Susan Peterson
Managing Editor
Bond Huberman
Associate Editor
Ana Alvira, Kristi Atwood, Emily Busey,
Deb Choat, Robin Kessler
Design and Production
Mike Hathaway
Advertising Sales Director
TICKETS
start at $15
“[A]n orchestra of musicians eager
for a challenge.”—THE NEW YORK TIMES
UPCOMING CONCERTS
HARVEY
Nov 3-5 8pm
Nov 8 8pm*
*This concert benefits the
Orchestra’s Pension Fund
Marilyn Kallins, Terri Reed
San Francisco/Bay Area
Paul Heppner
President
Mike Hathaway
Vice President
*Performed Nov 3-5 only
April Morgan
Bookkeeper
Inside Music, an informative talk free to ticketholders,
begins one hour prior to concerts.
Deborah Greer
Executive Assistant
Side and Center Terrace seats not available.
Group discount not available.
Mark Baumgarten
Executive Editor
CENTENNIAL
PA R T N E R S
Tim Appelo
Editorial Director
Rufus Wainwright with the
San Francisco Symphony
WAINWRIGHT
Nov 11-13 8pm
Encore
- SFS
Carol Davidson, Sherri Jarvey,
Lenore Waldron
4.75
x 7.375” - 4c
Account Executives
Due:
Denise 7-15
Wong
Sales Assistant
Runs: Sep
Jonathan Shipley
final
Ad Services Coordinator
Regional Sales Representatives
Carmina burana
Carlos Kalmar conductor (Nov 3-5)
Donato Cabrera conductor (Nov 8)
Joélle Harvey soprano
Nicholas Phan tenor
Keith Phares baritone
San Francisco Symphony Chorus
Pacific Boychoir, Kevin Fox director
The Crowden School Chorus,
Laura Kakis Serper director
Schnittke Moz-Art à la Haydn*
Haydn Symphony No. 97
Orff Carmina burana
Brenda Senderoff
Market Development
Jeffrey Kahane conductor and piano
Rufus Wainwright vocalist
Ravel Piano Concerto in G major
Rufus Wainwright Five Shakespeare Sonnets
(San Francisco Symphony Commission–
World Premiere)
Weill Symphony No. 2
SEASON
PA R T N E R S
André Mora
Creative Director
Jake Newman
Marketing Director
Susan Peterson
Managing Editor, Custom Publishing
Official Wine of the
San Francisco Symphony
These concerts are made possible by Maestro’s Circle
President’s Tier donors to the Annual Fund.
Virginia Wright
Systems Administrator
425 North 85 Street Seattle, WA 98103
A deliciously theatrical gala to benefit Berkeley Rep · Saturday,
April 24, 2010
206.443.0445
adsales@encoremediagroup.com
sfsymphony.org
Limelight and Spotlight
tables on sale 800.308.2898
now x105
Groups save 20%!
www.encoreartsprograms.com
Footlight tables and single tickets go on sale January
15, 2010
(415) 864-6000
Encore Arts Programs is published monthly by Encore Media
Questions? Contact MargoVisit
Chilless
at 510 647-2909
sfsymphony.org
Group to serve musical and theatrical events in Western
to listen to
Washington and the San Francisco Bay Area. All rights reserved.
or mchilless@berkeleyrep.org
musical excerpts.
©2010 Encore Media Group. Reproduction
th
Media Sponsor
Box Office Hours Mon-Fri 10am-6pm, Sat noon-6pm, Sun 2 hours prior to concerts
Walk Up Grove St between Van Ness and Franklin
Concerts at Davies Symphony Hall. Programs, artists and prices subject to change.
without written permission is prohibited.
6 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Report
Amy Potozkin
celebrates
20 years at
Berkeley Rep
Casting a
backward
glance
by Chad Jones
ask amy potozkin’s parents and they’ll
tell you: she was always theatrical.
Now celebrating her 20th anniversary
with Berkeley Rep, Amy has put her theatrical
talents to good use as the Theatre’s casting
director and artistic associate. Growing up
in the Bronx, her father would take her to
puppet shows and plays, leading Amy in later
years to quote from Donald Margulies’ play
The Loman Family Picnic: “My family didn’t go
to synagogue. We went to Broadway.”
Continued on ne x t page
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 7
Grades K-8
Information Events
Wednesday, October 13 7 - 8:30 pm
Sunday, October 24 11am - 12:30pm
The entire family is welcome to attend.
Come and see how much more your
child can achieve at The Academy.
www.theacademyk-8.com
510.549.0605
2722 Benvenue Avenue
Berkeley, CA 94705
Reflect Your Own Personal Style
Southampton by Wood-Mode.
For your home. For your life.
For our environment.
www.woodmodenorcal.com
©2010 Wood-Mode, Inc.
8 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
KB 021210 reect 1_6v.pdf
With parents who believed in the
importance of exposing children to the
arts, Amy fondly remembers the drama
workshops offered at the summer camp
where both of her parents worked.
“I think I fell in love with theatre as
an audience member,” she recalls. “It
was that feeling of being transported
completely.”
When she headed upstate to
Binghamton University, Amy figured she
should study something more “serious”
than theatre. “I didn’t realize theatre had
a social consciousness because it was so
pleasurable to me,” she explains. “But
when I decided to study social work, my
mother said, ‘Why? You love theatre!’
That was a turning point in my life.”
Fully committing herself to living
the life of an actor, Amy waited tables
in Manhattan and managed to rack
up some impressive credits with the
Oregon Shakespeare Festival, the New
Jersey Shakespeare Festival, and several
off-Broadway theatres. As she headed to
graduate school at Brandeis University,
Amy was sure about theatre—but she
wasn’t quite as confident about acting.
The revelation came during a yearlong internship in the literary department at Playwrights Horizons. “Being
part of the artistic team—I loved it!”
Amy enthuses. “The straitjacket had
come off.”
While there, Amy was often consulted by the casting department and
was considered a natural when it came
to coming up with ideas for matching
actors with suitable roles. “I realized that
casting was what I was best at and what
was most fun for me,” she remembers.
Heading west in September of
1990, Amy began working at Berkeley
Rep as assistant to the artistic staff.
Within the year she had added “casting
director” to her title, for a production of
Shaw’s Major Barbara. Since then, Amy
has met thousands of actors at countless auditions for hundreds of shows.
She hesitates to name favorite productions, but when pressed she will select a
few highlights, including American Idiot,
Mad Forest, and Passing Strange.
Artistic Director Tony Taccone calls
Amy one of his “favorite people in the
universe.” “She brings an extraordinary
level of passion, intelligence, and good
will to every project, and her instincts
Continued on page 37
Inside the art of casting
Amy Potozkin, Berkeley Rep’s casting director and artistic associate,
begins the process of casting a play
by first listening to her instincts and
employing her imagination.
“The imagination is necessary
to try and fully grasp what is going
on in the world of the play,” Amy
explains. “And your instincts come
into play as you envision the relationships between the characters
and begin the matchmaking process
of actor to role.”
With more than 20 years of
experience, Amy knows that one of
her primary jobs is to quickly grasp
the director’s aesthetic, or as she
describes it, “understand what a
director finds sexy. I’m there to support the director’s vision.”
Les Waters, Berkeley Rep’s associate artistic director, has worked
with Amy on casting many of the
shows he has directed. “She knows
how to read a play,” Les remarks.
“She is not impressed by the glib,
the superficial, the flash. She knows
what kind of actor is required to
live in the imaginative world of a
particular writer.”
Casting, like so many aspects
of theatre, is an exercise in collaboration, and the process rarely follows the same pattern from play to
play. “Much of it is about networking and communicating with other
casting directors both locally and
nationally,” Amy says. “In the Bay
Area, the casting directors are all
very helpful to one another.”
Amy asks each director to see
local actors first. Individual directors sometimes have specific actors
in mind or have relationships with
actors. “We look for the best actors
in the country,” Amy adds. “We’re
able to cast a wide net.”
Likening the casting process to
working a puzzle, Amy says helping
directors find the right actors to
give great performances is its own
reward. “Seeing wonderful performances makes me happy for the
audience, for the artists, and for
Berkeley Rep.”
M ichal Daniel , courtesy of tcg
Report
go ahead,
actout.
Teens from Berkeley Rep, the Goodman Theatre, and Steppenwolf Theatre Company
at Theatre Communications Group’s annual conference
Teens on the national stage
Berkeley Rep’s Teen Council helps
shape the future of American theatre
By K ashar a Robinson and R achel Viol a
this summer, six member s of berkele y rep’s teen council —
Matia Emsellem, Taylor Greenthal, Christina Novakov-Ritchey, Keisa Reynolds, Ariele
Scharff, and Gareth Tidball—were part of the first delegation of teenagers to participate in the annual Theatre Communications Group (tcg) Conference in Chicago.
Joined by peers from the Goodman Theatre and Steppenwolf Theatre Company, the
girls spent four days participating in activities, discussions, and forums helmed by
some of the country’s top theatre professionals. tcg also graciously paired each of
the teens with a “conference mentor,” a previous attendee who could act as a touchstone for each teen during her Chicago experience.
Among the highlights of the conference were a special performance at the Chicago Shakespeare Theatre and a sneak peek of the final dress rehearsal of a new play
at the Goodman. There was also dinner and a special prep session at the Goodman
with the local teens to prepare for the culmination of their conference experience:
a session entitled “Fostering the Next Generation of American Theatre Audiences”
moderated by educators from Berkeley Rep, the Goodman, and Steppenwolf. The
teens had the opportunity to share their thoughts with industry leaders on building
committed relationships with young audiences for theatre today and tomorrow.
Several of the Teen Council members reflect on their experience at the tcg
Conference this summer.
Christina Novakov-Ritchey
2010 graduate of Miramonte High School in Oakland
Now attending the University of California, Davis
The chief reason we, as teenagers, went to the tcg Conference was to let people
know that we exist, that we have a voice, and that arts education is vital to keeping theatre alive and relevant. We managed to get people thinking about our role in
theatre, and many people came to our side in defense of arts education.
As we went to more and more sessions and continued to talk to people, a theme
was becoming very apparent in our answers: the best way to attract young people to
theatre is to offer them an opportunity to see shows that speak to their emotions on
a very fundamental level. Our recurring example of this was Berkeley Rep’s production of Girlfriend last season, which moved us all so much that we couldn’t get it out
of our heads for months. People kept bringing up marketing strategies such as big
fonts and bright colors as ways to get teenagers to buy tickets, but we couldn’t help
New classes include:
Shadow Puppetry & Theatre
Demystifying the
Interview Process
The Soul of Acting
Burlesque Theatre
Fall classes
begin Sep 20
Youth, teens, and
adults of all levels
Call 510 647-2972 or click
berkeleyrep.org/school
for more information
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 9
S E P T E M B E R 2 5 , 2 010 — JA N UA RY 1 8 , 2 011
This fall,120 late Impressionist paintings will be on view in San Francisco.
The de Young will be the only museum in North America to host this celebrated
collection from the Musée d’Orsay in Paris.
For more information and tickets: deyoungmuseum.org
Presenting Partner
Image: Vincent Van Gogh, Portrait of the Artist (detail), 1887.
© RMN (Musée d’Orsay) / Hervé Lewandowski
This exhibition is organized by the Fine Arts Museums of San Francisco with gratitude for the exceptional loan
from the collection of the Musée d’Orsay. Presenting Partner: Bank of America. Grand Patron: Jeannik Méquet
Littlefield. The Major Patrons of the exhibition are The Bernard Osher Foundation, the Koret Foundation, the
San Francisco Auxiliary of the Fine Arts Museums, and Diane B. Wilsey. The exhibition Patrons are Athena and
Timothy Blackburn, Ray and Dagmar Dolby Family Fund, John A. and Cynthia Fry Gunn, William G. Irwin Charity
Foundation, J. Burgess and Elizabeth B. Jamieson, Mr. and Mrs. Steven MacGregor Read, Susan and James R.
Swartz, and Douglas A. Tilden.
Herbst Exhibition Galleries
GOLDEN GATE PARK , SAN FRANCISCO
For information about
Berkeley Rep’s Teen Council,
visit berkeleyrep.org/school.
Report
but disagree and say that it’s the programming that matters. If you produce a show
that is honest and easily relatable, and if you make it accessible to a younger audience
that has fewer financial resources than the average patron, you will create a lifelong
theatregoer. Attending this conference certainly has raised more questions than it
has answered, but it has left us all feeling much more confident about the importance of our voice in theatre, as well as opening up doors for us to continue discussing the issue of arts education.
Keisa Reynolds
2010 graduate of El Cerrito High School
Now attending Columbia College in Chicago
Being at the conference was overwhelming at first, but as each day passed, I
became more and more at ease with what I was surrounded by—diversity, passion,
creativity, and determination for change. The balance between small and larger, wellknown theatres greatly impressed me, because I felt like I truly got a good glimpse of
the differences and similarities in theatre companies. And I really loved how everyone seemed to treat the next person as equal no matter his or her “status.” To me, it
was evident that just about everyone at the conference had the same goal: putting
ideas into action. Most relevant to me was, of course, the new generation breakout
session, but so were the breakout sessions on “Breaking Down Barriers” and “Race in
the 21st Century.” Leaving the conference, and the city of Chicago, I came away with
the belief that I truly do have a place in theatre, and that the future of it might get
brighter and brighter as the suggested improvements actually begin to happen. Ariele Scharff
Senior at Berkeley High School
I think the most important
lesson I learned from the tcg
conference was just how expansive
the theatre industry is. Hearing from
theatres with both small and large
budgets was particularly interesting;
the creative solutions to budget cuts
were incredibly impressive. The most
important thing I took away from
the conference was the realization of
how much hope there really is for the
future of theatre. After [Berkeley Rep
Berkeley Rep Teen Council members (l to r)
Ariele Scharff, Taylor Greenthal, and Gareth Tidball
School of Theatre Director] Rachel
meet the legendary Wallace Shawn at the conference.
Fink detailed the challenges that
theatre faces, it was hard to spot the silver lining. However, on our very last night in
Chicago, our group stumbled upon the end of a choral performance in Millennium
Park. A rapt audience of at least 500 sat on the cement seats, lounged on the grass,
and spilled out into the aisles to hear the final strains of music. For me, this scene
perfectly epitomized the tangible hope for the future of theatre, and inspired me to
work harder to make that goal a realization.
Gareth Tidball
Junior at Oakland Technical High School
Being a part of the tcg Conference really helped me see theatre as more than
just “putting on a play.” I was impressed with how many people from all over the nation had journeyed to Chicago with the common goal to talk about theatre. I had no
idea prior to the trip about how many aspects there were beyond one performance
or one company. Most of all, I was moved to feel welcome, especially as one of the first
young people to ever attend the tcg conference. Hopefully, I won’t be the last.
Presenting Sponsor
TH ROUG H S E PTE M B E R 26, 2010
Transport yourself to Paris circa 1874
this summer at the Legion of Honor
in San Francisco. In an exhibition of
over 180 prints, photographs, paintings
and posters, see how La Ville Lumière –
the City of Light – influenced the work
of artists such as Toulouse-Lautrec,
Dubreuil, Seurat and Manet.
Lead Sponsor
Additional support
provided by
GOODBYES
Skinner Organ Concerts
EVERY SAT AND SUN, 4PM
Live performances of 19th- and
early-20th-century favorites.
34TH AVE. & CLEMENT ST., SAN FRANCISCO
TUE–SUN, 9:30AM–5:15PM
legionofhonor.org 415.750.3600
Image: Georges Seurat,
Eiffel Tower, ca. 1889. Oil on panel.
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 1 1
FAM
What I really want to do is produce!
Becoming a producer at Berkeley Rep
By A m anda M argulies
“i am always thrilled when people
approach me to ask how they can
become more involved with Berkeley
Rep,” declares Managing Director Susan
Medak in her characteristically convivial way. “As a nonprofit institution,
Berkeley Rep depends on support and
engagement at every level to ensure
that we can bring dynamic artistic and
educational programs to the entire community. Opportunities exist for anyone
to contribute in a variety of meaningful
ways that are vital to the continued
operation of the Theatre. Take, for
example, the ushers and docents—all of
them are volunteers, whose service to
the Theatre is essential.”
For those with the resources to make
a significant financial investment, howYou still have time to sign up as a producer
for the 2010/11 season. Opportunities
start at the $6,000 level. Contact
Laura Fichtenberg at 510 647-2907 or
lfichtenberg@berkeleyrep.org. Don’t
wait— choose your show today!
1 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
ever, one of the most exciting ways to become involved is to take part in Berkeley
Rep’s producer program. Though a member of the Donor Circle for several years,
Julie Weinstein made her first foray into
producing at Berkeley Rep last season.
“I had been attending shows for a
long time as an audience member, and
my kids are students at the School of
Theatre,” she explains. “Today, with the
economy being as it is, I think it’s really
important for the community to step
up.” Julie became a producer for both
American Idiot and Aurélia’s Oratorio.
This season she decided to deepen
her commitment and is an executive
producer of Compulsion and Lemony
Snicket’s The Composer is Dead.
Although the opportunities to attend exclusive donor events and mingle
with like-minded theatre enthusiasts
are welcome benefits, Julie is unwavering in her assertion that the best part
of being a producer is the opportunity
to learn about the entire process, from
first rehearsal to opening night. With
the knowledge she has accrued in the
past year alone, she already feels she
can appreciate every show—not just
the ones she produces—on a more
substantial level.
Merrill and Patricia Shanks have
committed to serve as associate producers for Rita Moreno’s season-ending
solo show. This will be the Shanks’ fifth
consecutive year as associate producers
and their 19th season as subscribers. Like
Julie, they became producers as a means
of stepping up their financial support of
Berkeley Rep in a way they describe as
“meaningful.” Pat and Merrill also echo
Julie’s impression that the program has
allowed them to learn more about a
show’s development and provided them
behind-the-scenes insights.
Pat recounts a favorite moment
during an early rehearsal for Tiny
Kushner—an anecdote that would make
even the most inexperienced theatregoer shiver with delight. “In rushes Tony
Kushner with script changes he had just
written,” Pat remembers. “He hands
the pages to Tony Taccone and the two
actors, who begin to work through this
Left Patricia Sakai (right), vice president of Berkeley Rep’s board of trustees, was a producer of American Idiot
and laughed it up with choreographer Steven Hoggett at the opening-night dinner
Below right Merrill (left) and Pat Shanks, producers of Tiny Kushner, with Artistic Director Tony Taccone, who directed the show
relatively new text. It was fascinating
to see the work being developed right
before my eyes.”
Pat and Merrill also appreciate
the producer dinners where they can
participate in a conversation with the
artists, and they recall a particularly
exciting event offered to producers of
Crime and Punishment in 2009. “We
went to see an older film version of
Crime and Punishment at the Pacific
Film Archive. After the film, the actors
and the director, former Berkeley Rep
Artistic Director Sharon Ott, engaged
in a fascinating discussion in which
they compared the Berkeley Rep production to the film.”
Indeed, there are opportunities
at every level to become involved in a
Berkeley Rep production, but there’s no
denying the incredible benefits of being
a producer. In addition to meeting new
and seasoned artists, gaining unique
access to the inner workings of a show,
and supporting theatre of the highest
caliber, you will sustain the rich artistic
life of your very own community. Says
Susan Medak, “People who produce
plays at Berkeley Rep really get a front-
Report
row seat in seeing how a show is made
and the business of theatre. And the
experience is addictive because your appreciation of the work grows exponentially. You want to come back for more.”
PREMIER SERVICE FOR A PREMIER AUDIENCE
Lorri Arazi
Stina Charles-Harris
Jack McPhail
Leslie Avant
Francine Di Palma
Denise Milburn
Norah Brower
Leslie Easterday
Carol Libby Neil
Nacio Brown
Gini Erck
Bob & Carolyn Nelson
Carla Buffington
Jennie A. Flanigan
Nancy Noman
Cheryl Cahn
Nancy Hinkley
Amy Robeson
Maria Cavallo-Merrion
Maureen Kennedy
Diane Verducci
Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont
www.pacunion.com
1625 Shattuck Avenue
Berkeley, CA 94709
510.982.4400
1900 Mountain Boulevard
Oakland, CA 94611
510.339.6460
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 1 3
photo courtesy of kevinberne .com
Report
The cast of the 2008 production of The Arabian Nights
Berkeley Rep news
CP 071610 alive 1_6v.pdf
Wear your
theatre
Pick up great Berkeley Rep logo
items, show-related books and cds,
and more in the Hoag Theatre Store,
located in the Roda lobby.
