Disgraced at Berkeley Rep-Encore Arts San Francisco

Transcription

An interview with Director Daniel Sullivan 16 · A primer on medieval Scottish royalty 18 · The program for Macbeth 25
THE BERKELEY REP M AGA ZINE
2 015 –16 · I S S U E 5
“City National helps keep
my financial life in tune.”
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I N T H I S I S SU E
M E E T T H E C A ST & C R E W · 26
BE R K E L E Y R E P P R E S E N T S MAC B ETH · 2 5
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 41
A letter from the managing director · 7
Individual donors to the Annual Fund · 42
Michael Leibert Society · 44
R E P ORT
13
Teacher talk · 11
A BOU T BE R K E L E Y R E P
Investing in a legacy of joy and bravery · 13
Staff, board of trustees,
and sustaining advisors · 45
F E AT U R E S
The bloody smoking sword: An interview with
Director Daniel Sullivan · 16
Hail to Thee, Thane of Cawdor! A primer on
medieval Scottish royalty · 18
16
FYI
Everything you need to know about our
box office, seating policies, and more · 46
The gadfly: Meet Macbeth Dramaturg
Barry Kraft · 20
Pleasing a new monarch with a new play · 22
22
T H E B E R K E L E Y R E P M AG A Z I N E
201 5–16 · I S S U E 5
The Berkeley Rep Magazine is published
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For local advertising inquiries, please
contact Ellen Felker at 510 548-0725 or
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2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3
P ROL OG U E
from the Artistic Director
no place for sissies.”
Neither is Macbeth.
Shakespeare’s play about a man who murders his way
to the throne and then careens toward madness is at once a
thinly veiled parable about the court of James I and a violent
meditation on conscience. With every ensuing murder
Macbeth’s mind erodes, his spirit is corrupted, his heart destroyed. Lady Macbeth, exhorting her conflicted husband to
seize the bloody time, falls victim to her own hallucinations
and is finally swallowed by darkness. All the while, the world is slipping off its axis:
witches utter odd prophecies as the invisible forces of nature become visibly unnatural, a reflection of the chaos created by human beings bent on slaughter. This is a play
with few surprises, a lot of blood, and no hint of a happy ending.
But, of course, being a play by Mr. William Shakespeare, the text is replete with
spectacular poetry, relentless theatricality, and enough humanity to make us keep
watching. Like a great haunted house, we want to see what’s in every room, to take
a peek at characters eating through their lives as they wrestle with greed, loyalty,
power, sacrifice, and, yes, love.
To conjure such a theatrically dark universe you need artists with tremendous
talent, rigorous craft, and unflinching spirit. Happily, we have assembled such a
group. Dan Sullivan is one of our great directors, having done almost every play in
the canon multiple times. He is flanked by the incomparable duo of Conleth Hill and
Frances McDormand, who have graced our lives on the big screen in countless unforgettable performances, but who grace our stage for the first time. Together they lead
a small army of superb designers and actors into the forbidden landscape of Macbeth.
They aim to take no prisoners.
For our part, we can only hope that any and all parallels to the modern world are
not irrevocable, and that our desire to move civilization out of our present darkness
and into the light…may yet win the day.
Sincerely,
Proud to
Support
Berkeley Rep
Personal attention
thoughtful litigation
Tony Taccone
final resolution
Our goal is to preserve our
client’s dignity and humanity.
L A W
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F A M I LY
Bette Davis famously said,
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Volume 48, No. 5
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P ROL OG U E
from the Managing Director
It’s been quite a season already, and we
still have two shows to go. From Amélie to The Hypocrites’
Pirates of Penzance and Ayad Akhtar’s Disgraced, followed by
Julia Cho’s Aubergine, we’ve done our absolute best to take
you on a roller coaster ride of fine theatre—from the sublime
to the ridiculous, from the refined to the raw, from irresistible
love to unbridled wrath, and from propulsive enthusiasm
to quiet contemplation. Now we bring you one of the great
plays of the western canon, in a production that features the
talents of a remarkable ensemble.
We’ve been very proud of these productions, and you, our audience, have told us
that you are more than satisfied. One of the best gifts I was given over the holidays
was the call from an audience member who had just seen Disgraced and was moved
enough to leave a message with her intense response to the show. She was still thinking about the play after having left the theatre, and it had resonated with her at her
very core. This wasn’t the only call or message of thanks, and I count myself as a very
lucky person to be the beneficiary of those calls.