1 4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
S u b s crib e a n d sav e With your ticket to Compulsion, you are only two
shows away from becoming part of the Berkeley Rep family. Become a subscriber
and you’ll save up to 26% off the regular ticket price, get the best available seats, and
enjoy the privilege of rescheduling your dates for free. Simply choose two or more
shows you’d like to see in the next eight months, and you’ll pay the reduced subscriber rate—and you’ll start enjoying additional benefits like special prices when you buy
tickets for your friends and family, exclusive deals at neighborhood restaurants, and
priority notice to special events like our solo shows with John Leguizamo and David
Sedaris. We also offer discounted ticket packages for anyone under 30 or over 65, as
well as preschool, elementary, and secondary school educators and staff. For fast,
personal service, call our box office at 510 647-2949 between noon and 7pm, Tuesday
through Sunday.
The Ar abian Nights returns One of the most popular shows in
Berkeley Rep history is coming back for a special, limited engagement during the
holidays. When Mary Zimmerman’s The Arabian Nights was part of Berkeley Rep’s
2008–09 season, audiences and critics alike couldn’t praise the show enough.
It’s “a spectacular retelling of the old ‘1,001 nights’ tales staged so wonderfully
well that you feel better off just to have been in the theater that night. This rare and
breathtaking piece of theater made it into my all-time Top 10 list maybe 15 minutes
after it started, and it just kept climbing the chart as its 2½-hour production flew
along,” crowed the Contra Costa Times. And the San Francisco Chronicle called Arabian
Nights one of the year’s best shows: “Zimmerman and her cast transport the audience through hilarious and poignant tales of greed, sex and revenge, each tale opening into another and another, to a lingering, redemptive and provocative end.”
The Arabian Nights returns for only 24 performances, December 11 through 30 on
the Thrust Stage. Tickets are on sale exclusively to subscribers. If any tickets remain,
they’ll be released to the general public this fall.
O n lin e ti ck e tin g m ad e s i m ple r You asked us for an online ticketing
system that was easier to use, and we listened. This summer we introduced a stream-
lined ticketing process on our website
that gives you, the user, more control
over your Berkeley Rep account. With
interactive calendars, seating charts,
and all the show information at your
fingertips, choosing a show and selecting a seat has never been easier. You
can see which seats are available and
pick the exact seat you want. You can
also manage your account with ease—
update your address, phone number,
email preferences, and more. In the near
future, we also hope to open an online
version of our Berkeley Rep gift shop.
The world of berkeleyrep.org continues
to improve thanks to your input!
Gearing up for The Great
Game: Afghanistan Next
up at Berkeley Rep, The Great Game:
Afghanistan is an unprecedented theatrical event. This cycle of short plays by 12
top playwrights explores Afghanistan
over the last 150 years. Presented in
three parts, you can see Part 1: Invasions and Independence (1842–1929) on
Wednesdays, Part 2: Communism, the
Mujahideen and the Taliban (1980–1996)
on Thursdays, or Part 3: Enduring
Freedom (1996–2009) on Fridays. Or
you can experience all three parts in
impassioned marathons on Saturdays
and Sundays beginning at 11:30am. To
further enhance this unique experience,
our lobby café is offering boxed dinners
from etc Catering between Parts 2 and
3 on Saturdays and Sundays. Enjoy a
roast turkey sandwich on ciabatta roll
with basil aioli and olive tapenade,
penne pasta salad with roasted vegetables and sundried tomato pesto,
and a chocolate truffle brownie for
dessert. Or choose the vegan selection of roasted summer vegetables on
rosemary foccacia, couscous, and a
chocolate truffle for dessert. Meals are
$12 each. Reservations are not required.
KATHIE LONGINOTTI
Realtor®
Berkeley Rep Subscriber Since 1972
2.375 x 4.75 (1/6 Horizontal)
Berkeley Rep Ad-2005
510.981.3032
www.AtHomeEastBay.com
There are great artists in every
field. We invite you to
call one of ours!
1495 Shattuck Avenue, CA • 510.486.1495
www.CaliforniaMoves.com
RESIDENTIAL BROKERAGE
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 1 5
Local Experts Worldwide
Local Experts Worldwide
san francisco/wine country ProPerties
san francisco/wine country ProPerties
SAN FRANCISCO, CA. A World-Class duplex of Extraordinary
Luxury. Wrap around terraces, glass walls and 360° views.
SAN FRANCISCO, CA.Price
A World-Class
duplex of Extraordinary
StRegisPenthouse.com.
upon request.
Luxury.0083990
Wrap around terraces, glass walls and 360° views.
WEB:
StRegisPenthouse.com.
Price upon request.
Gregg
Lynn/Louis Silcox 415.901.1780
WEB: 0083990
Gregg Lynn/Louis Silcox 415.901.1780
for the ongoing collection of life
for the ongoing collection of life
mONTECITO, CA. A Robb Webb Project. Stunning views from
this 5± acre estate with 6-bedroom main residence, 2-bedroom
mONTECITO,
CA.
A Robb
guest
house, pool,
pavilion
andWebb
more.Project. Stunning views from
this 5± acre estate
with 6-bedroom main residence, 2-bedroom
$42,500,000
WEB: 0113282
guest house,
pool,
pavilion and more.
Suzanne
Perkins
805.895.2138
$42,500,000 WEB: 0113282
Suzanne Perkins 805.895.2138
BEvERLy HILLS, CA. A Home with a Grand Hotel in the
Heart of Beverly Hills. Seconds away from Rodeo drive, Montage
BEvERLy Beverly
HILLS, Hills
CA. Ais Home
with ina Grand
Hoteltriangle,
in the an
residences
ensconced
the golden
Heart of Beverly
Seconds
away and
fromepicurean
Rodeo drive,
Montage
unparalled
world Hills.
of couture,
culture
delight.
residences
Hills
is ensconced
the golden
triangle, an
Price
uponBeverly
Request.
WEB:
0025672 Joyin Denton
310.860.7899
unparalled world of couture, culture and epicurean delight.
Price upon Request. WEB: 0025672 Joy Denton 310.860.7899
to view all of our exclusive listings, please visit:
to view
all of our exclusive listings, please visit:
www.sothebyshomes.com
www.sothebyshomes.com
SONOmA, CA. valle vista. Contemporary Masterpiece with
Fabulous views. Compound includes stunning main house, guest
SONOmA,
Contemporary
Masterpiece
with
house,
wine CA.
cavevalle
and vista.
auto barn
on approximately
19 acres.
Fabulous views. Compound includes
stunning
main
house,
guest
www.vallevistasonoma.com
Price upon
request.
WEB:
0084791
house,Brachman
wine cave415.296.2215
and auto barn on approximately 19 acres.
Betty
www.vallevistasonoma.com Price upon request. WEB: 0084791
Betty Brachman 415.296.2215
TIBURON, CA. California-Style Elegance.This hilltop estate
overlooks the Golden Gate Bridge with panoramic views of the
TIBURON,
CA. California-Style
Elegance.This
hilltop estate
Bay.
A celebration
of nature and exquisite
design.
overlooks theWEB:
Golden
Gate Bridge with panoramic views of the
$10,480,000
0084796
Bay. A Echeverria
celebration415.716.7340
of nature and exquisite design.
Missy
$10,480,000 WEB: 0084796
Missy Echeverria 415.716.7340
TIBURON, CA. World-Class Golden Gate Bridge and SF
Skyline views from Every Room. Exquisite 5+Bedroom villa on
TIBURON,
CA. World-Class
Gate Bridge
and SFwww.
1+
Acre. Privileged
setting withGolden
decks, gardens,
5+parking.
Skyline views from Every
Room. Exquisite
5+Bedroom villa on
Tiburonviewvilla.com.
$8,995,000
WEB: 0083907
Acre. Privileged
setting
with 415.296.2211
decks, gardens, 5+parking. www.
J.1+Schindler,
L. Silcox, D.
Chavanon
Tiburonviewvilla.com. $8,995,000 WEB: 0083907
J. Schindler, L. Silcox, D. Chavanon 415.296.2211
ROSS, CA. Exquisite Ross Manor. 7-bedroom architectural gem
pristinely maintained and modernized with today’s amenities.
ROSS, utmost
CA. Exquisite
Manor. 7-bedroom architectural
gem
views;
privacy.Ross
www.WillowHillManor.com.
$6,950,000
pristinely
maintained and modernized with today’s amenities.
WEB: 0084723
views;
utmost privacy.
www.WillowHillManor.com. $6,950,000
Chavanon/Wynne
415.706.5804
WEB: 0084723
Chavanon/Wynne 415.706.5804
HEALDSBURG, CA. unique Family Compound with
Architecturally Significant Main Home. 6BD guesthouse,
HEALDSBURG,
CA.acres,
unique
Family
Compound
with
caretaker’s
unit. 52±
pool,
beach,
tennis, vineyards.
Architecturally
Significant Main
Home. 6BD
www.Westside-Estate.com
$6,950,000
WEB:guesthouse,
0084379
caretaker’s
unit. 52±
acres, pool, beach, tennis, vineyards.
Wynne/Morgensen
707.431.0777
www.Westside-Estate.com $6,950,000 WEB: 0084379
Wynne/Morgensen 707.431.0777
SAN FRANCISCO, CA. Exquisite Pacific Heights Penthouse.
Panoramic views, grand scale on two levels, beautiful renovation,
SAN FRANCISCO,
CA. Exquisite
Pacific
Heights Penthouse.
landscaped
terrace, elevator,
two car
parking.
Panoramic
views, grand scale$5,250,000
on two levels,
beautiful
renovation,
www.PacificHeightsPH.com.
WEB:
0084854
landscaped
terrace, elevator,
two car parking.
Rebecca Schumacher
415.928.3800
www.PacificHeightsPH.com. $5,250,000 WEB: 0084854
Rebecca Schumacher 415.928.3800
san francisco BroKeraGe I 117 GREENWICH STREET, SAN FRANCISCO, CA 94111 T 415.901.1700 F 415.901.1701
wine
country BroKeraGe
NAPA STREET,
SONOMA,
CA 94576 TCA
707.935.2288
F 707.935.2289
san francisco
BroKeraGe II 25
117EAST
GREENWICH
STREET,
SAN FRANCISCO,
94111 T 415.901.1700
F 415.901.1701
uSE THE country
WEB NuMBERSBroKeraGe
PROvIdEd TO FINd
ON A CA
PROPERTy
OuRFWEBSITE
wine
I 25OuT
EASTMORE
NAPAINFORMATION
STREET, SONOMA,
94576 TTHROuGH
707.935.2288
707.935.2289
uSE THE WEB NuMBERS PROvIdEd TO FINd OuT MORE INFORMATION ON A PROPERTy THROuGH OuR WEBSITE
Sotheby’s International Realty, Inc. is Owned and Operated by NRT LLC. Sotheby’s International Realty® is a registered trademark. Red Boats, Argenteuil by Claude Monet used with permission.
Sotheby’s International Realty, Inc. is Owned and Operated by NRT LLC. Sotheby’s International Realty® is a registered trademark. Red Boats, Argenteuil by Claude Monet used with permission.
Local Experts Worldwide
Local Experts Worldwide
san francisco/wine country ProPerties
san francisco/wine country ProPerties
RUSSIAN HILL, CA. Enjoy unobstructed Bay and City views
and Exquisite Finishes. Spacious floor plan at Royal Towers with
RUSSIAN
HILL,
CA.
Enjoy
unobstructed
Bay and City views
library,
media
room
and
enormous
master suite
and Exquisite Finishes. Spacious
floor plan
at Royal
Towers with
www.TheRoyalTowers.com
$3,995,000
WEB:
0084633
library,
media
room
and
enormous
master
suite
Butch Haze 415.296.2220 Betty Brachman 415.296.2215
www.TheRoyalTowers.com $3,995,000 WEB: 0084633
Butch Haze 415.296.2220 Betty Brachman 415.296.2215
for the ongoing collection of life
for the ongoing collection of life
SAN FRANCISCO, CA. Golden Gate view Mediterranean.
4+bedrooms/3.5 baths, family room, garden, and garage.
SAN FRANCISCO,$3,325,000
CA. Golden Gate view Mediterranean.
SFownHOME.com
4+bedrooms/3.5
WEB:
0084602 baths, family room, garden, and garage.
SFownHOME.com
$3,325,000
Janet
F. Schindler 415.265.5994
WEB: 0084602
Janet F. Schindler 415.265.5994
SONOmA, CA. 1898 Italianate villa. The Spreckles’ family country
estate.views, guest building, pool, 3± acres. Premiere Wine
SONOmA,
CA. 1898
Italianate
villa. Thehistory.
Spreckles’
familytocountry
Country
location,
steeped
in California
1± hour
the
estate.views,
building,WEB:
pool,0242986
3± acres. Premiere Wine
Golden
Gate.guest
$3,900,000.
Country
location,
steeped
in
California
history.
1±
hour
to
the
Tina Shone 707.933.1515
Golden Gate. $3,900,000. WEB: 0242986
Tina Shone 707.933.1515
STINSON BEACH, CA. Stunning Oceanfront Home in Seadrift,
the "Hamptons of the West". Panoramic ocean views on secluded,
STINSON
BEACH,
CA. Stunning
Oceanfront
Homemodern
in Seadrift,
private
beach.
3 bedrooms
in dramatic
Mid Century
the "Hamptons
of the West".
Panoramic
ocean
views on secluded,
home
only 35 minutes
from San
Francisco.
$3,850,000
private
beach.
3
bedrooms
in
dramatic
Mid
Century
modern
WEB: 0084104 Butch Haze 415.250.3988
home only 35 minutes from San Francisco. $3,850,000
WEB: 0084104 Butch Haze 415.250.3988
to view all of our exclusive listings, please visit:
to view
all of our exclusive listings, please visit:
www.sothebyshomes.com
www.sothebyshomes.com
SAUSALITO, CA. Converted church for the buyer seeking
a dramatic home. Banana Belt, mature gardens, views.
SAUSALITO, CA. Converted church
for the buyer seeking
www.190HarrisonAvenue.com.
$3,195,000
a dramatic
home. Banana Belt, mature gardens, views.
WEB:
0084210
www.190HarrisonAvenue.com.
Danielle
Chavanon 415.296.2224$3,195,000
WEB: 0084210
Danielle Chavanon 415.296.2224
SAN FRANCISCO, CA. Must See Renovation. 2-bedroom,
2½-bathroom Russian Hill condo with panoramic view and
SAN FRANCISCO,
CA. www.999Green2804.com.
Must See Renovation. 2-bedroom,
floor-to-ceiling
windows.
2½-bathroom
Russian
Hill condo with panoramic view and
$2,325,000
WEB:
0084774
floor-to-ceiling
windows. www.999Green2804.com.
ML
Castellanos 415.901.1769
$2,325,000 WEB: 0084774
ML Castellanos 415.901.1769
STINSON BEACH, CA. Fabulous Beach House on the Seadrift
SAN FRANCISCO, CA. Huge victorian Home. Great
SAN FRANCISCO, CA. Classic Marina Flat. Beautifully
Lagoon. Open floor plan with two view Master Suites. Enjoy
neighborhood near GG park & uSF. 5bedroom/3ba + Garage.
remodeled condo 1 block to the boutiques and bistros of famed
STINSON
BEACH,
CA.
Fabulous
Beach
House
on
the
Seadrift
SAN
FRANCISCO,
CA.
Huge
victorian
Home.
Great
SAN FRANCISCO,
CA. Classic
Marina
Flat. Beautifully
indoor/outdoor living with the grand patio & Panoramic views of
Original details abound. Lots of upside potential.
Chestnut
Street. Gourmet
kitchen
and spa-like
bathroom, parking
Lagoon.
Open
plan $1,795,000
with two view
Master
Suites. Enjoy
neighborhood
near GG park & uSF. 5bedroom/3ba + Garage.
remodeled
condo 1 block
the boutiques and bistros of famed
the Lagoon
andfloor
Mt. Tam.
WEB:
0084773
$1,549,000 WEB:0084580
and yard. $1,099,000
WEB:to0084716
indoor/outdoor
living
with
the
grand
patio
&
Panoramic
views
of
Original
details
abound.
Lots
of
upside
potential.
Chestnut
Street.
Gourmet
kitchen
and
spa-like
bathroom, parking
Butch Haze 415.250.3988
Tom E. Pollock 415.901.1797
Paul Ybarbo 415.640.7281
the Lagoon and Mt. Tam. $1,795,000 WEB: 0084773
$1,549,000 WEB:0084580
and yard. $1,099,000 WEB: 0084716
Butch Haze 415.250.3988
Tom E. Pollock 415.901.1797
Paul Ybarbo 415.640.7281
san francisco BroKeraGe I 117 GREENWICH STREET, SAN FRANCISCO, CA 94111 T 415.901.1700 F 415.901.1701
wine
country BroKeraGe
NAPA STREET,
SONOMA,
CA 94576 TCA
707.935.2288
F 707.935.2289
san francisco
BroKeraGe II 25
117EAST
GREENWICH
STREET,
SAN FRANCISCO,
94111 T 415.901.1700
F 415.901.1701
uSE THE country
WEB NuMBERSBroKeraGe
PROvIdEd TO FINd
ON A CA
PROPERTy
OuRFWEBSITE
wine
I 25OuT
EASTMORE
NAPAINFORMATION
STREET, SONOMA,
94576 TTHROuGH
707.935.2288
707.935.2289
Sotheby’s
International
Inc. is Owned and
Operated by NRT
LLC.FINd
Sotheby’sOuT
International
Realty®INFORMATION
is a registered trademark. Red
Boats,
by Claude THROuGH
Monet used with permission.
uSE
THE
WEBRealty,
NuMBERS
PROvIdEd
TO
MORE
ON
AArgenteuil
PROPERTy
OuR WEBSITE
Sotheby’s International Realty, Inc. is Owned and Operated by NRT LLC. Sotheby’s International Realty® is a registered trademark. Red Boats, Argenteuil by Claude Monet used with permission.
The many voices behind the Anne Frank legacy
By R achel Viol a
about Anne Frank’s The Diary of a Young Girl is reasonably straightforward: it’s a young girl’s diary, lightly edited by her father for publication
in the years following her tragic death in a German concentration camp.
The book is read in schools all over the world, though many adults may
have clearer recollections of the play or movie, both seemingly faithful
adaptations of the diary. But the discrepancy between what is considered
common knowledge and the greater truth of the story surrounding Anne’s
book and its adaptations has been hotly contested.
The Frank family—Otto, Edith, daughters Margot and little Anne —
relocated from their home in Frankfurt, Germany in 1933, around the same
time as Adolf Hitler was appointed chancellor. Sensing trouble brewing,
the Franks moved to Amsterdam, where Otto had business associates
who helped him establish a spice company called Opetka Works. The
Franks made their new home in the River Quarter, a developing community of other well-to-do German-Jewish immigrant families.
Life was comfortable for the Frank family in Amsterdam until the Germans invaded on May 10, 1940. The Dutch government was completely
unprepared for the attack and capitulated after only five days of fighting.
Hoping to impress Dutch Aryans, the Germans were slow to impose their
typically harsh restrictions on Dutch Jews. But by 1941, severe anti-Semitic
laws descended. Curfews were imposed, and Jews were removed from
their jobs and banned from almost all public places. In January of 1942,
Adolf Eichmann and other high-ranking Nazi officials devised “The Final
Solution” to exterminate all European Jews, now easily identified in Nazioccupied lands by the mandatory yellow star affixed to their garments.
That same month, the Frank family applied for “voluntary emigration.”
Denied this request, Otto began to plan an alternative escape for his family, one so close and obvious it wouldn’t be expected: a hiding place above
the Opetka offices at 263 Prisengracht in the center of Amsterdam. Despite their secret preparations, the Franks tried to maintain a semblance
of normalcy. On June 12, 1942, they celebrated Anne’s 13th birthday with a
party and a large pile of gifts. Among these presents was a little red-andwhite-checkered, cloth-bound diary.