Though we’re looking forward to Mary Zimmerman’s Treasure Island and Sarah
Ruhl’s For Peter Pan on her 70th birthday, we’ll be announcing—at the beginning
of March—some of the shows that will comprise our 2016–17 season. If you’re a
subscriber, you’ll be receiving your renewal packets in the mail so you can sign up for
another exhilarating season of plays. Don’t put it off!
We do our best to reward our subscribers’ loyalty with flexibility and affordability.
We’ve had to turn away folks from sold-out performances this season, but subscribers could rest assured they wouldn’t be left out. And, of course, they enjoy the
best prices.
In recent years, it has been heartening to see the growth of our under-30
subscription base, and we’ve even seen growth in attendance among those young
couples who are so busily juggling careers and their new families. It is a delight to be
the “date night” for couples in search of an adult night away from the kids!
So, in March check your mailbox, your inbox, or Berkeley Rep’s website to discover several shows in our 2016–17 season. Subscribers, renew and guarantee that you
will enjoy a program that we expect will be as appealing as what you’ve already seen
this year. (We also welcome new subscribers, of course!) Commit to date night with
your loved one, family night with more of your loved ones, theatre nights with those
friends with whom you’ve been wanting to spend more time, or even a night of quiet
reflection by yourself.
Either way, don’t miss out. Join us for next season’s adventure.
Warmly,
Susan Medak
PROUD PARTNER
What’s Berkeley Rep have in store next season?
STAY TUNED FOR OUR
2016–17 SEASON ANNOUNCEMENT!
Featuring the return of your FAVORITE WHIMSICAL ARTISTS,
EYE-OPENING and MIND-EXPANDING world premieres,
and the latest SMASH HITS.
Join us for another season of
EXHILARATING, ADVENTUROUS, ENTERTAINING, and PROVOCATIVE shows.
SUBSCRIBE AND SAVE over single ticket prices
(subscribers saved up to 47% on Macbeth tickets),
plus get free rescheduling and other valuable perks!
COMING IN MARCH —get the scoop at BERKELEYREP.ORG.
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Tables
Silver $7,500
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Julie Cervetto at 510 647-2909
or [email protected]
make your reservation and
receive your secret password
berkeleyrep.org/speakeasy
R E P ORT
Teacher talk
BY KASHARA ROBINSON
At Berkeley Rep’s
School of Theatre, the mission of
fostering students’ creative and artistic
potential relies heavily on the
staff of nearly 100 professional
teachers and teaching artists who lead
classes, workshops, and programs for
students of all ages ranging from Gen Z
to Baby Boomers.
Three teachers from the School’s
roster—Rebecca Castelli, Julian
López-Morillas, and Bobby August,
Jr.—give insight into their experience
teaching and how it has informed their
work as educators, performers, and
students themselves.
What is the benefit of continued
training for artists?
Rebecca: I strongly believe that
there is always more to learn and that
you can learn different things from
“...however
accomplished you
are, you can always
broaden your horizon
or deepen your
understanding.”
— J U L I A N LÓPE ZMOR IL L A S
different teachers. I also believe that
wherever you are in your life will affect
where you are in your art. By continuing
to train, an artist might come upon the
same concept that they encountered
a few years ago, but find that they
interact with the concept in a new and
deeper way.
Julian: I was surprised last year to
have a very accomplished and successful actor ask to audit my Shakespeare
class. He was obviously miles ahead of
everyone else in the group in technique
and experience, but he went through
the basic approach to verse that I
teach along with everybody else, asked
questions, and worked on his text with
humility and intelligence. He reminded
me that however accomplished you are,
you can always broaden your horizon or
deepen your understanding.
What have you learned about yourself
through teaching?
Rebecca: I have learned so much by
helping my students deal with fear. It
becomes very clear to me how detrimental fear is in the mind of an artist,
and it reminds me to be mindful of the
presence of fear in my own work. Fear
pretty much stops us in our tracks.
Teaching has also taught me how to
be more present in the room, and that
while it’s always good to have a plan,
you had better be ready to scrap it and
do something completely different
based upon the needs of the people in
the room.
Have you found other ways of sharing
your knowledge outside of the traditional classroom?
Bobby: I’ve taught workshops and
team building for many organizations
CO N TIN U E D O N N E X T PAG E
2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1
CO N TIN U E D FRO M PR E VI O U S PAG E
outside the classroom. More companies
seem to be realizing the importance of
communication and creativity in the
workplace. Theatre artists excel with
inspiration and collaboration, and the
tools we work with—being present,
listening, taking chances, making your
partner look good—are applicable in all
facets of life.
Rebecca: Beyond my classroom
work, I dialect coach for individual
actors as well as theatrical productions.
I have also taught seminars for court
interpreters, both on vocal health and
accent reduction.
Julian: Recently I’ve written reader’s
notes from an actor/director perspective on A Midsummer Night’s Dream,
Romeo and Juliet, and Macbeth for the
Shakespeare Pro app. The app affords
access to the complete works, the First
Folio editions, a Shakespeare biography,
glossary, and tools for study.
What’s an example of a
breakthrough you’ve witnessed
a student experience?
Rebecca: One of my favorite stories
of a student’s growth didn’t happen
in one moment, or one semester, but
rather over several years. The student
joined my program in fifth grade, and
was extremely shy and hesitant about
performing. I had to push this student
to participate, and at times I questioned
both my effectiveness as a teacher and
also why the student was in the class,
“Her work on
the piece was
breathtakingly
honest and
compelling to watch,
and the whole class
was blown away.”
— R E BECC A C A ST E L L I
as it seemed to make her so miserable!
The student kept returning, though, and
finally enrolled in the School’s Summer
Theatre Intensive. We were doing compositions with Chekhov monologues,
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and of course, this student was last to
go. I didn’t expect much, honestly, but
was just happy that she agreed to get
up and perform in front of the others.
Surprise! Her work on the piece was
breathtakingly honest and compelling
to watch, and the whole class was
blown away. It seemed to me like she
had been watching and taking in all
these theatrical concepts, and she was
finally ready to use them.
In your own training, what was your
favorite class?
Julian: At Carnegie-Mellon, where
I studied directing, the best and most
useful directing class I ever had was a
costume history class. You can never
predict what training is going to emerge
as important!
Rebecca: I take improvisation
classes at the School of Theatre, and
I’ve learned so much from the teacher
about being in the moment, embracing mistakes, and being a generous
scene partner. She is very present as
a teacher—very honest and real with
her students. I strive for that kind of
mindfulness in my own teaching.
At the end of each class session, what
do you hope the students will walk
away with?
Julian: I always hope I’ve given my
students a set of tools that they can
employ to get through to the meaning,
dynamic and effective delivery of any
Shakespeare text, and to appreciate the
complexity and vividness of the characters that he created.
Rebecca: At the end of each session, I hope that students walk away
with a little more confidence in themselves and in their ability to
create theatre.
Bobby: Theatre has changed my life
for the better in so many ways. I hope
my students are able to see how the
tools we utilize in class can positively
influence their lives—both on and off
the stage.
Study with these teachers
and others this spring!
Register today for youth, teen,
and adult classes beginning
April 4.
berkeleyrep.org/classes
Paul and Julie Harkness, Michael Leibert Society members
R E P ORT
Investing in a legacy of joy and bravery
BY EMMA NICHOLLS
Julie and Paul Harkness, Michael Leibert
Society members, Berkeley Rep subscribers for a combined 48
years, and 49ers/Giants fans, share their thoughts with Executive Assistant Emma Nicholls on performance, arts education,
and expanding horizons.
How did you first get involved with theatre?
Julie: In the ’60s, the Presidio had a little theatre on their
base that they supported. They were doing Marat/Sade and
they needed a large cast. I had eight lines and with my tiny,
crazy bit I won a local Best Actress award.
Paul: In my major debut, I also had eight lines! I started
at Cal State East Bay as a technical theatre major. One day
there was a shortage of actors and I was the only one who
would do it. The play bombed, but the invisible hand of the
dramatic arts pulled me in. The discipline of the theatre gave
my life some structure.
You two have been teaching acting to homeschooled
children for the last five years. What do you think theatre
offers young people?
Paul: Theatre is a great tool for self-confidence. Their humanity is expanded by their experience in the theatre.
What does Berkeley Rep provide for audiences?
Julie: It can open people’s minds to new ideas and to
current problems.
Paul: Theatre allows us to open up to world issues. It’s like
what Shakespeare said about holding up a mirror to nature.
You want to call yourself a human? Well, this is what you look
like at your best, this is what you look like at your worst.