Anne made her first diary entry on June 20, 1942—the same day,
Eichmann and the Foreign Affairs Ministry in Berlin initiated a program
to send 40,000 Dutch Jews to Auschwitz. The date of the first scheduled
deportation was July 5; coincidentally the same day that teenaged Margot
Frank received a “call-up” notice to report to Westerbork, a transitory
Dutch labor camp. The Frank family sprang into action and moved into the
secret annex early the next morning, letting neighbors believe they had
escaped to Switzerland.
They were joined a week later by the Van Pels family: Hermann, a
partner at Opetka, his wife, Auguste, and their son, Peter. That November,
a dentist named Fritz Pfeffer joined life in the annex. Using pseudonyms
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 1 9
in her diary, Anne recorded these arrivals, referring to the Van
Pelses as the “Van Daans,” and Pfeffer as “Alfred Dussel.” She
also changed the names of some of the annex group’s Dutch
friends who helped them while in hiding, although Miep Gies,
who would famously rescue Anne’s writing, was called by her
real name.
Much of what is understood about life in the secret
annex is from Anne’s diary. However, a significant factor in
the diary’s history is less well known. Among the many items
smuggled into the annex was a contraband radio, which allowed the occupants regular access to war reports. One such
broadcast from the Dutch government exiled in London was
vital to Anne’s record-keeping. Gerrit Bolkestein, minister of
education, art, and science, issued a statement on March 29,
1944, calling for Dutch citizens to save “ordinary documents”—
letters, diaries—in hopes of building a national archive. (This
vision would ultimately be realized as the contemporary Netherlands Institute for War Documentation.)
Anne, who by this time had filled not only her diary, but
also several other notebooks with chronicles of life in the annex,
took Minister Bolkestein’s speech as a personal directive. Having
composed several entries in which she expressed her desire to
write professionally and “live on after her death,” the idea of
preserving her work in a national archive must have been deeply
appealing. Titling her work, Het Achterhuis, or “The House
Behind,” Anne dedicated herself to a rigorous re-writing process:
refining, re-ordering, clarifying, cutting and expanding diary
entries from multiple volumes.
On August 1, 1944, Anne wrote her last “current” diary
entry. On August 4, Dutch Nazi police acted on an informant’s
tip and raided the secret annex. After four days in Amsterdam’s
Gestapo prison, the Franks, the Van Pelses, and Pfeffer were
sent to the dreaded Westerbork camp. September saw the
last Dutch shipment of Jews to Auschwitz, and with it, all the
former occupants of the annex. They arrived on September 6,
and Hermann Van Pels died several weeks later. By October,
Anne and Margot had been transferred together to BergenBelsen in Germany, where they both would perish in March
of 1945. Edith Frank died in Auschwitz just after the new
year; Auguste and Peter Pels and Fritz Pfeffer were killed
in different camps nearby.
Only Otto Frank would survive and make his way back
to Amsterdam to learn the fate of his family and friends.
Miep Gies, who had hidden the diary in hope of Anne’s
return, took Otto in. The story goes that, hearing of Anne’s
death, Miep pressed the diary into Otto’s hands. He
locked himself in his former office just floors below the annex
and did not emerge for several hours. After several readings,
Otto was firmly convinced his daughter had intended to publish Het Achterhuis, so he set about editing and translating.
Much debate has ensued about the various versions of the
diary. Accusations run from sentimental to extreme. Relatives
of annex occupants have disliked Anne’s depictions of their
loved ones; other readers have criticized Otto’s removal of
more overtly sexual, religious, or intimate family observations.
Neo-Nazi critique of the diary gained ground as early as 1957,
with a Swedish newspaper article implying that the diary, much
like reportage of the war itself, was forged. Similar theories
emerged sporadically throughout the 1960s and ’70s, finally
2 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
An episode of 60 Minutes once reported a segment about the diary’s use as
propaganda in North Korea: schoolchildren were assigned the book, and
asked to imagine George W. Bush
as Hitler, and the American people
as Nazis, seeking to destroy North
Koreans.
In 1998, indie band Neutral
Milk Hotel released a seminal
album, In the Aeroplane over the Sea,
announcing that most of the songs
had been inspired, at least in part,
by Anne’s life and death.
Last year the New York Times
reported that provocative playwright David Mamet was in
negotiations with Disney to write
and direct a new film version of
The Diary of Anne Frank.
In Japan, menstruating women
refer to their “Anne Frank Day,”
and a popular variety of rose bears
her name.
In 2007, newspapers announced
that Anne’s beloved chestnut
tree, planted outside 263 Prisengracht, was diseased and
needed to be cut down.
This sparked international
protest, as the tree’s presence had brought Anne such
great comfort while living in the
secret annex. Arrangements were
made for saplings to be taken and
replanted in the U.S. in tribute; the
tree was felled by a storm this summer.
prompting the Netherlands Institute for War Documentation to
issue The Revised Critical Edition of the Diary of Anne Frank.
Released in English in 2003, The Revised Critical Edition
replaced five controversial pages removed by Otto (discovered
after his death in 1981), provided analysis of Anne’s handwriting
in defense of her true authorship, and encapsulated the three
major versions of the book. The original first draft of Anne’s
diary is referred to as the “a” version by scholars. “B” version
contains the edited work she completed in the months following Bolkestein’s radio broadcast; the “c” version is Otto Frank’s,
drawn from both “a” and “b” source materials, as well as some
of Anne’s collected short stories. It was the “c” version that
was first published in Dutch in 1947, then in French in 1950, and
it remains the version taught in schools. It was this book which
made its way into the hands of Meyer Levin.
Meyer Levin was born in Chicago in 1905 to LithuanianJewish immigrants. As a cub reporter during the Leopold and
Loeb murder trial of 1924, Levin made a name for himself as
a writer, and would go on to author several respected novels.
In 1944 and 1945, he served as a military journalist with the
US Army’s Fourth Armored Division and was among the first
Americans to encounter the scope of destruction and cruelty
wrought by the concentration camps. Levin’s personal struggle
to establish an American Jewish identity had previously been
the crux of much of his writing; viewing the carnage of Nazi
hatred was an overwhelming and pivotal experience.
In the following years, Levin dedicated himself to a massive autobiographical work entitled In Search. A full section
of the book discussed the implications of the Holocaust on
Jewish identity throughout the diaspora, and Levin, feeling
unable to articulate the degree of devastation in Europe, called
for a voice with greater insight, able to offer the world better
explanation of the horrors than he could. He hoped that “some
day, a teller would arise.” It was at this point in 1950, that Levin
read The Diary of a Young Girl, and found the voice he’d been
looking for.
Levin wasted no time contacting Otto Frank. Sending
a copy of In Search as proof of his gravity as a well-known,
published Jewish writer, Levin offered his services as the Diary’s
book agent for an English-language translation. He made it
clear that he sought no financial compensation, but in exchange
asked for rights to adapt the book for the stage. Otto Frank accepted his proposal, striking a gentleman’s agreement between
them. Levin’s personal efforts to secure a publisher were fruitless, though Otto Frank had better luck. The Valentine Mitchell
company accepted the manuscript for British publication, and on
April 9, 1951, a contract was signed with Doubleday in New York.
Otto Frank was gracious in reassuring Levin that his
services would not be overlooked. Doubleday enlisted Eleanor
Roosevelt to write an introduction to the Diary and persuaded
Levin to write a crucial review for the New York Times Book
Review, published on June 15, 1952. The book was a smash
success, in no small part due to Levin’s article, selling out its
first edition in only 10 days, with second and third printings
of 10,000 copies each ordered. Within weeks, top New York
producers were scrambling for theatrical rights.
In the summer of 1952, Doubleday awarded these rights
to Cheryl Crawford, well known for her affiliation with the
Group Theatre and her success producing Brigadoon, Porgy and
Bess, and Clifford Odets’ Golden Boy on Broadway. Crawford’s
impulse was to commission an adaptation co-authored by
Odets and Lillian Hellman, although Maxwell Anderson, Elia
Kazan, and Thornton Wilder were also suggested. Made aware
of Otto Frank’s promise to Meyer Levin, Crawford gave Levin
two months to draft his version.
Levin’s adaptation of Anne’s book was incredibly faithful,
utilizing her own language, retaining her spirituality, and
grounding the play in somber tones of war. Although her first
response to Levin’s script was positive, Crawford passed on his
adaptation. On Yom Kippur 1952, Otto Frank arrived in New
York and retained a lawyer, who assured him that Levin had no
legal entitlement to theatrical rights but should be granted the
opportunity to shop his version to a list of producers approved
by Doubleday. No willing party emerged, and Levin issued
claims that a community of Stalin-supporting, anti-Semitic
theatre professionals were censoring and discriminating
against his work because it was “too Jewish.”
A quick word about Levin’s wild claims: by the time the
US entered World War II, the country had a flourishing Jewish community, with many actively trying to assimilate. The
dozens of publications and theatre performances conducted in
Yiddish and Hebrew had dwindled in a first-born generation’s
desire to suppress an old-world identity and move toward a
more American culture. Scholars of Anne Frank’s diary have
suggested that this social milieu was responsible for the initial
difficulty of finding a publisher, and that the witch hunts of the
McCarthy era and the House Un-American Committee (huac)
hearings reinforced old fears of anti-Semitism.
For Levin, whose other work centered on these particular
themes, and whose convictions about a faithful (in his mind,
meaning Jewish) adaptation of The Diary of a Young Girl were
so strong, any blow to his ambition was devastating. Levin
was incensed by Otto Frank’s own insistence that the play be
accessible to a universal audience, as well as by Doubleday’s
addition of huac-blacklisted playwright Lillian Hellman to
their production team. Levin found Hellman a symbol for his
greatest fears: in his mind, she embodied the worst sort of
anti-Semitic, Communist values. Levin would ultimately accuse
her of leading a left-wing conspiracy to purge the diary of all
Holocaust references.
Antagonized by Levin’s continuing public accusations and
suffering financial duress, Cheryl Crawford withdrew from the
project in 1953, and well-known Broadway producer Kermit
Bloomgarden took the reins. Hellman, as his valued artistic
advisor, recommended a succession of writers (among them
novelist Carson McCullers) before Bloomgarden commissioned the husband-and-wife screenwriting team of Frances
Goodrich and Albert Hackett. The Hacketts would ultimately
write 32 screenplays together and contribute to the Christmas
classic It’s a Wonderful Life. When they began their adaptation
of Anne’s diary, they had already won a Writer’s Guild Award
and been nominated for several Academy Awards.
The research conducted by the Hacketts was extensive.
They visited Otto Frank and the secret annex in Amsterdam,
consulted a rabbi in Los Angeles, and read dozens of book
about Jewish culture and history. In September 1954, they
showed a draft to Hellman, who made some structural suggestions about the play, prompting a complaint of plagiarism from
Meyer Levin. By that winter, Levin had found a lawyer willing
to represent him in a suit against Otto Frank and Cheryl Crawford, so he sued for breach of contract—an unfounded lawsuit,
considering there had never been a signed contract.
It ultimately took eight laborious drafts to arrive at a play
that satisfied Doubleday, Frank, and Bloomgarden, whose
instruction had been to create a lighthearted comedy that could
Continued on page 2 5
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 2 1
The Compulsion playwright answers ques
Berkeley Rep’s literary manager and dram
Madeleine Oldham: OK, I’m starting with a doozie. Meyer Levin
adapted Compulsion, his own book about the Leopold and Loeb
murder, into a film. Leopold objected to the way the story was
told, and lawsuits ensued. Levin took issue with the Hackett stage
adaptation of The Diary of Anne Frank, protesting what he saw
as a violation of history, and lawsuits ensued. You have written a
play that adapts historical events into a fictionalized account, and
given it the same title as Levin’s book. Do you anticipate litigation? Can you talk a little bit about how you navigated your way
through all of that?
By R achel Viol a
Rinne Groff: When I first became attracted to this material and decided to find a play in it all (which is a process that began almost 15 years ago!), I thought that I could fictionalize the
story to such an extent that I wouldn’t draw specifically on any
particular characters, but instead would attempt to get at the
story more obliquely. This wasn’t because I feared litigation,
but rather because I trembled at the prospect of representing
real historical figures on the stage, something I consider to
be a daunting task. However, the more time I spent with the
material, the more it became clear to me that Anne Frank is
a figure in the world unlike any other, and it would have been
disingenuous of me to disguise her or rework her character in
an attempt to de-literalize her. And once I decided that it was
Anne who would be at the center of the drama, I felt the audience was entitled to know the real story of how her diary came
to be on the Broadway stage—or as much of the “real story”
as one lone playwright can muster in a single play.
So my mission was to tell the truth, but, of course, it would
always be my version of the truth because that’s the nature of
the beast. I knew that in order to write the play, I would necessarily engage in strategies which would fictionalize the story,
but I still wanted to stick to the facts as best I could. Serendipitously, the central figure of my drama, Meyer Levin, whom
I reconceived as Sid Silver, had in his own writing provided
guidance about how to attempt what I was attempting.
As you note in your question, Meyer Levin told the rippedfrom-the-headlines story of Leopold and Loeb in his book Compulsion. This is a quotation from his introduction to that novel:
2 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
estions posed by Madeleine Oldham ,
amaturg
I have followed an actual case, are these, then, actual
persons? Here I would avoid the modern novelist’s
conventional disclaimer, which no one fully believes
in any case. I follow known events. Some scenes are,
however, total interpolations, and some of my personages have no correspondence to persons in the case
in question. This will be recognized as the method of
the historical novel.
I wasn’t writing a novel. I was writing a play, but the
fact that the figure on whom my main character was based
had engaged in a similar literary process to mine gave me a
sort of blessing to proceed. And, inasmuch as a writer might
always fear being sued when she dares to go near “based on
a true story” territory, I again calmed myself with words that
Meyer Levin himself had written, words which seem to have
been designed expressly to address my anxiety:
in the back of a street-side residence, whereas “the house
behind” is not common English usage. The reason the title
seemed right to me in the beginning is that I was interested in
the edifice behind a famous edifice, the story behind a famous
story, i.e. the back story of how The Diary of Anne Frank came
to be on the Broadway stage. All that was fine and poetic, but
when the play was finally written, I realized it wasn’t a fine and
poetic play. It was rougher and more aggressive than that. And
the title no longer seemed to fit. I took the title Compulsion
around the time that I took the name Sid Silver for my main
character. Meyer Levin wrote a book called Compulsion about
Leopold and Loeb in which he fictionalized himself as a young
reporter named Sid Silver. Since I am using similar strategies in
terms of dealing with history in a fictional work, I thought acknowledging that in the title was useful. Truth be told, it was a
member of my writers’ group who suggested the title Compulsion, and as soon as he suggested it, I knew it was right.
During the past years, I have been concerned with
two issues reflecting the relationship between law
and literature. One was the Compulsion case, resulting
in a decision by Judge Abraham Brussell of Chicago,
bringing the law closer to the literary situation in
which the borderline between fiction and non-fiction
has been eliminated. Creative writers may now use
the material of public life with less fear of harassment.
The second involvement is over my dramatization
of The Diary of Anne Frank. This raises the question
whether public cultural interest may not in some
instances present a cause itself.
Your Meyer Levin character, Sid Silver, displays some pretty
extreme behavior. How did you approach making his psychology
accessible to an audience?
I love Sid Silver, tricky and difficult as he may be. He is motivated by love, and love for Anne Frank no less, a sentiment
that seems almost universal, save perhaps for a few evil or
misguided jerks. So even though I don’t by any stretch admire
all of Sid’s behavior, I don’t worry too much about making
him accessible. I worry more about making him complete and
true and compelling. (Compulsion, compelling; compulsion is
compelling, no?)
The original title to this play was The House Behind. Why did you
change it to Compulsion?
The House Behind is a fairly literal translation into English
of the Dutch title which Anne Frank gave to her diary: Het
Achterhuis. It’s not a “true” translation because 1) it should
be The Behind House if I were going word for word, and 2) an
achterhuis is a common phrasing in Dutch to refer to the house
How did you arrive at the decision to make Anne Frank a puppet?
I knew that Anne Frank had to be in the play, but I also
knew that any attempt at her literal representation had the
potential to feel cheesy. I toyed around with various Brechtian
devices to “problematize” her portrayal, but nothing felt right.
Then, in my research I came across an article about Meyer
Levin’s work with marionettes, including a photograph from his
marionette production of The Hairy Ape. It was such a striking
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 2 3
“When drawing on any historical figure in my writing, I feel
a tremendous burden to do justice to the complexity of
character and to be as accurate as I can be even though
there are, of course, things about these people that I will
never know no matter how much research I do.”
image: a policeman marionette beating his baton on a hapless
Hairy Ape marionette. To see that violence represented by
figures as delicate and seemingly fragile as marionettes was incredibly moving to me. And the idea came in an instant: Anne
should be a marionette. As the notion of representing Anne in
this way progressed, it became more resonant on more levels.
A marionette, because its facial “expressions” never change,
is animated as much by an audience’s projections onto its
being as by the movements of the puppeteers who control it.
That felt like an apt metaphor for the way that many people,
myself included, project their own visions onto Anne Frank as
an ideal. Finally, the notion of “strings being pulled” definitely
informs Sid Silver’s vision of the world. (Meyer Levin’s original
working title for his autobiographical novel about his struggles
with Anne Frank’s diary was The Manipulators.) The marionette
image-system works in this way as well.
What are some of the differences between writing characters
based on real people versus creating purely fictional ones?
When drawing on any historical figure in my writing, I feel
a tremendous burden to do justice to the complexity of character and to be as accurate as I can be even though there are,
of course, things about these people that I will never know no
matter how much research I do. When writing about writers,
I feel the burden even more acutely: How dare I put words in
these people’s mouths when they themselves were so skilled
at crafting words to be spoken and written? The trickiest part
for me isn’t the characters though, it’s the story. When dealing
with history, a writer can’t rework an event to suit her desire
for drama. It’s rather a process of teasing the narrative out
of the drama that already exists. I gave myself some poetic
license in telling this story by giving some of the characters
new names, or changing basic biographical details about some
of the figures in order to reinvent them, or smooshing a bunch
of characters into a single figure so that there was no one-toone correspondence with someone from history, but still I’m
a stickler at heart. Finding a way to serve the dramatic needs
of the story without deviating knowingly from historical fact is
very important to me. When I fudge a detail or switch up the
sequence of events in a small way, I take it very seriously.
What drew you to this material?
My mom is Dutch, and my parents met in Amsterdam. It’s
where my Oma (my grandmother) died, and where a lot of my
24 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
parents’ friends and my mom’s family still live (although none
of her immediate family was there during the Second World
War). I used to visit Amsterdam a lot as a kid, and I went to
the Anne Frank House from the time I was quite young. I read
Anne’s diary many times, in all the different editions as they
were released into the world. The first professional play I ever
auditioned for in Tampa, Florida was The Diary of Anne Frank.
(I wasn’t cast.) So the knowledge of and attraction to Anne
was always there for me. And when I first learned about Meyer
Levin’s story and his relationship to Anne and her diary (which
happened when I came across a book review of Lawrence
Graver’s An Obsession with Anne Frank), I instantly knew I
wanted to do something theatrical with this material.
What was the hardest thing about writing this play?
At the moment, I feel like the hardest thing thus far is
answering these questions.
You made a choice to overtly acknowledge the doubling in the
play. Was this just for fun, or was there something more behind it?
Sid Silver’s personality has many facets, but one aspect
is surely the narcissist. For me, one way in which the doubling
works is that it plays on the idea that it’s Sid’s world and everyone else just lives in it. From his perspective, he is singular,
and everyone else is, for better or worse, at some level interchangeable.
Your writing often illuminates corners of history that run tangentially to common knowledge or that have been overlooked in some
way. Have you always had a nose for this kind of research?
I love to do research, and most of the plays which I am
attracted to writing require a lot of it. I think part of it is an
anxiety-reducing technique. When I am embarking on a new
project, I convince myself that even if the play doesn’t work
out, I will at least have learned a lot about a very cool subject.
Any upcoming projects that you can tell us about?
On the same day that Compulsion begins previews in
Berkeley, Saved, a musical I co-wrote with John Dempsey and
Michael Friedman, will have its second production (a thoroughly and excitingly revised version!) in Kansas City, Missouri.
I’m also working on a jukebox musical for the 2011/12 season
with director Leigh Silverman, and I hope sometime this fall to
have the first draft of a new play called Spiced Vodka.
Compelled to tell
Continued from page 2 1
still reference “the war and all its misery and pain and
wasted hope.” The Diary of Anne Frank opened on
Broadway October 5, 1955, and won both the Pulitzer
Prize and the New York Drama Critics Circle Award that
year. In December 1956, Meyer Levin filed another lawsuit, this time against Frank and Bloomgarden. Financial
settlements were reached, but Levin would continue
to torment Frank for the rest of his life, accusing him of
betraying his daughter and the message she wished the
world to understand.
The Diary of a Young Girl has sold more than 20
million copies in more than 50 languages. The play
has been performed all over the world, and Twentieth
Century Fox’s 1959 film instigated an international
casting competition and won multiple accolades.
A result often attributed to the popularity of the
Broadway play, Anne Frank’s story inspired countless
adaptations, documentaries, and re-imaginings and
catapulted her to celebrity status, making her vulnerable to deep admiration and virulent attack.
Beyond claims of forgery by those who deny the
Holocaust, Anne’s diary and its dramatic interpretations have instigated controversy in reaches far beyond
Meyer Levin. Her writing has been disparaged by concentration camp survivors and students of literature
alike for neglecting to mention the horrors of war. The
Hacketts’ play has been derided as safe and sentimental, refusing to acknowledge religion and thereby satisfying a Nazi desire for Jewish invisibility. On the other
end of the spectrum, her musings of self-reflection
have been compared to the writings of St. Augustine,
her character to that of Antigone or Joan of Arc, her
style of prose similar to that of a young Jane Austen.
The urgency of Meyer Levin’s desire to preserve
Anne’s own voice was equaled by the need of Otto
Frank, Kermit Bloomgarden, and the Hacketts to
maintain the story’s humor in the face of bleak circumstances—to provide a source of hope in the worst
of circumstances. They battled over something Anne
Frank was fully capable of on her own: inspiring millions
of readers and viewers. Nelson Mandela has spoken
of reading her book during his own prison sentence,
and the diary is among the texts most widely read by
incarcerated Americans.
Anne Frank and her diary remain deeply familiar, disproving scholars’ fears that the impact of her
voice might fade with the passage of time. In fact, the
opposite seems true: as evidenced by award-winning
documentaries, puppet shows, musicals, and an anime
series, as well as dozens of philanthropic organizations
and novels that imagine Anne as an adult. Some are
wildly controversial and some have been published as
recently as June 2010. Despite decades of controversy,
Anne’s story continues to affect and provoke, and the
diary still speaks articulately and with humor about human cruelty and the power to overcome.
Meyer Levin was a prolific writer, generating 16 novels, two
autobiographical works, and five compilations of Jewish
literature such as translated Hassidic folktales and a modern
version of a Passover Hagadah. In addition to his early-career
newspaper reporting, Levin contributed articles to book
reviews, journals, and anthologies. He filmed two documentaries and adapted his most famous novel, Compulsion, for stage
and screen. Levin’s involvement with performing arts had
begun as early as 1926, when he founded the Marionette Studio in the Relic House, one of the only original buildings left
standing after Chicago’s devastating fire. Collaborating with
artist Louis Bunin and director Elleanor Lee, the trio created
roughly six experimental plays designed to push the boundaries of both modern and traditional puppet-theatre styles.
Levin is also often credited as a pioneer of “documentary
fiction” with his “nonfiction novels,” a style made popular by
later writers such as Truman Capote and Norman Mailer. In his
Compulsion, for example, Levin used the facts of the Leopold
and Loeb murder trial but employed a fictional narrator to
impart the information. Other characters were amalgamated
versions of real people, whose combination seemed to better
feed the story’s arc.
Many “real people” contributed to the evolution of The Diary
of a Young Girl, and flashes of them can be seen in the characters of Rinne Groff’s Compulsion. Meyer Levin’s wife, Tereska
Torres, did indeed give a French copy of the diary to her husband in 1950, and she was a published author in her own right.
She is considered the mother of “lesbian-erotic pulp fiction”
based on the wild success of her book Women’s Barracks. She
is also the author of 12 highly regarded books, including Les
maisons hantées de Meyer Levin about her husband’s obsession
with Anne Frank.
Judith Jones was a young publishing assistant at Doubleday’s
foreign branch in Paris, when she came across Anne’s diary on
her boss’s desk. In her memoir The Tenth Muse, Jones recalls
her enthusiasm for the book, and her efforts to persuade
Frank Price to send the manuscript to the New York office.
Jones went on to a successful editorial career at Knopf, working memorably with Julia Child.
In New York, a young woman named Barbara Zimmerman
became the diary’s editor. She was roughly the same age as
Anne would have been had she lived, and Zimmerman developed a very close relationship with Otto Frank. It was Zimmerman who secured (and ghost wrote, as the rumor goes)
Eleanor Roosevelt’s famous introduction for the diary in its
American publication. The Diary of a Young Girl was a huge
springboard for Zimmerman, who later went on to found the
New York Review of Books.
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 2 5
next At berKeLey reP
berKeLey rePertOry tHeAtre PreSent S tHe
triC yCLe tHeAtre ’ S PrODUC tiOn OF
writ ten by
riCHArD beAn · Lee bLeSSinG · DAViD eDGAr
DAViD GreiG · AMit GUPtA · rOn HUtCHinSOn
StePHen JeFFreyS · Abi MOrGAn · ben OCKrent
SiMOn StePHenS · COLin teeVAn · JOy wiLKinSOn
niCOLAS Kent
DireC teD by
AnD
inDHU rUbASinGHAM
Limited Season · Roda Theatre
Oct 22–Nov 7 · Tickets $29+
Under 30? Many seats ½-price!
Call 510 647-2949 · Click berkeleyrep.org
Berkeley Repertory Theatre,
The Public Theater, and Yale Repertory Theatre
present the world premiere of
Writ ten by
Rinne Groff
Direc ted by
osk ar eustis
B e rke le y Re pe rto ry Th e atre
To ny Tacco n e , Artis tic D irec to r
Susan M e dak , M anag in g D irec to r
c a st
(in order of appe ar ance)
Mr. Silver Mandy Patinkin
Miss Mermin, Mrs. Silver Hannah Cabell
Mr. Thomas, Mr. Harris, Matte Osian
Mr. Ferris, Mr. Matzliach
Puppeteers Emily DeCola
Daniel Fay
Eric Wright
september 13– oc tober 31, 2010
thrust stage · Main Season
compul sion is perfor med in t wo ac t s
with a 15- minute inter mission
produc tion staff
Scenic Design Eugene Lee
Costume Design Susan Hilferty
Lighting Design Michael Chybowski
Sound Design Darron L West
Compulsion is made possible
thanks to the support of
Se a son producer
Marjorie Randolph
E xecutive Producer s
Shirley D. & Philip D. Schild
The Strauch Kulhanjian Family
Jean & Michael Strunsky
Julie M. Weinstein
producer s
Sally Smith & Don Burns
a ssociate producer
Carole B. Berg
Produc tion Sponsor s
Video and Projection Deisgn Jeff Sugg
Puppet Design and Matt Acheson
Puppetry Supervision
Stage Manager Michael Suenkel
Assistant Stage Manger Karen Szpaller
The Actors and Stage Managers employed in this production
are members of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
Compulsion was commissioned by Berkeley Repertory Theatre
and The Public Theater.
Production support for Compulsion was provided by the Yale Center for
New Theatre, established in 2008 to support the development of new
plays and musicals through a generous grant from The Robina Foundation.
The commissioning and development of this production have been
supported in part by The Mosse Artistic Development Fund.
se a son sponsor s
Additional support provided by the Laszlo N. Tauber Family Foundation.
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 2 7
Mayhem and Mischief and Molière. Mon Dieu!
by MoliÈre
Adapted by Bill
irwin and Mark o’Donnell
irwin
Directed by Bill
“ bill irwin and scapin ? it's a matcH made in
Funny-bone Heaven.”
The Seattle Times
s
ite
or
v
Fa i m e
l
mb
cr
ea
ar c o m i c c u s !
y
ba e r i n y Ci r
F
il
e o p a r t n Fa m
le
’s
l e Fr a
li
zz Hoy Sa n
a
d
FF r o f
i
ur
Fe
a
o
be
ng g ge m e m
in
d
at n c l u f e l l
i
nd
ow
a
ACT-SF.ORG 415.749.2228
SEP 16–OCT 10
SPONSORED by
Groups of 15+, call 415.439.2473.
Bill Irwin. Photo by Santos Irwin.
e
win Pick
ns i l l I r s c o’s
e
,B
nci
ng
EXECUTIVE PRODUCERS Priscilla and Keith Geeslin, Chris and Leslie Johnson
PRODUCERS Judith and David Anderson; Drs. Caroline Emmett
and Russell E. Rydel; Nion T. McEvoy; Ruth and Alan L. Stein;
Trident International Corp., Anna Flider
COmPany SPOnSORS Priscilla and Keith Geeslin; Ambassador James C. Hormel
and Mr. Michael P. Nguyen; Nancy Livingston and Fred Levin, The Shenson Foundation;
Burt and Deedee McMurtry; Lorenzo Thione and David Palmer; Jeff and Laurie Ubben
,
Berkeley Rep Presents
profiles
Hannah Cabell
Mandy Patinkin
Daniel Patrick Fay
Hannah was last seen
at Berkeley Rep in the
world premiere of Sarah
Ruhl’s In the Next Room
(or the vibrator play)
(Bay Area Critics’ Circle
Award nomination). Her
New York credits include Gentleman Caller
at Clubbed Thumb, Jane
Eyre at The Acting Company, Mark Smith and
The Zero Hour at 13P, Millicent Scowlworthy
at the Summer Play Festival, and Pumpgirl at
Manhattan Theatre Club, as well as the Broadway revival of A Man for All Seasons at the
Roundabout Theatre Company. Her regional
credits include Compulsion at Yale Repertory Theatre, Mary’s Wedding and Sedition at
Westport County Playhouse, Lewis Black’s
Slight Hitch at New York Stage and Film, and
Sarah Ruhl’s adaptation of The Three Sisters at
Cincinnati Playhouse in the Park. On TV she
can be seen in in Law and Order: Criminal Intent, and she received her mfa from New York
University’s Tisch School of the Arts.
Mandy won the Tony
Award for his Broadway debut in Evita and
was again nominated
for Sunday in the Park
with George and The
Wild Party. He also
performed on Broadway in Falsettos, The
Secret Garden, The
Shadow Box, Trelawny of the ‘Wells,’ and his solo
concerts Celebrating Sondheim, Dress Casual,
and Mamaloshen. For The Public Theater/New
York Shakespeare Festival, Mandy appeared
in Dress Casual; Hamlet; Henry IV, Part 1; The
Knife; Leave It to Beaver Is Dead; Rebel Women;
and The Winter’s Tale. His other theatre credits
include Enemy of the People, Savages, The Split,
The Tempest, and most recently Compulsion
at Yale Rep and Paradise Found at the Menier
Chocolate Factory in London. On screen, he
has been seen in Alien Nation, The Choking
Man, Daniel, Dick Tracy, The Doctor, The House
on Carroll Street, Impromptu, Lulu on the Bridge,
Maxie, Men with Guns, The Music of Chance,
Pinero, The Princess Bride, Ragtime, Squanto:
Indian Warrior, True Colors, and Yentl, as well
as The Adventures of Elmo in Grouchland. His
television series include Chicago Hope (Emmy
Award), Criminal Minds, and Showtime’s Dead
Like Me. Mandy’s solo albums include Mandy
Patinkin, Mandy Patinkin Dress Casual, and
on the Nonesuch label, Experiment, Kidults,
Mamaloshen, Mandy Patinkin Sings Sondheim,
and Oscar and Steve. Mandy continues to tour
his solo concerts as well as An Evening with
Patti LuPone and Mandy Patinkin, and this fall
will debut a new concert with the opera star
Nathan Gunn.
Daniel is a New Yorkborn and -based artist,
puppet designer, and
puppeteer. He received
his bfa from Brooklyn’s
Pratt Institute in 2006,
where he studied painting and object-based
performance under
Theodora Skipitares. A
2009 fellowship allowed Daniel to study regional puppetry in Bali and Java, Indonesia. He
recently ended a tour of his directorial debut,
The Land of Shadow, an experimental puppet
installation that he also wrote and designed.
Daniel has worked with The Puppet Kitchen
in New York and this year performed in Labapalooza at St. Ann’s Warehouse in Brooklyn.
Daniel has performed in many of New York
City’s experimental theatre venues. He is
pursuing an mfa in interdisciplinary studies at
the Vermont College of Fine Arts.
M i s s M e r m i n , M r s . S i lv e r
Matte Osian
Mr. Thomas, Mr. Harris,
M r . F e r r i s , M r . M at z li ac h
Matte returns to
Berkeley Rep where he
was a part of the West
Coast premiere of Mad
Forest. On Broadway
he appeared in Twelfth
Night at Lincoln Center
and Twelve Angry Men
for the Roundabout
Theatre Company. His
off-Broadway credits include The Adjustment
with the Jewish Repertory Theater; the New
York premiere of Portia Coughlan at the Times
Square Theatre; Portraits at Union Square Theatre; The Resistible Rise of Arturo Ui with Al Pacino, for the National Actors Theatre; Silence,
Cunning, Exile for The Public Theater; and Souls
of Naples (with John Turturro) for Theatre for a
New Audience, which toured to Naples, Italy.
Matte’s film credits include Conspiracy Theory,
Enchanted, The Loop (upcoming), and Richard
II. His TV appearances include Hack, Law &
Order, Law & Order: Criminal Intent, Mad About
You, Third Watch, and Ugly Betty. Matte is a
member of The Actors Studio.
S i d S i lv e r
Emily DeCola
Puppeteer
Emily works with puppetry and masks as a
designer, director, and
performer. As a puppeteer, she has appeared
off Broadway in Hamlet
at The Public and
regionally in Compulsion
at Yale Rep and Mabou
Mines’ Peter and Wendy
and Prelude to a Death in Venice. On television
she has been seen in Nickelodeon’s Lazy Town.
She is a founding member, with Eric Wright, of
The Puppet Kitchen, a full-service puppet studio in New York’s East Village. Emily is thrilled
that puppets are finally hip.
Puppeteer
Eric Wright
Puppeteer
Eric’s puppetry
performances include Dan Hurlin’s Disfarmer and Hiroshima
Maiden, both at St.
Ann’s Warehouse; Yale
Rep’s Compulsion; The
Culture Project’s The
Cat Who Went to Heaven; Basil Twist’s La Bella
Dormente nel Bosco and Petrushka, both at
Lincoln Center; Anthony Minghella’s Madama
Butterfly at the Metropolitan Opera;
Mabou Mines’ Peter and Wendy; and Sinking
Ship’s Powerhouse. He works with Emily DeCola and Michael Schupbach as co-founders
of The Puppet Kitchen, a puppet studio in the
East Village. Visit puppetkitchen.com.
Rinne Groff
PLAY W RIGHT
Rinne is the author of several plays including
The Five Hysterical Girls Theorem, produced
at Target Margin Theater; Inky, produced at
Women’s Project; Jimmy Carter Was a Democrat, produced at PS 122; The Moliere Impromptu, produced at Trinity Repertory Company;
Orange Lemon Egg Canary, produced at Actors
Theatre of Louisville’s Humana Festival of
New Plays; The Ruby Sunrise, produced at The
Public; and What Then, produced at Clubbed
Thumb. She also wrote the book and co-wrote
the lyrics for In the Bubble at American Musical
Theatre Project and wrote the lyrics and cowrote the book for Saved at Playwrights Horizons. Rinne has received fellowships from the
Australian National Playwrights Conference,
Chautauqua Theater Company, the Guggen2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 2 9
heim Foundation, the MacDowell Colony, the
Perry Mansfield New Noises Festival, and the
Sundance Theatre Lab. She also received Obie
Award and nysca Individual Artist grants as
well as a Whiting Writers Award. She wrote
for a season of Weeds on Showtime and is a
founding member of Elevator Repair Service
and a member of New Dramatists and the
Dramatists Guild. Rinne received her BA from
Yale and her mfa from nyu’s Tisch School of
the Arts, where she teaches in the Goldberg
Department of Dramatic Writing.
Oskar Eustis
D IRE C TOR
Oskar has been the artistic director of The
Public Theater since 2005. From 1981 through
1986, he was resident director and dramaturg
at the Eureka Theatre in San Francisco, and
artistic director until 1989. Then he moved to
LA’s Mark Taper Forum as associate artistic
director, where he remained until 1994, before
serving as artistic director at Trinity Rep for 11
years. At The Public, Eustis staged the 2008
Shakespeare in the Park production of Hamlet,
featuring Michael Stuhlbarg and Sam Waterston, and the New York premiere of The Ruby
Sunrise by Rinne Groff. At Trinity Rep, he directed the world premiere of The Ruby Sunrise,
as well as Tony Kushner’s Angels in America
(earning the Elliot Norton Award for Outstanding Director for Part 1), Kushner’s Homebody/Kabul (Elliot Norton Award for Outstanding Production), and the world premiere of
The Long Christmas Ride Home by Paula Vogel
(Elliot Norton Award for Outstanding Production). He has directed premieres for Philip Kan
Gotanda, David Henry Hwang, Emily Mann,
Eduardo Machado, Ellen McLaughlin, and
Suzan-Lori Parks, among many others. Along
with Tony Taccone, he commissioned Angels in
America at the Eureka and directed its world
premiere at the Mark Taper Forum. Eustis was
a professor of Theatre, Speech, and Dance
at Brown University, where he founded and
chaired the Trinity Rep/Brown University Consortium for professional theatre training. He
received an honorary doctorate from Brown
in 2001; an Elliot Norton Award for Sustained
Achievement in 2005; and a Tony Award with
The Public for producing the revival of Hair
in 2009. He currently serves as Professor of
Dramatic Writing and Arts and Public Policy
at nyu.
geance Is the Lord’s at the Huntington Theatre
Company. Eugene has been the production
designer of nbc’s Saturday Night Live since
1974. He has received the Tony Award, the
American Theatre Wing’s Design Award, the
Outer Critics’ Circle Award, the Drama Desk
Award, the Lucille Lortel Award, the Elliott
Norton Prize for Sustained Achievement, and
the Pell Award, and was recently inducted into
the Theatre Hall of Fame. His film work includes Francis Ford Coppola’s Hammett, John
Huston’s Mr. North, and Louis Malle’s Vanya
on 42nd Street. He holds bfa degrees from the
Art Institute of Chicago and Carnegie Mellon
University, an mfa from Yale, and three honorary doctorates. Eugene lives with his wife,
Brooke, and their dog, George, in Providence,
where they raised their two sons.
Eugene Lee
Susan has designed over 200 productions
from Broadway to Japan. For Berkeley Rep, she
designed Born in the rsa, The Convict’s Return,
Dream of a Common Language, The Illusion,
The Road to Mecca, The Tooth of Crime, Twelfth
Night, and The Woman Warrior. Her designs
for Wicked earned her the 2004 Tony, Outer
Critics Circle, and Drama Desk Awards as
well as an Olivier nomination. Her directorial
collaborators include JoAnne Akalaitis, Laurie
Anderson, Christopher Ashley, Walter Bobbie,
Robert Falls, Frank Galati, Garry Hynes, Tony
Kushner, Mark Lamos, James Lapine, Emily
Mann, Joe Mantello, Michael Mayer, Des
McAnuff, Marion McClinton, Richard Nelson,
Carey Perloff, Carole Rothman, Bartlett Sher,
Robert Woodruff, Doug Wright, and the
late Garland Wright. She has worked with
South African playwright Athol Fugard as
set/costume designer and often co-director
since 1980. Susan designs for opera, film,
and dance and chairs the graduate design
program at nyu.
S C ENI C D ESIGNER
Eugene was represented in San Francisco and
currently on Broadway by the musical Wicked.