“Theatre allows us to open up to
world issues.” —PAU L H A R K N E S S
What Berkeley Rep play has had the greatest impact on
opening your mind to new ideas?
Julie: Disgraced. It was just so relevant to how people are
dealing with all of their feelings and their fears.
Paul: In a way, it takes courage to be a Berkeley Rep
subscriber. You have to confront your values and your belief
systems. American Buffalo blew me out of the water. Berkeley
Rep picks plays that open your consciousness to world conflict—not just regional or national.
CO N TIN U E D O N N E X T PAG E
CO N TIN U E D FRO M PR E VI O U S PAG E
music
dance
theater
Cal Performances
U N I V E R S I T Y
O F
C A L I F O R N I A ,
2015/16
S E A S O N
B E R K E L E Y
Alvin Ailey
American Dance Theater
Robert Battle, Artistic Director
Masazumi Chaya, Associate Artistic Director
You are planning to divide the
majority of your estate amongst
four theatres. What draws you to
these companies?
Julie: These theatres have given
so much to us in our enjoyment and
personal growth and have brought us
together with friends. We like Shakespeare in particular, and all the productions that can give you clearer insight,
even if you have known the play for 40
years. It’s exciting to come away saying,
“Wow! I had never seen that before!”
Paul: They are top-drawer theatres.
It’s like going to school—it keeps in
focus everything we know about acting,
directing, and what a play can be. It adds
to the whole history of our experience
in the theatre.
“‘What has given us
the most joy in our
life together?’ And
it just had to be our
theatres.”
Featuring four Bay Area
premieres, including two by
Robert Battle, plus Revelations
and other audience favorites.
March 29–April 3
Z E L L E R B A C H H AL L
Corporate Sponsor: Mechanics Bank
—J U L IE H A R K N E S S
Billy Collins and
Aimee Mann
Why did you decide to put theatres in
your will at all?
Julie: We just had to sit down finally
and talk about the future. I just said
“What has given us the most joy in
our life together?” And it just had to
be our theatres.
Paul: Our children are our theatre
companies. That’s who we watched
grow up, that’s who we nourish and
send to college, it’s who we support. It
wasn’t hard to take the extra step.
Former U.S. Poet Laureate
Billy Collins and Indie rock
singer-songwriter Aimee
Mann come together for a rare
evening of poetry, acoustic
music, and conversation about
the creative process.
April 24
Z E L L E R B A C H H AL L
Edgar Oliver
Helen and Edgar
A hilarious and heartbreaking
story of a strange childhood
in Savannah, Georgia, told
by the celebrated raconteur
Edgar Oliver
May 5–8
Z E L L E R B A C H P LAYHOUSE
calperformances.org
510.642.9988
Season
Sponsor:
To learn more about how
to make great theatre your
legacy, visit berkeleyrep.org/
support/mls
Oscar de la Renta
THE RETROSPECTIVE
M A R 1 2 – M AY 3 0 , 2 0 16
Oscar de la Renta’s designs celebrated the best in us— beauty, optimism, and confidence.
See more than 130 ensembles in the first major retrospective to pay tribute to one of the
most beloved and influential fashion icons of our time.
HERBST EXHIBITION GALLERIES
This exhibition is organized by the Fine Arts Museums of San Francisco with the collaboration of Oscar de la Renta LLC. Presenting
Sponsors: Cynthia Fry Gunn and John A. Gunn. Director’s Circle: Diane B. Wilsey. Curator’s Circle: Lisa and Douglas Goldman Fund,
The Diana Dollar Knowles Foundation, Marissa Mayer and Zachary Bogue, and Carl and Yurie Pascarella. Benefactor’s Circle: Paula
and Bandel Carano, Stephanie and Jim Marver, Neiman Marcus, and Jennifer and Steven Walske. Patron’s Circle: Mrs. Carole McNeil
and Mr. and Mrs. Joseph O. Tobin II. Additional support is provided by Mrs. George Hopper Fitch, and Mr. and Mrs. William Hamilton.