His recent work includes Coming Home at
Berkeley Rep and Long Wharf Theatre, Hughie and Krapp’s Last Tape at the Goodman
Theater, The Long Red Road at the Goodman,
and Not Wanted on That Voyage at Northwestern University. His current projects include
The Crucible at Trinity Rep, Oklahoma! at
Arena Stage, the world premiere of Athol Fugard’s The Train Driver at Long Wharf, and Ven-
Educating Clinicians to Society for Over 40 Years
The Wright Institute offers a
Doctor of Psychology in
Clinical Psychology (PsyD) and a
Master of Arts in Counseling Psychology
(MFT licensure).
2728 Durant Avenue • Berkeley, California 94704 • 510.841.9230
info@wi.edu • www.wi.edu
Donate your car and support Berkeley Rep
Vehicle donation is a hassle-free and easy way to give.
Click berkeleyrep.org/cars or call 877 537-5277
to schedule a pick-up today.
Jason Hite and Ryder Bach head to the drive-in in Girlfriend
pH oto co u R t e s y o f k e v i n B eR n e .co m
3 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Susan Hilferty
COSTUME D ESIGNER
Michael Chybowski
LIGHTING D ESIGNER
Michael is delighted to be returning to
Berkeley Rep, where he lit The Beaux’ Stratagem and Much Ado About Nothing. Some of his
recent work includes the New York premiere
of Rebecca Gilman’s The Heart is a Lonely
Hunter at New York Theatre Workshop, Isaac
Mizrahi’s directorial debut at Opera Theatre
of St. Louis, A Little Night Music, the premiere
of Mark Morris’ Socrates at Brooklyn Academy
of Music, and the premiere of the new musical
Tracy’s Tiger at Oregon Shakespeare Festival.
Among his New York credits are The Lieutenant of Inishmore at the Lyceum Theatre, as well
as work at most of the major off-Broadway
theatres. His regional credits include the
Guthrie Theatre, the Goodman, La Jolla Playhouse, Long Wharf Theatre, McCarter Theatre
Center, osf, Seattle Repertory Theatre, and
Steppenwolf Theatre Company. At American
Repertory Theatre he served as resident
designer for three years. His work in opera
includes Four Saints in Three Acts for English
National Opera, the US premiere of Orazi
et Curiazi for Minnesota Opera, and Parsifal,
which opened the newly renovated Seattle
Opera House. Michael is the head of lighting
for Brandeis University’s theatre training
program and in 1999 received an Obie Award
for Sustained Excellence.
Artisan cocktails, handmade delicacies from local
growers, house charcuterie, and thoughtfully
prepared California food in a revived 1901 classic
building just up the block from Berkeley Rep
Darron L West
SOUN D D ESIGNER
2102 Shattuck at Addison · 510.549.9950
Darron’s work has been heard in more than
400 Broadway, off-Broadway, national,
and international productions. At Berkeley
Rep, he created the sound design for To the
Lighthouse and Finn In The Underworld. He is
the recipient of the audelco, Entertainment
Design Magazine Eddy, Henry Hewes, Lortel,
Obie, and Princess Grace Awards. His directing credits include Big Love at Austin’s Rude
Mechanicals (Austin Critics Table Award for
Best Director), Kid Simple at the 2004 Humana
Festival of New Plays, and the national tour of
siti’s War of the Worlds Radio Play and Radio
Macbeth. He is a founding member of Anne
Bogart’s siti Company.
Jeff Sugg
VI D EO AN D PRO J E C TION D ESIGNER
Jeff is a New York-based artist, designer,
and technical advisor. He is a co-founding
member of the performance group Accinosco with Cynthia Hopkins and Jim Findlay
and co-designed their critically acclaimed
Accidental Trilogy (2007 Bessie Award). Some
of his other theatre designs include 33 Variations (projections for Broadway, Arena Stage,
and La Jolla Playhouse; 2009 Henry Hewes
Award), Ansel Adams: America by Chris and
Dave Brubeck (projections for premiere and
national tour), As You Like It (projections for
the Shakespeare Theatre), The Book of Grace
(projections for The Public), ¡El Conquistador! (lights for nytw), The Slug Bearers of Kayrol Island (co-designer, set, and projections for
Vineyard Theatre; 2008 Henry Hewes, Obie,
and Lucille Lortel Awards), and The Truth: A
Tragedy (production design for Soho Rep). He
has also worked with many renowned companies and artists including Laurie Anderson, Lee
Breuer, Richard Foreman, and The Wooster
Group. In the music world, he has designed
lights for Natalie Cole and Natalie Merchant.
Matt Acheson
Puppet Designer/
P u p p e t ry S u p e rv i s o r
Matt has had the pleasure of performing,
building, and touring extensively with Basil
Twist’s productions of La Bella Dormente Nel
Bosco, Master Peter’s Puppet Show, Petrushka,
and Symphonie Fantastique. He also worked
on Lee Breuer’s A Prelude to Death in Venice,
Dan Hurlin’s productions of Disfarmer and
Hiroshima Maiden, the Mabou Mines production of Peter and Wendy, and Paula Vogel’s A
Long Christmas Ride Home. He also served
as the puppetry rehearsal director for the
Metropolitan Opera’s Madama Butterfly. Matt
has worked with choreographer Nami Yamamoto on A Howling Flower and directs the St.
Ann’s Warehouse Puppet Lab with Tom Lee.
Matt’s film credits include the national and
international Audience Choice Award-winning
Chef’s Special
Pre-Theatre Menu
Seasonal. Inspired.
Consciously Purveyed.
2327 Shattuck Ave.
Berkeley ~ 510.540.5950
Reservations at
venusrestaurant.net
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 3 1
In the House of the Sin Eater, which he wrote,
directed, and designed with filmmaker Paul
Kloss. Currently Matt is collaborating with
Tom Lee to create a new piece for the Swedish
Cottage Marionette Theater in Central Park.
The Public Theater
Oskar Eustis, Artistic Director
Andrew D. Hamingson, Executive Director
The Public was founded by Joseph Papp in
1954 and is now one of the nation’s preeminent cultural institutions, producing new
plays, musicals, and revivals of classics. The
Public’s mandate to create a theater for all
New Yorkers reaches more than 250,000
people each year at its downtown headquarters, Joe’s Pub, and Shakespeare in the Park.
The Public has won 42 Tony Awards, 151 Obie
Awards, 41 Drama Desk Awards, and four
Pulitzer Prizes and transferred 54 shows to
Broadway, including the Tony Award-winning
revival of Hair, the rock musical Bloody Bloody
Andrew Jackson, and the 2010 Shakespeare in
the Park production of The Merchant of Venice.
Visit publictheater.org.
Yale Repertory Theatre
James Bundy, Artistic Director
Victoria Nolan, Managing Director
Yale Repertory Theatre is dedicated to the
production of new plays and bold interpretations of classics and has produced well over
100 premieres—including two Pulitzer Prize
winners and four other nominated finalists—
by emerging and established playwrights.
Eleven Yale Rep productions have advanced
to Broadway, garnering more than 40 Tony
Award nominations and eight Tony Awards.
Yale Rep is also the recipient of the Tony
Award for Outstanding Regional Theatre.
Established in 2008, the Yale Center for New
Theatre is an integrated, artist-driven initiative
that devotes major resources to the commissioning, development, and production of new
plays and musicals at Yale Repertory Theatre
and across the country. Professional assignments at Yale Repertory Theatre are integral
components of the program at Yale School of
Drama, the nation’s leading graduate theatre
training conservatory. Visit yalerep.org.
Tony Taccone
ARTISTI C D IRE C TOR
Tony is artistic director of Berkeley Rep,
where he has staged more than 35 shows—
including world premieres by Culture Clash,
Rinde Eckert, David Edgar, Danny Hoch, Geoff
Hoyle, Quincy Long, and Itamar Moses. Tony
made his Broadway debut with Bridge & Tunnel, which was lauded by the critics and won a
Tony Award for its star, Sarah Jones. In 2009,
he returned to Broadway to direct Carrie
Fisher’s Wishful Drinking, which set box-office
records at Berkeley Rep before enjoying a
six-city national tour. Along with Oskar Eustis,
he commissioned Tony Kushner’s legendary Angels in America and directed its world
premiere at the Mark Taper Forum. Tony has
collaborated with Kushner on seven projects
including Brundibar and the premiere of Tiny
Kushner. Two of his recent shows transferred
3 2 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
to London: Continental Divide played the
Barbican in 2004, and Tiny Kushner will play
the Tricycle Theatre this fall. His many regional
credits include Actors Theatre of Louisville,
Arena Stage, the Eureka, the Guthrie, the Huntington, The Public, Seattle Rep, and Yale Rep.
In 2011, two scripts penned by Taccone will
have their premieres.
Susan Medak
MANAGING D IRE C TOR
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration
and operations of the Theatre. She is president
of the League of Resident Theatres (lort),
the management association that represents
75 of the nation’s largest nonprofit theatres.
Susan has often served on program panels
for the National Endowment for the Arts and
chaired two panels for the Massachusetts
Arts Council as well. She served two terms on
the board of Theatre Communications Group,
including three years as the organization’s
treasurer. Closer to home, Susan chairs the
Downtown Berkeley Business Improvement
District. She is the president of the Downtown
Berkeley Association and founding chair of the
Berkeley Arts in Education Steering Committee for Berkeley Unified School District and
the Berkeley Cultural Trust. 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 and son.
Les Waters
ASSO C IATE ARTISTI C D IRE C TOR
Obie Award–winner Les Waters has served
as associate artistic director of Berkeley Rep
since 2003. In the last five years, his shows
have ranked among the year’s best in The New
Yorker, New York Times, Time Out New York,
Time Magazine, and USA Today. Les has a history of collaborating with prominent playwrights
like Caryl Churchill, Charles Mee, and Wallace
Shawn, and champions important new voices
such as Will Eno, Jordan Harrison, Sarah Ruhl,
and Anne Washburn. Last fall, he made his
Broadway debut with In the Next Room (or the
vibrator play), which began in Berkeley. His
other productions at Berkeley Rep include the
world premieres of Concerning Strange Devices
from the Distant West, Fêtes de la Nuit, Finn in
the Underworld, Girlfriend, and To the Lighthouse; the American premiere of tragedy: a
tragedy; the West Coast premiere of Eurydice;
and extended runs of The Glass Menagerie, The
Lieutenant of Inishmore, The Pillowman, and
Yellowman. Les has numerous credits in New
York, his native England, and at theatres across
America. He led the mfa directing program at
ucsd and is an associate artist of The Civilians,
a theatre group in New York.
Karen Racanelli
GENERAL MANAGER
Karen joined Berkeley Rep in November 1993
as education director. Under her supervision, Berkeley Rep’s Programs for Education
provided live theatre for more than 20,000
students annually. In November 1995, she
became general manager, and since then has
overseen the day-to-day operations of the
Theatre, supervising the box office, company
management, and IT. 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 as executive director for a
small San Francisco–based theatre company
and was sponsorship manager for the San
Francisco Fair. She also worked for Theatre
Bay Area as director of theatre services. As an
independent producer, Karen produced plays
and events for Climate Theater, Intersection
for the Arts, Life on the Water, Overtone
Theatre Company, and San Jose Stage Company. She has served on the boards of Climate
Theater, Overtone Theatre Company, and Park
Day School and is currently on the board of
the Julia Morgan Center.
Madeleine Oldham
D RAMATURG/ LITERARY MANAGER
Madeleine is Berkeley Rep’s literary manager
and resident dramaturg. As literary manager and
associate dramaturg at Baltimore’s Centerstage,
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 Seattle’s Intiman Theatre. Madeleine recently completed four years of service on
the executive committee of Literary Managers
and Dramaturgs of the Americas and has also
worked with act/Seattle, Austin Scriptworks,
Crowded Fire Theatre Company, Geva Theatre
Center, the Kennedy Center, the Neo-Futurists,
and Portland Center Stage.
Amy Potozkin
C ASTING D IRE C TOR
Amy is in her 20th season with Berkeley Rep.
She has also had the pleasure of casting for
act/Seattle, Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, the
Bay Area Playwrights Festival, Dallas Theatre
Company, Marin Theatre Company, The
Marsh, San Jose Rep, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy
has cast roles for the films Conceiving Ada,
starring Tilda Swinton, and Josh Kornbluth’s
Haiku Tunnel and his upcoming Love and Taxes.
Amy received her mfa from Brandeis University, where she was also an artist-in-residence.
She is a coach to hundreds of actors and
teaches classes and workshops at Berkeley
Rep’s School of Theatre and various other
venues in the Bay Area.
Michael Suenkel
PRO D U C TION STAGE MANAGER
Michael began his association with Berkeley
Rep as the stage management intern for the
1984/85 season and is now in his 17th year as
production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice,
Hydriotaphia, and Mad Forest. He has also
worked with the Barbican in London, the Hun-
UCSF won two Nobel Prizes for
groundbreaking cancer research.
And gave me the chance to read a lot more bedtime stories.
-Jessica
©2010 UC Regents
With your support, imagine how much more we could do.
When Jessica Galloway faced a complicated case of Stage III
breast cancer, she turned to UCSF for her surgery, treatment
and even access to a new clinical trial. Our groundbreaking
cancer research is just one reason UCSF has an international
reputation for quickly translating scientific innovations into lifesaving treatments. Now, we’re building a new hospital complex—
including children’s, women’s specialty and cancer hospitals—
where our world-class doctors can practice medicine in the
most technologically advanced facilities available anywhere.
With your help, just imagine the possibilities.
Help us build the new UCSF hospitals at Mission Bay.
To learn more about UCSF or Jessica’s story:
missionbayhospitals.ucsf.edu
tington Theatre in Boston, the Juste Pour Rire
Festival in Montreal, La Jolla Playhouse in San
Diego, Pittsburgh Public Theater, The Public
and Second Stage Theatres in New York, and
Yale Rep. For the Magic, he stage-managed
Albert Takazauckas’ Breaking the Code and
Sam Shepard’s The Late Henry Moss.
Karen Szpaller
ASSISTANT STAGE MANAGER
Karen is in her eighth season at Berkeley Rep
and is thrilled to be back again after stage
managing Concerning Strange Devices from
the Distant West last season. Her favorite past
Berkeley Rep productions include Brundibar
/ Comedy on the Bridge, Eurydice, Fêtes de la
Nuit, The Glass Menagerie, and The Lieutenant
of Inishmore. Favorites elsewhere include the
national tour of Spamalot in San Francisco;
Blackbird, Brief Encounter, and Curse of the
Starving Class at a.c.t.; Salomé at Aurora
Theatre Company; Ragtime and She Loves
Me at Foothill Music Theatre; Striking 12 at TheatreWorks; and Urinetown: The Musical at San
Jose Stage. Karen is the production coordinator at TheatreWorks in Menlo Park.
Get closer to
the art onstage
Marjorie Randolph
Season Producer
Tour behind the scenes, mingle with
artists, and upgrade your seats.
Receive unique perks when you
make an Annual Fund gift—and
help ensure the future of world-class
theatre in your community.
Make your gift today at
berkeleyrep.org/give.
Thomas Silcott, Kohle T. Bolton,
and Roslyn Ruff in Coming Home
ph oTo co u R T e S y o f K e vin B eR n e .co m
Marjorie is president of Berkeley Rep’s board
of trustees and a longtime supporter of the
Theatre. She currently lives in Los Angeles, where she heads up worldwide human
resources for Walt Disney Studios, although
she still considers Berkeley her home. During
her tenure at Berkeley Rep, she has produced
10 plays. She is a member of the California Bar
and a former president of California Women
Lawyers. She serves on the National Advisory
Panel of the Institute for Research on Women
and Gender at Stanford University.
Shirley D. & Philip D. Schild
Executive Producers
Phil and Shirley moved to the Bay Area after
retiring in 1985. As a professor of medicine
(gastroenterology) at UC San Francisco and UC
Davis, Phil volunteered his services at hospitals
and clinics in San Francisco and the East Bay
for 20 years. Shirley still volunteers as an art
librarian at the Oakland Museum of California.
Their first cultural experience in the Bay Area
was a performance at Berkeley Rep, and they
have been ardent supporters ever since. They
are also enthusiastic supporters of Cal Performances, Oakland East Bay Symphony, and
the Oakland Museum of California. They are
especially pleased to be involved with Berkeley
Rep productions as they have attended almost
every performance since 1985 and have introduced family and friends to the Theatre.
The Strauch Kulhanjian Family
Executive Producers
Roger Strauch is a former president of Berkeley
Rep’s board of trustees and is a current
member. He is chairman of The Roda Group
(rodagroup.com), a venture-development
company based in Berkeley, best known for
launching Ask.com, PolyServe, and Sightspeed.
3 4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Roger serves on the boards of Cardstore.com,
GameReady, and Ravenflow, all located in the
East Bay, and his firm is the lead investor in
Solazyme, a renewable-energy company based
in South San Francisco. Roger is a member of
the engineering dean’s college advisory boards
of Cornell University and UC Berkeley. At Cal,
he is also an executive member of the board
of trustees for the Mathematical Sciences Research Institute (msri) and a co-founder of the
William Saroyan Program in Armenian Studies.
He is also an executive member of the Piedmont Council of the Boy Scouts of America.
His wife, Julie A. Kulhanjian, is an attending
physician at Oakland Children’s Hospital. They
have three teenage children.
The Ira and Leonore Gershwin
Philanthropic Fund /
Jean & Michael Strunsky
Produc tion Sponsor /
Executive Producers
Michael and Jean Strunsky have a long history
with the arts. Mike manages the estate of
his late uncle, Ira Gershwin, and promotes
Gershwin music worldwide. He is on the
board of the Michael Feinstein Foundation
and is an officer of the Jewish Home of San
Francisco. He served on the boards of Goodspeed Opera House and the San Francisco
Symphony, where he is still a member of the
facility committee. Mike is a sustaining advisor
to Berkeley Rep. Jean and Mike co-manage
the Ira and Leonore Gershwin Philanthropic
Fund and a Trust for the Music Division of the
Library of Congress. They are members of the
Library’s James Madison Council. Mike helped
facilitate the Gershwin Room in Washington,
DC, the Ira Gershwin Gallery at the Disney
Concert Hall in LA, and the Gershwin Prize for
Popular Song. Jean is an active Berkeley Rep
Trustee. She also serves on Theatre Communications Group’s National Council and on
the board of jvs, where she co-chairs the Employee of the Year Awards to select winners
for the annual Strictly Business Lunch.
Julie M. Weinstein
Executive Producer
Julie believes in supporting the arts and artseducation efforts on a local level. Having been
a Berkeley Rep subscriber and supporter for
more than a decade, she has been impressed
with the quality and variety of thought-provoking works as well as the learning opportunities offered by the Berkeley Rep School of
Theatre, where both her children have enjoyed
attending classes. Julie is also an artist and an
active supporter and former children’s docent
at the San Francisco Museum of Modern Art.
PDS 060410 smart 1_3s.pdf
Sally Smith & Don Burns
Producers
Sally manages training programs in lie detection and interviewing skills for financial institutions, the military, the US State Department,
law enforcement, and members of the judiciary.
She is senior vice president for the Clement Advisory Group. At Berkeley Rep, Sally serves on
the board of trustees and as a docent. She and
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 35
Mandy Patinkin have been friends since they
were 19. Don was educated at Georgetown
University and the Yale Law School. He clerked
on the California Supreme Court and practiced
corporate and financial law for three decades.
He served as secretary of the California Business and Transportation Agency and president
of the California Council for Environmental and
Economic Balance. He is currently special assistant to the Attorney General of California.
The Koret Foundation
Produc tion Sponsor
Since 1979, the Koret Foundation has been
committed to creating new philanthropic
visions for the Bay Area and for Israel. Investing in strategic, local solutions, Koret helps
to inspire a multiplier effect—encouraging
collaborative funding and developing model
initiatives. In the San Francisco Bay Area,
Koret adds to the region’s vitality by promoting educational opportunity, contributing to
a diverse cultural landscape, and bolstering
organizations that are innovative in their approaches to meeting community needs.
The Mosse Artistic
Development Fund
Co - S p o n s o r
For over 20 years, The Mosse Foundation has
been promoting an open and tolerant society
through grants to organizations that advance
literacy and the arts in their communities.
Named after Dr. Hilde Mosse, a child psychia-
trist whose family—owners of the Berliner
Tageblatt-Imperial, Germany’s leading progressive newspaper—fled the country shortly
after Hitler assumed power. Dr. Mosse played
a key role in founding the La Farge Clinic in
Harlem, which specialized in the treatment of
African Americans with psychiatric illness. The
Mosse Foundation honors Dr. Mosse’s legacy
by supporting people and organizations that
are brave and creative in their energetic and
tenacious efforts to promote artistic innovation and nourishment, as well those focused
on lifting fellow human beings who are
unfairly disadvantaged by forces of nature or
culture. The Mosse Foundation is overseen by
Hilde’s nephews, Berkeley Rep Board Member
Roger Strauch and his brother Hans, principal
architect of hds. Through a grant made to
Berkeley Rep, the Mosse Artistic Development Fund was established to support the
development of new plays. The Mosse Foundation is proud to support the world-premiere
production of Rinne Groff’s Compulsion.
BART
Area’s biggest airports along with 26 cities
located throughout Alameda, Contra Costa,
San Francisco, and San Mateo Counties. bart’s
mission is to provide safe, reliable, affordable
service that runs almost entirely on electricity
made from hydro and other renewable energy
sources. Since opening in September 1972, bart
has safely carried more than 1.5 billion passengers more than 18 billion passenger miles.
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.
SEASON SPONSOR
Voted America’s No. 1 transit system in 2005,
the Bay Area Rapid Transit District (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. bart trains travel up to 80
mph and connect the heart of San Francisco
and Oakland’s financial districts with the Bay
Additional thanks
Jesse Alick
Jenny Gersten
bistro
French food for the soul
Open 7 days a week
Walking distance to the theatre
10% discount for
Berkeley Rep patrons
Full bar
1849 Shattuck at Hearst · 510 849-2155 · liaisonbistro.com
Berkeley Rep patron discount not to be combined with any other offer
3 6 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Amy Potozkin
work as an agent for you, as a director, as a colleague, as an actor, and as a
Continued from page 8
great friend,” Danny continues. “She’ll
with regard to casting and play selection
always give you as much as she can. I’m
have played a seminal role in our success.
not that easy to cast, but Amy sees my
Moreover, her ability to work with every
talent beyond my type. She’s creative
kind of artist, and to support those artists
about how to use my creativity.”
through thick and thin has helped us to
Amy and her husband of five
create a safe, dynamic working environyears live in Kensington, and she says
ment. Plus, she laughs at my jokes.”
working at Berkeley Rep has been a
Amy happily reveals one of the
privilege. “I’ve worked alongside colsecrets of her success: she loves acleagues who have grown so much over
tors. “I have tremendous appreciation
the years. It’s so gratifying to see how
for them and compassion for the life
they’ve become seasoned as artistic
of an actor. I know first hand the joys
leaders—and that galvanizes the qualand disappointments of that life,” Amy
ity of the work we are doing.”
admits. “I love great acting because it is
She also says there’s a reason that
the living, breathing performance that
Berkeley Rep keeps making bold artistic
creates such powerful alchemy with
leaps: “The Berkeley Rep audience is
the audience. Great acting deepens our
particularly intelligent and sophisticated
understanding of who we are because
and expects a lot from us. This is a huge
while we are experiencing a great
blessing. Plus the staff here is so skilled.
performance, we have no choice but to
With the quality of artists and staff
connect with parts of ourselves.”
we’ve been able to attract, the bar has
Actors return the affection. Danny
just gotten higher and higher through
Scheie, who has been seen at Berkeley
the years. The staff and the audience
Rep in shows such as Fêtes de la Nuit
make it possible for us to take the risks
and You, Nero, describes Amy as an
we take which allows us to constantly
BCC.BerkeleyRep.MalagaCorp.080310.PRINT.pdf 8/5/2010 11:45:12 PM
“outstanding casting director.” “She can
evolve as a company.”
Additional support
Original Yale Rep casting
Tara Rubin and Laurel Schutzel
Berkeley Rep casting
Jordan Thaler, Heidi Griffiths,
and Amy Potozkin
Puppet Consutant
Basil Twist
Assistant Director
Johanna Gruenhut
Assistant Costume Designer
Kara Harmon
Associate Projection
Designer
Shawn Duan
Assistant Set Designers
Tristan Jeffers
Patrick Lynch
Assistant Sound Designer
Matt Hubbs
Costume Shop
Destiny Askin
Blair Coleman
Nelly Flores
Amanda Williams
Alex Zeek
Crafts
Marcy Frank
Electrics
Stephanie Erin Buchner
Ross I. Copeland
Zoltan DeWitt
Jeffery W. Dolan
Kelly Marie Kunaniec
Alex Marshall
Andrea J. Schwartz
Molly Stewart-Cohn
Masha Tsimring
Katherine Wepler
Audrey Wright
Props
Viqui Peralta
Scenic Artists
Letty Samonte
Gabrielle Wolodarski
Scene Shop
Edward Hazzard III
Kimberly Jew
Matt Riedel
Jesse Rignall
Wardrobe
Alex Zeek
Wig Designer
Tom Watson
C
M
Y
CM
MY
CY
CMY
K
MAYBECK
HIGH sCHOOL
Est 1972
Berkeley’s Independent
College Preparatory
High School
NEW Location! 2727 College Ave, Berkeley
www.maybeckhs.org 510/841-8489
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 3 7
Contributors
We acknowledge the following Annual Fund donors whose contributions from July 2009
through July 2010 helped to make possible the Theatre’s artistic and community outreach
programs. Supporters noted with  made gifts in-kind. Funders whose names are noted
with  have used a matching gift to double or triple their initial contribution.
foundation sponsors
Gif ts of $ 100,000 and above
Gif t s of $25,000 –49,999
Gif ts of $5,000 –9,999
Doris Duke Charitable Foundation
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Shubert Foundation
S.D. Bechtel, Jr. Foundation
The Ira and Leonore Gershwin Philanthropic Fund
The Mosse Foundation for the Arts and Education
Wallis Foundation
Woodlawn Foundation
Berkeley Civic Arts Program
Ann & Gordon Getty Foundation
Hellman Family Foundation
Ramsay Family Foundation
Gif t s of $10,000 –24,999
Alameda County Arts Commission
Joyce & William Brantman Foundation
Civic Foundation
Dramatists Guild Fund
Gif ts of $50,000 –99,999
Edgerton Foundation
Koret Foundation
The Andrew W. Mellon Foundation
National Endowment for the Arts
The Bernard Osher Foundation
The Harold and Mimi Steinberg Charitable Trust
Phyllis C. Wattis Foundation
Anonymous
The Frank H. & Eva B. Buck Foundation
California Arts Council
Margaret A. Cargill Foundation
The Green Foundation
The Thomas J. Long Foundation
The Kenneth Rainin Foundation
The San Francisco Foundation
Gif ts of $1,000 –4,999
corpor ate sponsors
Sea son sponsors
Gif t s of $12 ,000 –24,999
Gif ts of $1, 500 –5,999
The Morrison & Foerster Foundation
Union Bank
Wealth Management at Mechanics Bank
4U Field Hockey
Bingham McCutchen LLP
Macy’s, Inc.
Ruegg & Ellsworth
Gif t s of $6,000 –11,999
Gif ts of $50,000 and above
Gif ts of $2 5,000 –49,999
Armanino McKenna LLP
Bank of the West
BluesCruise.com
Charles Schwab & Co.
Deloitte Financial Advisory Services LLP
Genstar Capital LLC
Heritage Capital Private Asset Management
Howard Rice Nemerovski Canady Falk & Rabkin
MBV Law LLP
Meyer Sound
Oliver & Company, Inc.
Panoramic Interests
Peet’s Coffee & Tea
Seagate Properties Inc.
Sonnenschein Nath & Rosenthal LLP
STG Asset Management, Inc.
UBS Financial Services Inc.
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.
media sponsor s
In - Kind sponsors
m atching gif t s
The following companies have matched their employees’
contributions to Berkeley Rep. Please call the
development department at 510 647-2907 to find out if
your company matches gifts.
Amanda’s Feel Good Fresh Food
Back to Earth Organic Catering
Bobby G’s Pizzeria
Bogatin, Corman & Gold
Bucci’s Restaurant
CASS, Inc.
Darling Flower Shop
Domaine Carneros
Etc Catering
eVe Restaurant
Gather Restaurant
GHS Corporation
Grace Street Catering
H. Julien Designs
Hotel Shattuck Plaza
Ippuku
Jazzcaffè/act Catering
Kevin Berne Images
La Note
Left Coast Catering
Paula LeDuc Fine Catering
Patricia Motzkin Architecture
Picante Catering
Post Meridian
Pyramid Breweries
Revival Bar + Kitchen
Ricola usa
RM Production Firm, Inc.
3 8 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Semifreddi’s
Shorenstein Hays–
Nederlander Theatres LLC
Solstice Press
Taproot Foundation
TCHO
Venus Restaurant
Raymond Vineyards is the official
wine purveyor of Berkeley Rep.
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
A & B Foundation · American Express · Amgen
Foundation · Argonaut Group, Inc. · AT&T · Bank of
America · Bank of the West · S.D. Bechtel, Jr. Foundation ·
California HealthCare · Chevron · Clorox · First Quadrant ·
Franklin Templeton · Gap Foundation · Google · Hewlett
Packard · IBM Corporation · Intuit Inc. · Irvine
Foundation · Johnson & Johnson · JPMorgan Chase & Co. ·
Lawrence Livermore National Security · Levi Strauss
Foundation · Lexis-Nexis · Macy’s, Inc. · Merrill Lynch &
Co. · Microsoft · Morrison & Foerster Foundation · Oracle
Corporation · Patagonia · Salesforce.com · Schwab
Charitable Fund · Sony Corporation of America · Stuart
Foundation · Sun Microsystems Foundation · UPS
Foundation · VISA U.S.A., Inc. · John Wiley & Sons, Inc.
Contributors
Leg end
in-kind gift
matching gift
Individual annual fund donor s
DONOR CIRCLE
sea son producers
$5 0,0 0 0 & u p
Anonymous
Marjorie Randolph
executive producers
$ 2 5,0 0 0 – 49,9 9 9
Rena Bransten
Bill Falik & Diana Cohen
Wayne Jordan & Quinn Delaney
John & Helen Meyer
Mitch & Pam Nichter
a ssociate producer s
$ 6,0 0 0 – 11,9 9 9
Anonymous
Anonymous, on behalf of Karen Grove
The Alafi Family Foundation
Shelley & Jonathan Bagg
Stephen Belford & Bobby Minkler
Carole B. Berg
Stephen K. Cassidy & Rebecca L. Powlan
Robert Council & Ann Parks-Council
Robin & Rich Edwards
Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards
John & Carol Field
David & Vicki Fleishhacker
Virginia & Timothy Foo
Herb & Marianne Friedman
Paul T. Friedman 
Steven, Jill, & Kevin Fugaro
Bruce Golden & Michelle Mercer
Mary & Nicholas Graves
Scott & Sherry Haber
Bob & Linda Harris
Ms. Wendy E. Jordan
Julie Matlof Kennedy & Patrick Kennedy
Jean & Jack Knox
Wanda Kownacki
Ted & Carole Krumland
Suzanne Lafetra
Zandra Faye LeDuff
Dale & Don Marshall
Sandra & Ross McCandless
Martin & Janis McNair
Stephanie Mendel
Steven & Patrece Mills 
Eddie & Amy Orton
Virginia Patterson
Peter Pervere & Georgia Cassel
Len & Barbara Rand
Kaye & Randy Rosso
Pat Rougeau
Richard A. Rubin & H. Marcia Smolens
Jodi Schiller & Ben Douglas
Pat & Merrill Shanks
Ama Torrance & David Davies
Steven & Linda Wolan
Martin & Margaret Zankel
president s
$ 3,0 0 0 – 5,9 9 9
Anonymous
Neil & Gene Barth
Tracy Brown & Gregory Holland
Kimo Campbell
Richard & Anita Davis
Lois M. De Domenico
Delia Fleishhacker Ehrlich 
Howard Grothe & Robert James Donor Advised Fund of
Horizons Foundation
Earl & Bonnie Hamlin
Doug & Leni Herst
Hurlbut-Johnson Foundation of the
East Bay Community Foundation
Barbara E. Jones in memory of William E. Jones
Robert Kelling
Leonard Merrill Kurz
Beth & David Sawi
Jack & Betty Schafer
Dr. & Mrs. Philip D. Schild
Sally Smith & Don Burns
The Strauch Kulhanjian Family
Jean & Michael Strunsky
Julie M. Weinstein
Felicia Woytak & Steve Rasmussen
producers
$ 12 ,0 0 0 – 2 4,9 9 9
David & Vicki Cox
Thalia Dorwick
Nancy & George Leitmann
Jennifer S. Lindsay
Dixon Long
Neil & Leah Mac Neil
Naomi & Bruce Mann 
Charlotte & Adolph Martinelli
Sandi & Dick Pantages
Pease Family Fund
David & Marilyn Pratt
Ivy & Leigh Robinson
David S. H. Rosenthal & Vicky Reich
Ms. Riva Rubnitz
Joyce & Jim Schnobrich
Dr. & Mrs. Stephen Schoen
Emily Shanks 
Laura Wais & Dorothee Pardys
John & Pamela Walker
Sheila Wishek
Saul Zaentz
direc tor s
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (7)
L. Matthew Adams
Pat Angell in memory of Gene Angell
Ross E. Armstrong
Nina Auerbach
John Bacon
Jane & Bill Bardin
Edith Barschi
Valerie Barth & Peter Wiley 
Fritzi Benesch
Linden & Carl Berry
Becky & Jeff Bleich
Caroline Booth
Broitman-Basri Family
Drs. Don & Carol Anne Brown
Thomas & Tecoah Bruce
Jennifer Burden & Carren Shagley 
Tom Cantrell & Robert Lane
Lynne Carmichael
Jennifer Chaiken & Sam Hamilton
Susan Chamberlin
Mel & Hella Cheitlin
Earl T. Cohen & Heidi M. Shale
Karen & David Crommie
Ed Cullen & Add O’Connor
John & Stephanie Dains
Ilana Debare & Sam Schuchat
Becky Draper
Edward Durbin & Joan Morris
Dirk Epperson 
Merle & Michael Fajans
Nancy & Jerry Falk
Cynthia A Farner
Donald & Sylvia Fillman
Ann & Shawn Fischer Hecht
Linda Jo Fitz
Kristina Flanagan
Mort & Frannie Fleishhacker
James Gala
Karl & Kathleen Geier
Dennis & Susan Johann Gilardi
Marjorie Ginsburg & Howard Slyter
Daniel & Hilary B. Goldstine
Deborah & Howard Goodman
Kerry Francis & John Jimerson 
Jack Klingelhofer
Dugan Moore
Mary Ann & Lou Peoples
Leo P. Ruth & Deborah Dashow Ruth
Patricia Sakai & Richard Shapiro
Joan Sarnat & David Hoffman
Michael & Sue Steinberg
Karen Stevenson & William McClave
Guy Tiphane
Gail & Arne Wagner
Garrett Gruener & Amy Slater
Richard & Lois Halliday
Migsy & Jim Hamasaki
David & Vera Hartford
Gregg Hauser & Judy O’Young, MD
Harlan & Joanne Heydon
Richard N. Hill & Nancy Lundeen
Bill Hofmann & Robbie Welling 
James C. Hormel
LeRoy Howard & Dana Buntrock
Hilary & Tom Hoynes
George & Leslie Hume
Ron & Virginia Iverson
Beth & Fred Karren
Mary S. Kimball
Pearl T. Kimura
Lynn Eve Komaromi
John Kouns & Anne Baele Kouns
Helen E. Land
Randy Laroche & David Laudon
Louise Laufersweiler & Warren Sharp
Ellen & Barry Levine
Bonnie Levinson & Dr. Donald Kay
Tom Lockard & Alix Marduel
Greg & Liz Lutz
Peter & Melanie Maier
Lois & Gary Marcus
Sumner & Hermine Marshall
Jill Matichak
Judith & Kim Maxwell
Miles & Mary Ellen McKey
Scott McKinney & Sherrill Lavagnino
Susan Medak & Greg Murphy
Toby Mickelson & Donald Brody
Roger & Satomi Miles
John & Katrina Miottel
Andy & June Monach
Scott Montgomery & Marc Rand
Judith & Richard Oken
Tom & Kathy Pendleton
Jonathan & Hillary Reinis
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
Mitzi Sales & John Argue
Lisa Salomon & Scott Forrest
Monica Salusky & John K. Sutherland
Jeane & Roger Samuelsen
Stephen C. Schaefer
Jackie & Paul Schaeffer
Linda & Nathan Schultz
Edie Silber & Steve Bomse
Kae Skeels
Sherry & David Smith
Stephen & Cindy Snow
Andrew & Jody Taylor
Nancy & Fred Teichert
Susan & David Terris
Buddy & Jodi Warner
Wendy Willrich
Steven Winkel & Barbara Sahm
George & Kathy Wolf
Charles & Nancy Wolfram
Sally Woolsey
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 3 9
Contributors
Individual annual fund donors
pl ay wright s
$ 1,0 0 0 –1, 49 9
Anonymous (3) · Bruce & Martha Atwater ·
Mary Bailey · Elizabeth Balderston · Helen
C. Barber · Anonymous · Anonymous ·
David Beery & Norman Abramson · Linda
Brandenburger · Ed & Lisa Chilton · Julie
Harkness Cooke · James Cuthbertson ·
Barbara & Tim Daniels  · Narsai &
Venus David · Harry & Susan Dennis ·
Corinne & Mike Doyle · Betty Feinstein
& Robert Henderson · Kirk & Suanne
Flatow · Thomas & Sharon Francis · Judith
& Alex Glass · Lauren Golden & Brian
Hurst  · Phyllis & Eugene Gottfried ·
Harriet Hamlin · Ruth Hennigar · Paula
Hughmanick & Steven Berger · Harold
& Lyn Isbell · Rosalind & Sung-Hou Kim ·
David Lincoln King & Tim Stevenson ·
Michael Kossman · Joel Krauska · Susan B.
Levine & Jim Lauer · Ray Lifchez · Karen &
John McGuinn · Alison McLean · Margo
Murray · Jim Newman & Jane Ivory · Robert
S. Newton · Barbara & Pier Oddone · Janet
Ostler · Gerane Wharton Park · Bob &
MaryJane Pauley · Allen Rabinovich  ·
Boyard & Anne Rowe · Neal Shorstein,
We gratefully recognize
the following members of
the Annual Fund whose
contributions were received
between April and July 2010.
Supporter s
$ 2 5 0 –49 9
Anonymous (11) · Roy & Judith Alper ·
Donald & Margaret Alter · Brian Andersen, Michelle Jolly, Bill Walker & Mary
Wisnewski · Carole & Michael Ballachey ·
Kathy Barry & Bob Burnett · Donald &
Lone Beeson · Richard & Kathy Berman ·
Caroline Beverstock · Alex Byron & Nicole
Maguire · Jules Campbell · Susan & Don
Couch  · Edmund DuBois · Jeanene E.
Ebert · David Eimerl · Sheilah & Harry Fish ·
William & Andrea Foley · Gail Forgash ·
Natalie Forrest & Douglas Sprague · Frank
& Sarah Fuller · Ray & Eve Galka · Ian M.
Goldstein · Suzanne Goldstein · Dan &
Linda Guerra · Mr. & Mrs. Ervin Hafter ·
Melissa Havilan & Stephen Kaus · Richard
P. Herman · Douglas & Jessie Heying  ·
Jan Hobbel · David & Marilynn Hodgson ·
Geoff Holton · Rosalie Holtz · Leonard &
Flora Isaacson · Miriam John · Kathy Down
& Greg Kelly · Henry & Natalie Lagorio ·
Stacy Leier-Valentine · Mrs. Harry J. Levin ·
Steve & Linda Lustig · Laurentius Marais ·
Don & Mara Melandry · Bill & Jane Neilson · Joseph & Berna Neumiller · Roxann R.
Preston · Celia Rabinowitz · Judy Radin &
Chris Johnson · Wesley Richert · Dr. & Mrs.
Harry L. Roth · Ms. Kay Vinson Ruhland ·
Gaile B. Russ · John & Lucille Serwa · Carra
Sleight · Suzanne & Svend Svendsen · Nick
Themely · Helen Vurek · Keith R. Weed
& Julia Molander · Robert & Myrna Witt ·
Susan & Harvey Wittenberg · Ronald &
Helane Zeiger
Contributor s
$ 15 0 –2 49
Anonymous (15) · David Barker & Margaret
Mason · Steven & Cynthia Beckendorf · Paul Birman & Jeanne Miernyk ·
Bethel Bodine · Alan Burckin, M.D. &
Carol Olmert · Tricia Cashman · Dr. G.
Cavallaro & Mr. K. Pfeiffer · Joseph Cisper
& Betty Marx  · Gene & Ann Clements ·
Annabelle Cloner · Richard Cobeen · Jane
MD & Christopher Doane · In Memory
of Nathan Andrew Sommers  · Carl &
Joan Strand · Marcia Tanner, in honor of
Sally Smith & Don Burns  · Pate & Judy
Thomson · Michael Tubach & Amrita
Singhal · Scott Wachter & Barbara Malina ·
Sallie Weissinger · Beth Weissman ·
Patricia & Jeffrey Williams · Lee Yearley &
Sally Gressens · Sam & Joyce Zanze
ac tor s
$5 0 0 – 9 9 9
Anonymous (2o) · Gerry & Marcus Alexis ·
Marcia & George Argyris · Bryan Balazs ·
Barbara Jones Bambara & Massey J.
Bambara  · Michelle L. Barbour · Don
& Gerry Beers · Cindy Beitmen  · Mary
Ann & Len Benson · Jonathan Berk &
Rebecca Schwartz · Robert Berman & Jane
Ginsburg · Dr. & Mrs. Gerald & Carol Block ·
Dr. Kevin & Mrs. Riva Bobrowsky · Marilyn
Bray · Ronnie Caplane · Charles & Kristine
Cardall · Bruce Carlton & Richard McCall ·
Paula Carrell · Dennis Cohen & Deborah
Robison · Lawrence Crapo & Desiree
Gillingham · Pat & Steve Davis · Jackie &
Charles Desoer  · Francine & Beppe Di
& Tom Coulter · Nicole Coustier · Sheila
Cullen · Marvin Diamond · O’Neil & Marcia
S. Dillon · Barbara Donald · Cele & Paul
Eldering  · Jo Anne & Joel Elias · Henry
Elson · Evan Engber · Roger & Margaret
England · Ms. Barbara Fenichel · Greg
Fieler & Reenie Raschke · Mary Ford &
Robert Lewis · James & Diane Fristrom ·
Robert & Linda Garb · Steven Goldberg ·
Prof. & Mrs. Nelson H. Graburn · Mark
Guthrie · Janice Hammond · Julie Harris
& Audrey Sockolov · Lola Harris · Dan &
Shawna Hartman Brotsky · Philippe Henri ·
Jocelynn Herrick Stone & Rick Stone · Jeff
Hoel · Charles Howard · Nancy & Mark
Jacobs · Rodolfo & Mary Jacuzzi · Kristen
Jensen · Charles & Laurie Kahn · Barbara &
Roy Kaplan · Steve Kerns · David Kerr & Jay
Stowsky · Eva Klein · Patricia Kuhi · Regina
Lackner · Hildegard K. Manley · Leonard
Marks · M. Mathews & K. Soriano · Kevin
McCarty · Adrienne J. Miller · Jerry &
Kaye Miller · Marlene & Stephen Miller ·
William Morison · Kathryn Morton ·
Constance Mueser · Annie Noonan · Susan
& Paul Opsvig · Keiko Pederson · John R.
Petrovsky · Linda Plecha · Harry Pollack
& Joanne Backman · Fred & Judith Porta ·
Lynne D. Raider · Andrea Ramiskey · David
& Suzanne Redell · Arthur Reingold & Gail
Bolan · John & Ann Rhode · Helen Richardson · Helen Rutledge · Carol Sabin · Paul &
Patti Sax · Mary Lu & Bob Schreiber · Daniel Scovill  · Marjorie Shapiro · George &
Camilla Smith · Margaret Spaulding · Frank
& Pam Stapleton · Marietta Stuart · Rosalinda Taymor · Dr. & Mrs. Joseph Terdiman ·
Henry Timnick · Stephen Van Meter ·
Robin Voet & Carol Ellen · Laurence & Ruth
Walker · Hal Watson · Mrs. James Weinberger · Chris Weltzien · Patricia Winks ·
Kent Wisner · Charlene Wolf  · Bill C.
Wong · Mr. Mark L. Woodberry · Christina
Zimbardo
Friends
$ 75–149
Anonymous (22) · Patricia Allard · Christina Allen · Ms. Susan Anawalt · Barbara
Anscher & Steven Binder · Sydney Austin ·
Jaryn Barker · Alisa Barnes · Kent Barnes ·
Michael & Della Barnett · Mr. & Mrs.
Raymond Barnett · Lindy Barocchi · Lee
& Frank Battat · Michelle Benson · Stacie
Blair · Robin & Edward Blum · Jerome
Boulton · Ellen Brackman & Deborah
4 0 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Palma · Dan Dougherty · Drs. Nancy Ebbert
& Adam Rochmes · Michael Ehrenzweig ·
Roger & Jane Emanuel · Gini Erck & David
Petta · In honor of Kerry Francis · Harold &
Alice C. Furst · Dorothy & Chuck Garber  ·
Al Garren · Bonnie Goldsmith · Marcia
Goodman & Hank Levy · Judy & Shel
Greene · Glenn Hammonds · Mrs. Robert
Hanscom · Kate Hartley & Mike Kass · Joe
Hartzog · Richard L. Hay · Irene & Robert
Hepps · Drs. Gareth & Ruth Hill · Elaine
Hitchcock · John & Elise Holmgren  ·
Robert & Linda Holub · Rebecca Hull &
Joe Raabe · Lynda & Dr. J. Pearce Hurley ·
Helmut H. Kapczynski & Colleen Neff · Ken
& Karen Keller · Drs. Mary Kemeny & Paul
Feigenbaum · Jack & Birthe Kirsch · John
Kruse & Gary Beuschel · William & Adair
Langston · Mr. & Mrs. S. J. Lapporte  · Mr.
& Mrs. David Leonetti · Mary A. Mackey ·
Vonnie Madigan · Joan & Roger Mann ·
John E. Matthews · Nancy McCormick ·
John McGehee · Caryl & Peter Mezey ·
Jerry Mosher · Ron Nakayama · Markus
Niebanck · Claire Noonan & Peter
Landsberger · Robyn & David Owen  ·
Stephen E. Palmer · Richard Pearson & Jean
Hart · Lewis B. Perry, Jr. · Beth Polland ·
Paul Popenoe · Chuck & Kati Quibell · Paul
& Phyllis Robbins · Horacio Rodriguez · Rick
& Stephanie Rogers · Ronald & Karen Rose ·
Dorothy & George Saxe · Cynthia & William
Schaff · Mark Schoenrock & Claudia
Fenelon · Teddy & Bruce Schwab · Randee
& Joseph Seiger · Brenda Shank, MD PhD ·
Steve & Susan Shortell · Paul Silva · Dave
& Lori Simpson · Jerry & Dick Smallwood ·
Dr. Scott & Mrs. Alice So · Louis & Bonnie
Spiesberger · Robert & Naomi Stamper ·
Annie Stenzel · Rocky & Gretchen
Stone · Monroe W. Strickberger · Karen
Tiedemann & Geoff Piller · Tres Agaves ·
Emil Valkov  · Deborah & Bob Van
Nest · William van Dyk & Margi Sullivan ·
Jane Walker · Louise & Larry Walker ·
Mark Wasserman & Judy Freeman  ·
Dave Wedding Dress · Judith & Malcolm
Weintraub · Jonathan & Kiyo Weiss · Dr.
Ben & Mrs. Carolyn Werner · Fred Winslow
& Barbara Baratta · Margaret L. Wu · The
Glea G. Wylie Charitable Fund
Randolph · Naomi Brandes · Beverly
Braxton · Sandra Briggs · Mr. & Mrs. Rudy
Brooks · Alan Buder & Barbara Brenner ·
Jennifer Burroughs · Jack & Jenna Caldwell ·
Robert & Nancy Cappelloni · Dr. & Mrs.
Michael Cassidy · Shannon Chan · Robin &
Ryszard Chetkowski · Teresa Chuh · Greg
& Barbara Ciapponi · Carol & Orlo Clark ·
Mary Ann Cobb · Harold Cottman · Mr.
Philip Crawford · Joyce S. Cross · Arlene
Daniels · Nancy & Stewart Daniels · Debra
& Dennis Davis · Beth Dawson · Tiara Dela
Cruz · Patrick Delahunt · Toni Deser & Paul
Rodman · Laura Downing-Lee & Martin
Lee · Janet Eadie · Martha Eckert · Karen
Ellis · Caroline Erickson · Richard Fabian ·
Jean Ferrario · Mr. & Mrs. John Foran ·
Thomas P. Forde · Karen Frasier-Kolligs &
Walter Kolligs · Nancy K. Friedman · David
Fry · Carson Gaspar · Lorraine & Ronald
Gazzano · Deborah Gilman · Margie Glennon · Ken Goldenberg · William Goldstein ·
Martha Goodbar · Barry & Erica Goode ·
Erin Gore · Claudia Greif · Barrie & Peter
Grenell · John G. Guthrie · Randall Ham &
Linda Wilford · Marjorie Hamm & Angela
Bottum · Chuck & Susie Hanson · Scott
Harriman & Jeff Schwob · Broderick & Nell
Haskell · Robert & Bonnie Hester · Thomas
Hird · Nancy Hoeffer · Kathryn Hoffman ·
Marie F. Hogan & Douglas A. Lutgen ·
Wilma S. Horwitz · Veronica Hsieh · Jennifer Hughes & Doug Smith · Miriam J. Hull ·
Robert Hulteng · Geralyn Hurney · Russ
Irwin · Kevin Jackson · Ken Jaffee · Andrew
& Gerda Janos · Barbara Johnson · Janet L.
Johns · Michelle Johnston · Isabelle & Paul
Jullien · Kimberley Kahler · Amber Rose
Kaplan · Seymore Kaufman · Georgene &
Hayes Keeler · Joyce Keil · Paul & Joanne
Kelly · Pat & Chris Kenber · Ms. Josephine
Kennedy · Leslie Kern · Caroline Kim  ·
Kathleen Kirkish · Jeff Klingman & Deborah
Sedberry · Pearl Kolling · Larry Kudsk ·
David Kurko · Gail Kurtz · Casper & Nancy
Lambert · Dominique Lambert · Bill & Sally
Lampi · Melissa & Steve Lawton · Maureen
K. Lenahan · Nancy Levin · Shirley Lipman ·
Fred Lipschultz · Bruce & Myrna Lockey · 1st
Lt. Enid Macken · Kathryn MacLaury · Hugh
& Carol Maiocco · Isabel Manning Toms ·
Mr. Jason Marks & Ms. Pepi Ross · Susan &
Anthony Mathews · Sara May · Joyce McKinney · Ms. Dorothy McMichael · Douglas &
Mary McWilliams · Linda Mehren & Roger
Lambert · Elaine Mejia · Elizabeth Mellins ·
Christine Miller · Alexandra Moazeni · Margie Moffett · Mark Morales · Gary Moring ·
Mike & Sharon Morris · Barbara Mowry ·
Heidi Munzinger · Kes & Laura Narbutas ·
David Nefouse · Christina Nelson · Alana
O’Neal · Fran Packard · Patricia Padgett ·
Joe Palsa · Mary Patton · Mark & Tia Pierce ·
Dr. & Mrs. Myron Pollycove · Rich Price ·
Gayna Radtke · Dr. Diana Rebman · Mr.
& Mrs. Rudolph Reich · Glenn Reid · Dr.
William E. Rhea · William & Ray Riess · The
Rev. Dr. Bonnie Ring · Bettina Rosenberg ·
Valerie Ross · Louise Russell · Alan Saldich ·
Bonnie Sanders · Martin Sanders · Carol A.
Savary · Barbara & Jerry Schauffler · Pixie
Hayward Schickele · Carolyn Schubert ·
Jeffrey Schwartz & Marcie Burstiner ·
Ana & Stanley Scott · Cherie Scricca &
Carol Fiul · James L. Seeman · George
& Linda Sensabaugh · Vaughn Shields ·
Sol Simkin · John Simonds · Jonathan
Simpson · Barbara Slemmons · Betty &
Claudia Smelser · Robin & Brendan Smith ·
Kathleen Stafford · Gary Stewart · Dirk
Stigter · Tom Sugarman · Sally & William
Sutcliffe · La Vonne Taft · Holly Tigard ·
Nathaniel Torres · Marcia & David Vastine ·
Mary Waddington · Lynn Wainess · Dr. &
Mrs. R. Douglas Wayman · Jason Williams ·
Stephen Wong · Sylvia Wu  · Carolyn Yale
& Rock Bush · Louise Yokoi
Patrons
Anonymous (31) · Sharon Adams · Nathan
Addy · Daniel Alarcon · Eugene L. Albright ·
Mussa Al-Bulushi & Kathryn Horsley ·
Pamela Allen & Chris Millon · Beresford
Amoroso · Gretchen Anastasi · Elizabeth
Andersen · Susan Anderson · Mr. & Mrs.
Louis Armstrong-Dangles · Kris Atkins ·
Kathleen Babcock · William & Eleanor
Bade · Lisa Bailey · Michelle Baird · Greg
Baker · Jane Karren Baker · Michael W.
Baker · Glenn & Jeanne Ballard · Mary Jane
Barclay · Deborah Barnes · Kelley Barry ·
Eric Bauer · Lee & Patricia Baxter · Carolyn
Beasley · Louise Beattie · Susan Beneville ·
Sally Benjamin · Briana Benson · Audrey
Berger · Eileen Bermingham & Susan
Comstock · Sandra Bernard · Janet
Betcher · Richard Biederman · Orin
Bigman · Catherine Bissett · Susan Blank ·
Mrs. Bernice R. Block · John Borchers ·
Edward Botts · Peter & Jean Bradshaw ·
Diane & Jim Breivis · Barbara Brenner &
Alan Buder · Nancy Brito · William & Ellen
Broaders · Cathy Brown · Jacquelyn Brown ·
Melody Foster-Brown · Patricia Brown ·
Wendy Brown · Carol Brownstein · Susan
Brubaker · Denise Brumen · Susan Buechel ·
Georg Buechi · Barrie Bulmore · Sherida
Bush · Glynn Butterfield · Sharon Calkin ·
Alan Cannistraro · Jamie Carlson · David
Carter · Elena Caruthers · M.E. CastilloHansen · Alesha Cater · Douglas Chain ·
Victor Chan · Wilma Chan · Yu-Tai Ray Chen ·
Jan Chernoff · Sharon E. Chin · Laura
Christensen · Kenneth Chua · Civiane
Chung · Linda Chung · Marilyn Church ·
Barbara Cieslewicz · Trevor Claiborne ·
Rhonda Clark · Willy Clark & Julie Stewart ·
Barbara Clayton · Lynne Clenfield & Ellen
Pasternack · Brian Co · Debra S. Coggins ·
Andrea Cohen · Salvatore Compagno · Leslie
Connelly · Brett Conner · Carol Cook · Phil
Cook · Edith Cornelsen · Tom Counts ·
Christopher Coyle · Alison Crabtree ·
William Creighton · Susan Crittenden · John
Crowley · John & Mary Cumberpatch · Ron &
Kim Curry · Kathleen Dalessandro · Melissa
Damon · Mr. & Mrs. Stefan Dasho · Chuck
Davies · Hardy & Judi Dawainis · Emmanuel
Dean · George Demakas · Sharon Dickson ·
John Diller & Melissa Levine · Richard
Doust · James & Bernadette Dowgialo ·
Sarah Downs & Suman Ravuri · Glenice Dunbar · Steve Dunn · Johnny Dunnigan · Todd
Duplanty · Eric Dupuis · Patricia Durham ·
Chris Duval · Jennifer Easton · Carol Ekberg ·
Ann Elliot · Daisy Epstein · Susan Epstein ·
James Erb · Susan Evard · David Fankushen ·
Anna Lisa Fear · Kate Feeney · Ted Feldsher
& Sally McLaughlin · Adam Ferber · Laraine
Ferguson · Mary Beth Ferrari · Petra
Fibrichova · Linda Fink · Barbara Finney ·
Debra Fitzgerald · Jamie Flaherty-Evans ·
Patrick Flannery · Tim Flato & Mary
Robinson · Nathan Fleischer · Cheri
Forrester · Mary & Douglas Fraser · Terry
Friedkin · Jesse Fujikawa · Michael Gabel ·
Semyon Gambarin · Loretta D. Garcia · Anita
Garfagnoli · Rita Geraghty · Joseph
Gharrity · Jane Gill · May Lynne Gill · Rose
Ginsburg · Linda Goglio · Lia Goldman ·
Courtney Gonzales · Mike & Diane Gorman ·
Barbara Gorska · Christopher Gouin ·
William Graham · Edward Granger · Steve
Granholm · Marian Green · Elizabeth
Greenberg · Susan Greenwald · Susan
Gregory · Celeste Grennan · Michael &
Helen Gross · Wati Grossman · Stuart K.
Gustafson · Cheryl Guyer & Marty Kahn ·
Florence Haedt · Cynthia Hallett · Jeanne
Halpern · Stephen & Irene Halpern · Michael
Halton · Marjorie Hammer · Dawn
Hannafin · Eleanor Hansen · Kelly Hansen ·
Katie Harhen · Stephen Harrison · Tom
Hartzell · William Harvey · Gary Hayter &
Sandra Fox · Stephen Headley · Tim
Heidinger · Derek & Christina Heins · Gloria
Heinzl · David Heller · Mary Heller · Hans
Helley · Ilene Hellman · Dr. Robert R.
Herrick & Ms. Willma Zinser · Kieran
Hervold · Laurie Higashi · Ken Hoffman ·
Kristina Holland · Page & Joseph R. Holmes ·
Frances Hopson · Susan Hubbard · Ann
Humphrey · June Hunt · Edward Hunter ·
Ann Idzik · Tom Ihrig · Jacqui Inglis · Mary
Ireland · Helen & Irving Jarkovsky · Elizabeth
Jasny · Bobbie Jeffery · Monique Johnson ·
Ryan Johnson · Bob & Sylvia Jones · Armond
& Kathy Jordan · Diane Kallas · Eline
Kaufman · Ellen Kaufman & David Weiner ·
Lisa Kearns · John Keating · Louis Kent · Todd
Kerr · Monica Kibbe · Haeyuon Kim · Shelly
King · Tia Kinser · Max Kirkeberg · Curt
Kirschner · Margaret Klauber · Eva Klein ·
Rick Kleine & Julie McNamara · Karin &
Richard Kleiner · Mia Klett · Ed Klinenberg &
Anne McCune · Christopher Knudsen ·
Katherine Koelle · Barbara Kuklewicz · Kristi
Kupferman · Emily Lajoie · Winston & Elaine
Lambert · Susan Landau · Ann Mari Lande ·
Sandra Lawrie · Michael Leaver · Elaine Lee ·
Elaine Lee · Jacqueline Lee · Thomas Leffler ·
Carol Levenson · Debra Levin · Stephanie
Levin · Frances Liefert · Courtney Lillevand ·
Vicki Lin · Shirley Lincoln · Matthew Link ·
Phil Liston · Holly Lloyd · John Lobato ·
Eleanor G. Locke · Stephanie Lowe · Terence
Lupton · Anndretta Lyle · Elaine Macht · Pam
& Steve Mack · Ms. Dolores MacKinnon ·
Barbara Macnab · Jenny Maehara · Toni
Maines & Jed Somit · Aaron Mandel · Peter
Mansfield · Linda Marker · Audrey Martin ·
Maria J. Martinez · Jane Mason · Monica
Mayer · Carol McDermott · Margaret
McGuire · Donna McIlvaine · Mr. & Mrs. Joe
C. McKenzie · McLACHLAN · Mary-Alice
McNab · Cynthia Medina & Devin
Normington · Donald Medley & John
Morrison · Jody Meese & Bruce Roberts ·
Katherine A. Mello · Ann Metcalf · Colette
Meunier · Gwen Meyer · Mr. & Mrs. Walter
Meyers · Michelle Michelman · Joy Millman ·
Jay & Sarah Miyazaki · Joseph Mollick · Mary
Jean Moore · Leslie Morelli · Connie
Moreno · Cynthia Mosca & Deanna
Horvath · Lucie Moses · Alfredo & Stacey
Muccino · Lois Mueller · Norma Murphy ·
Ashley Nantell · Valerie Neale · Deborah
Nelson · Judith Norberg · Kenneth Noyes ·
Melissa O’Connor · Gene & Helen Oliver ·
Donna Olson · Richard A. Page · Zesse
Papanikolas · Joan Paulin & Owen Hackett ·
Robert & Audrey Pedrin · Pedro Perez ·
James Peterson · Jeffery Peterson · Paul
Peterzell · James Pine · Wendy Poinsot ·
Susan Pontious · Philip Porter · Sarah Shea
Potts · Mary Jo Powell · Mr. & Mrs. Merwyn
C. Powell · Reina Prado · Mark & Debra
Prinz-Delapaine · Brian Quigley · Elisheva
Rakity · Donald & Lore May Rasmussen ·
Martina Reaves · David Reinertson &
Katherine Louise Walker · Joan & Al Rendon ·
Elwood Reynolds & Sheila Campbell · Milton
Reynolds · Marie Rhein · Dorothy Rice ·
David Richardson · Kate Richardson · Mr. &
Mrs. Truitt A. Richey · Virginia N. Rigney ·
Susan Riis · W. Wayne Ritchie & R. Scott
Sullivan · Agnes Rogacsi · Michael Rolph ·
Billi Romain · Maria & Ron Romano · Ellen
Rosenfield · Fred & Dolores Rudow · Karen
Ruppanner · Elisabeth Russell · William &
Wilma Ryan · M. Ryce · Shelley Sandusky ·
Marie Sanner · Heather Saulnier · Barbara
Schakel · Lynn Schembari · Lisa Schen · Sarah
Scher · Mark Schilling · Betsy Schmidt ·
George Schmidt · Ann Schneider · Marcelle
Scholl · Erin Schultz · Bill & Janet Schumann ·
The Society welcomes the
following new members:
Rich & Robin Edwards
Richard & Lois Halliday
Richard Markell
Sharon Ott
Sustaining members:
Anonymous
Ken & Joni Avery
Nancy Axelrod
Carole B. Berg
Estate of Nelly Berteaux
Linda Brandenburger
Bruce Carlton & Richard G. McCall
Stephen K. Cassidy
Judy Schwartz & Rod Miller · William
Schwartz · Lori Schweitzer · Courtney Scott ·
Robert Scott · Karin Seid · Rob Seitelman ·
Paola Sensi-Isolani · Andrew Sessler · Manu
Seth · Geraldine Shanteau · Jacqueline Shea
Murphy · Lee Shilman · Derek Shockey · Jeff
& Mardi Sicular-Mertens · Michael & Marsha
Silberstein · Gwynn Simon · Jane Sinton ·
Linda Skare · Melody Skinner & Robert
Goldman · Beth Smerdon · Ellen Smith ·
William Lonon Smith · Donna Smith-Harrison & Samuel Harrison · Virginia Snyder ·
Karl Soehnlein · Kelly Solari · Jeanne
Solnordal · Thierry Sornasse · Janet Sovin ·
Ward & Deborah Spangler · Amy St.
George · Abigail Stavros · Joel Stevenson &
Joanna Stevenson · Mary Alice & Walt
Stevenson · Craig Stout · Jan Strother · Anne
Struck · Donald & Susan Swartz · Robert
Sykes · John Takeuchi · Eleanor Tandowsky ·
Avis Taylor · Clif & Jane Taylor · Siobhan &
Gail Taylor · Leslie Tenney · Claire Thomas ·
Patricia Thomas · Jean Thomson · Carol
Tougas · Pamela Tower · Cecilia A. Trost ·
David Trubitt · Tracy Trumbly · Philip &
Renate Tubman · Amber Valdez · Cinthia
Varkevisser · Paul Vartanian · Michel
Venghiattis & Dana Davidson · Faith
Ventrello · Parin Verjee · Carmen
Violich-Goodin · Stacy Voaovich · Martha
Wade · Reece Wagner · Nana Wallace ·
William Walraven · Adrienne Walters · Lori
Waltzer · Ruth Walz · Simone Wang · Joan
Waranoff · Michael Warburton · Dennis &
Maria Watt · Heather Webster · Donna &
Stewart Weinberg · John Weinstein · Lisa
Weitekamp · Cathy Welles-Morisky · Ann E.
Wharton · Cheryl White · Elizabeth Widup ·
Sherry Williams · Stuart Williams · Andre
Wilson & Robert Perry · John Wilson · Diane
& Josh Wirtschafter · Leon Wofsy · Sarah
Wolssen · Alex Womack · Sophia Wood ·
Thomas B. Worth · Jeffrey Wozniak · Linda
Yamane · Joyce Yokomizo · Gregg Yonekura ·
Marilyn Zatz · Nathan & Naomi Zipkin
Estate of Nancy Croley
Andrew Daly & Jody Taylor
William Espey & Margaret Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Dr. Harvey & Deana Freedman
Marjorie Ginsburg & Howard Slyter
Mary & Nicholas Graves
Linda & Bob Harris
Fred Hartwick
Hoskins/Frame Family Trust
Zandra Faye LeDuff
Estate of John E. & Helen A. Manning
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez & Peter Sloss
Suzanne & Charles McCulloch
Susan Medak & Greg Murphy
Toni Mester
Amy Pearl Parodi
Margaret Phillips
Estate of Margaret Purvine
Marjorie Randolph
Betty & Jack Schafer
Michael & Sue Steinberg
Karen Stevenson
Dr. Douglas & Anne Stewart
Jean Strunsky
Phillip & Melody Trapp
Dorothy Walker
Grace Williams
Karen & Henry Work
Martin & Margaret Zankel
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. Donors listed as of August 2010.
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 4 1
Named funds
Dale Elliot Fund
Bret C. Harte Young Directors Fund
Jan & Howard Oringer Outreach Coordinator Position
The Bernard Osher Foundation New Play Development Program
Peter F. Sloss Dramaturgy & Literary Fund
The Strauch Kulhanjian Artistic Innovation Fund
We acknowledge the following donors for their
generous support of the 40th Anniversary Campaign:
Inve s to r s circle
Anonymous
Wayne Jordan & Quinn Delaney
The Bernard Osher Foundation
The Strauch Kulhanjian Family
s e a so n pro d uce r s Circle
Doris Duke Charitable Foundation
Ira & Leonore Gershwin Philanthropic Fund
Marjorie Randolph
Jean & Michael Strunsky
pro d u ce r s Circle
Anonymous
S.D. Bechtel, Jr. Foundation
David & Vicki Cox
Walter & Elise Haas Fund
Rick Hoskins & Lynne Frame
The James Irvine Foundation
John & Helen Meyer
Jan & Howard Oringer
Joan Sarnat & David Hoffman
Betty & Jack Schafer
Felicia Woytak & Steve Rasmussen
Martin & Margaret Zankel
a sso ciate pro d uce r s Circle
Shelley & Jonathan Bagg
Becky & Jeff Bleich
Thalia Dorwick
Robin & Rich Edwards
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson
Mary & Nicholas Graves
The Hearst Foundation, Inc.
William & Flora Hewlett Foundation
Koret Foundation
Sarah McArthur & Michael LeValley
Sandra & Ross McCandless
Andrew W. Mellon Foundation
Dugan Moore
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Richard A. Rubin & H. Marcia Smolens
Cynthia & William Schaff
Michael & Sue Steinberg
The Harold & Mimi Steinberg Charitable Trust
Guy Tiphane
Wayne & Gladys Valley Foundation
presid e nt s Circle
American Express Philanthropic Foundation
Ken & Joni Avery
Kimo Campbell
Jennifer Chaiken & Sam Hamilton
William Espey & Margaret Hart Edwards
David & Vicki Fleishhacker in memory of Peter Sloss
Scott & Sherry Haber
Julie Matlof Kennedy & Patrick Kennedy
Wanda Kownacki
Carole & Ted Krumland
Dixon Long
David & Connie Lowe
Dale & Don Marshall
Eddie & Amy Orton
Beth & David Sawi
direc tor s Circle
Rena Bransten
John & Carol Field
Susan Medak & Greg Murphy
Len & Barbara Rand
Stephen & Cindy Snow
The Tournesol Project
Arne & Gail Wagner
Woodlawn Foundation
pl ay wrig ht s circle
Anonymous (2)
Stephen K. Cassidy
Mel & Hella Cheitlin
East Bay Community Foundation
Kristina Flanagan
Tom Hanks & Rita Wilson
Bob & Linda Harris
Roger & Silvija Hoag
Patrick & Holly O’Dea
Patricia Sakai & Richard Shapiro
Kae Skeels
Douglas Tilden
Wells Fargo Foundation
We thank these additional donors for their
support of the 40th Anniversary Campaign:
Anonymous (3)
Pat Angell in memory of Gene Angell
Susan & Barry Baskin
Alvin Baum
Harry & Suzie Blount
Lynne Carmichael
Kristin Carpenter
In memory of Julie Evelyn Chandler
Susan Chamberlin
Harry & Susan Dennis
Alex Edwards
Entrekin Foundation
Cynthia A Farner
Steven, Jill, & Kevin Fugaro
Mary Hamilton
Earl & Bonnie Hamlin
Harlan & Joanne Heydon
Deborah & David Kirshman
Jack Klingelhofer
Lynn Eve Komaromi
Zandra Faye LeDuff
Nancy & George Leitmann
Ellen & Barry Levine
George I. Lythcott, III
Neil & Leah Mac Neil
Helen Marcus & David Williamson
Miles & Mary Ellen McKey
Ron Nakayama
Barbara & Pier Oddone
Judith & Richard Oken
Regina Phelps
Aaron Phillips
James & Maxine Risley
Barbara & Richard Rosenberg
Sarlo Foundation of the Jewish Community
Endowment Fund, in honor of Rebecca Martinez
Dr. & Mrs. Philip D. Schild
Sherry & David Smith
Theresa Nelson & Bernard Smits
Mr. Leon Van Steen
Dave Wedding Dress
Julie M. Weinstein
Alexis Wong
To learn more about the 40th Anniversary Campaign, contact Lynn Eve Komaromi,
Director of Development, at 510 647-2903 or lynneve@berkeleyrep.org.
42 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
Koret Foundation:
The Impact of
Strategic Philanthropy
Over $525 million invested in the communities we serve
www.koretfoundation.org
About Berkeley Rep
S taff and affiliations
Artistic Director
Tony Taccone
Managing Director
Susan Medak
General Manager
Karen Racanelli
artis tic
Associate Artistic Director
Les Waters
Artistic Associate
& Casting Director
Amy Potozkin
Literary Manager/Dramaturg
Madeleine Oldham
cos tum es
Costume Shop Director
Maggi Yule
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Katrena Jackson
Assistant House Managers
Cayley Carroll
Octavia Driscoll
Aleta George
Abigail Hanson
Kiki Poe
Concessionaires
Michelle R. Baron
Alex Friedman
Emily Hartman
Kimberly Jew
Zoe Kalionzes
Devon LaBelle
Ellen G. Maloney
Kat Wepler
Usher Coordinators
Nelson & Marilyn Goodman
Artists under Commission
David Adjmi
Glen Berger
Marcus Gardley
Jordan Harrison
Dan LeFranc
Tarell McCraney
Rita Moreno
Dominic Orlando
Dael Orlandersmith
Stew/Heidi Rodewald
pro d uc tio n
Production Manager
Tom Pearl
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Megan Wygant
s tag e m anag e m e nt
Production Stage Manager
Michael Suenkel
Stage Managers
Cynthia Cahill
Karen Szpaller
Kimberly Mark Webb
Production Assistants
Megan McClintock
Leslie M. Radin
s tag e o pe r atio n s
Stage Supervisor
Julia Englehorn
pro pe rtie s
Properties Manager
ashley dawn
Assistant Properties Managers
Gretta Grazier
Jillian A. Green
sce n e s h o p
Technical Director
Jim Smith
Associate Technical Director
Ryan O’Steen
Shop Foreman
Sam McKnight
Master Carpenter
Colin Babcock
Carpenter
Stephanie Shipman
sce nic art
Charge Scenic Artist
Lisa Lázár
elec tric s
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
soun d
Sound Supervisor
James Ballen
adminis tr atio n
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director
Meghan Pressman
Executive Assistant
Andrew Susskind
Bookkeeper
Kristin Cato
Human Resources Manager
David Lorenc
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
Managing Director Fellow
Kate Liberman
d e velo pm e nt
Director of Development
Lynn Eve Komaromi
Associate Director of
Development
Daria Hepps
Special Events Manager
Margo Chilless
Individual Giving Manager
Laura Fichtenberg
Institutional Grants Manager
Amanda Margulies
Development Database
Coordinator
Jane Voytek
Development Associate
Sarah Nowicki
patro n s e rvices
Patron Services Manager
4 4 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
box o ffice
Ticket Services Director
Christine Bond
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
D. Mark Blank
Crystal Chen
Christina Cone
Leah Kaplan
Tom Toro
Michael Woo
m arke ting &
com munic atio n s
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations /
Associate Director of
Marketing & Communications
Terence Keane
Art Director
Cheshire Isaacs
Audience Development &
Events Manager
Cari Turley
Communications Manager
Chad Jones
Marketing Manager &
Multimedia Producer
Pauline Luppert
Webmaster
Christina Cone
Program Advertising
Ellen Felker
o pe r atio n s
Facilities Director
Emiel Koehler
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Kevin Barry
Brittney Hooper
Lamont Rodriguez
Lauren Shorofsky
b e rkele y re p
sch o ol o f the atre
Associate General Manager &
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
Emika Abe
sch o ol o f the atre
facult y
Aleph Ayin
Jeffrey Bihr
Erica Blue
Jon Burnett
Rebecca Castelli
Paul Cello
Deborah Eubanks
Rachel Fink
Nancy Gold
Gary Graves
Marvin Greene
Ben Johnson
Devon LaBelle
Dave Maier
Marilet Martinez
Ryan O’Donnell
Timothy Orr
Robert Parsons
Christopher Peak
Harold Pierce
Lisa Anne Porter
Diane Rachel
Rebecca Stockley
James Wagner
Eric Wright (The Puppet Kitchen)
D O CENTS
Docent Committee
Thalia Dorwick, chair
Charlotte Martinelli, co-chair
Docents
Sally Brook
Sandy Curtis
Joy Lancaster
Selma Meyerowitz
Sharon Notebloom
Arlene Robertson
Andrew Susskind
Barry Walter
20 0 9 –10 B e rke le y Re p
Fellows hip s
Bret C. Harte Directing Fellow
Jennifer Wills
Company/Theatre
Management Fellow
Champagne Hughes
Costume Fellow
Amy Bobeda
Development Fellow
Wendi Gross
Education Fellows
Candice Renee McDowell?
Allison Whorton
Graphic Design Fellow
Samantha Budd
Lighting / Electrics Fellow
Daniela Becerra
Marketing &
Communications Fellow
Kate Vangeloff
Peter F. Sloss Literary/
Dramaturgy Fellow
Rachel Steinberg
Production Management Fellow
Krys Ritchie
Properties Fellow
Jamaica Montgomery-Glenn
Scenic Art Fellow
Margot Leonard
Scene Shop Fellow
Lindsay Cramond
Sound Fellow
Leandro Marques
Stage Management Fellow
Amanda Warner
Affiliations
The director and choreographer are
members of the Society of Stage Directors
and Choreographers, Inc., an independent
national labor union. The Scenic, Costume,
Lighting, and Sound Designers in lort
Theatres are represented by United Scenic
Artists Local usa-829, iatse.
Board of TRustees
Marjorie Randolph
Board Memb er s
President
Bill Falik
Vice President
Sandra R. McCandless
Vice President
David Cox
Tre a surer
Scott Haber
Secretary
Kerry Francis
Chair , Trus tees Com mit tee
Peter Pervere
Chair , Audit com mit tee
Richard A. Rubin
President Emeritus
Pa s t President s
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Rick Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
Thalia Dorwick, PhD
Oz Erickson
William T. Espey
David Fleishhacker
David Hoffman
Wayne Jordan
Julie Matlof Kennedy
Carole S. Krumland
Susan Medak
Helen Meyer
Mary Ann Peoples
Len Rand
Patricia Sakai
Jack Schafer
Emily Shanks
Sally Smith
Roger Strauch
Jean Strunsky
Tony Taccone
Felicia Woytak
Sus taining advisor s
Carole B. Berg
Rena Bransten
Stephen Cassidy
Diana Cohen
Nicholas Graves
Rick Hoskins
Dugan Moore
Pat Rougeau
Richard Shapiro
Michael Steinberg
Michael Strunsky
Philip Trapp
Martin Zankel
Founding Director Michael W. Leibert
Bri 0
2 0 1 0 – 1 1 · number 1 · t h e b e r k e le y r e p m ag a z i n e · 45
F YI
Latecomers
Latecomers will be seated at the discretion of the house manager.
Theatre –
On The Square
Visit our website!
Theatre info
Click 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. Infrared listening devices are available at no
charge in both theatre lobbies. Audio descriptions
are available in the box office; please request these
materials at least two days in advance.
Request information
To request mailings or change your address,
write to Berkeley Rep, 2025 Addison Street,
Berkeley, CA 94704; call 510 647‑2949; email
patron@berkeleyrep.org; or click
berkeleyrep.org/joinourlist. If you use
Hotmail, Yahoo, or other online email
accounts, please authorize berkeleyrep@
berkeleyrep.pmail.us.
Tickets/box office
Larkspur Hotels & Restaurants
offers unique hospitality and
urban excitement in the heart of
San Francisco’s theatre district.
Enjoy a night on the town – dine
at our very own Kuleto’s or
Bar Norcini, see one of many nearby
shows, and then stay comfortably
at one of our three hotels – just
steps from Union Square.
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949 · toll-free: 888 4-brt-tix
Click berkeleyrep.org anytime
Fax: 510 647-2975
Groups (10+) call 510 647-2918
2010/11 ticket prices
date/ tim e
previews
tue 8 pm , wed 7pm ,
thu 2pm*, sat 2pm
thu 8 pm , sun 2 & 7pm
fri 8 pm
sat 8 pm
prem
a
$43 $38
54 46
59
65
73
53
59
65
b
$29
34
39
47
54
*No Thursday matinees for Limited Engagement shows
For reservations at any of our three
Union Square hotels –
call 866.823.4669 or visit us at
LarkspurHotels.com
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Student matinee
Tickets are just $10 each. Call the Berkeley
Rep School of Theatre at 510 647-2972.
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.
Sorry, we can’t give refunds or offer
retroactive discounts.
Theatre maps
LAR 072909 theatre 1_3v.pdf
4 6 · t h e b e r k e le y r e p m ag a z i n e · 2 0 1 0 – 1 1 · number 1
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.
Educators
Bring Berkeley Rep to your school! Call the School
of Theatre at 510 647-2972 for information about
free and low-cost workshops for elementary, middle,
and high schools. Call Elissa Dunn at 510 6472918 for $10 student-matinee tickets. Call the box
office at 510 647-2949 for information on discount
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 and our kiosk in the Thrust Stage lobby.
Considerations
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 seven
Many Berkeley Rep productions are unsuitable
for young children. Please inquire before bringing
children to the Theatre.
COME VISIT OUR NEW
SAN FRANCISCO SHOWROOM!
Located in the Sobel Design Building
680 8th Street, Suite 163
T 415 626 2622
My life here
Bette Ferguson, joined in 2006
Vibrant People
FLEXIBLE
Plans.
The people who live here are well-traveled, well-educated, and engaged with life. The Life Care and
Continuing Care options offer you choices that fit your lifestyle. We’re also located in the thriving and
historic Lakeshore District with restaurants, the arts, and the energizing ambiance of metro living. You’ve
got it all. And exactly what you expect from the East Bay’s most complete senior living community.
For your personal visit, please call Adrienne Kohler and Lucy Jackson at 510.891.8542.
stpaulstowers-esc.org
A fully accredited, non-denominational, not-for-profit community owned and operated by Episcopal Senior Communities Lic. No. 011400627 COA #92 EPSP570-01 090110