Photo: Steven Meisel / Art + Commerce
The bloody smoking sword:
An interview with Director
Daniel Sullivan
BY SARAH ROSE LEONARD
Daniel Sullivan is one of America’s
most consummate Shakespearean directors. In the past decade he has directed The Merry Wives of Windsor, A Midsummer
Night’s Dream, All’s Well That Ends Well, Julius Caesar, Twelfth
Night, As You Like It, The Comedy of Errors, King Lear, and Cymbeline at the Public Theater’s Delacorte Theater in Central Park,
and notably transferred his park production of The Merchant of
Venice to Broadway in 2010. Sullivan was raised in San Francisco, attended San Francisco State, briefly moved to New York in
his 20s, and then found his way to Seattle Repertory Theatre,
where he was the artistic director from 1981 to 1997. In the late
1990s he made a permanent move to New York, where he has
since worked steadily directing classical work and esteemed
new plays on and off Broadway. This production is Sullivan’s
first time staging Macbeth, one of Shakespeare’s most famous
works. Before rehearsals Literary Manager Sarah Rose Leonard
spoke with Dan about the themes of ambition, fear, and madness in the legendarily murderous drama.
Sarah Rose Leonard: Why did you want to direct Macbeth
at this point in your career?
Daniel Sullivan: I have seen three or four productions in
the last 10 years or so, and I just began to see the play as more
interesting than I previously thought it was. Macbeth’s constant questioning of what he’s doing, and that very human
flaw of ambition, is something we can all identify with. Ambition draws us; it can become terribly hypnotic and can make
us bad. If you make that first step, as Macbeth does, the
whole play then is basically consequence. I think that’s
dramatically interesting.
Other murderous figures in Shakespeare don’t question
their actions—they actually take joy in them, and that’s not
something that Macbeth does. He’s simply trying to fix the
thing that he’s already put in motion, and it continues to go
awry for him. More than anything, there’s a consciousness to
him. As he says, “I have no spur to prick the sides of my intent,
but only vaulting ambition, which o’erleaps itself....” But the
fact is that he still goes forward…in fact, there’s no returning
from what he’s done, and I think he knows that.
What do we know about the Macbeths’ relationship to
violence before their first murder?
It’s interesting that our introduction to Macbeth is hearing
about how he beheaded his rival and stuck his head on a pike.
And the very next thing is Lady Macbeth hearing the news
and saying he’s got too much of the milk of human kindness.
I think we have to understand that this was simply part of the
conventions of war—Shakespeare is just trying to say that he
was a good soldier. Even in Shakespeare’s time, bodies were
...it’s the thing that she’s unleashed,
who in some way she doesn’t
recognize anymore...
drawn and quartered in the town square and hung there for
days. So it’s not as though our terror at the idea of beheading
was shared by the Elizabethan audience. Her talking about
him having the milk of human kindness is, I think, more about
what we hear later when he tries to back out of what they have
decided to do.
It’s interesting that the scene where he decides to go forward with the murder isn’t in the play—you don’t really know
if the murder plot comes from Lady Macbeth or if it comes
from him. It’s an interesting omission and you have to sort of
guess at it.
Could you share some thoughts on the Macbeths’ marriage—particularly in relation to other Shakespearean
romantic pairings? What is usual, or unusual, about their
dynamic?
They’re unique in the passion they have for one another.
Mired within their murderousness, they are two people taking
care of each other. But something happens, and it’ll be an
interesting thing to explore—he basically separates from her
in terms of his plotting; once he gets the murderers on board
to kill Banquo, he is no longer consulting her. And so that
partnership starts to wither in some way. We always wonder
what it is that drives her crazy because she is so much the
instigator. But I think it’s more about him than it is about what
she’s done—it’s the thing that she’s unleashed, who in some
way she doesn’t recognize anymore—the idea of the milk of
human kindness in Macbeth seems to have been buried and
she no longer really knows him.
Macduff is often seen as a moral foil for Macbeth. How do
you see Macduff functioning in relation to Macbeth?
Macduff is an interesting character because in the scene
with Malcolm, he is accepting some of the most egregious
things about Malcolm until he finally can’t take it anymore.
He ends up looking with huge disappointment at him, but still
trying to make it work. There is the politician in Macduff. And
the large question is: What happens at the end of the play? Is
it really as positive as it states? Is the future politically going to
be what it has been—is Malcolm going to end up being a great
leader? We’re not quite certain that we’re left in the hands of
angels at the end of the play.
There’s this undercurrent of evil no matter who you’re on
stage with in the play.
Right. Trustworthiness is very much an issue, from the
beginning of the play. We don’t know where Banquo stands.
There’s that really interesting scene with Lennox and the
lord where you don’t quite know: is Lennox on his side? Is he
promoting Macbeth? Is he testing these guys by saying these
things? Fear drives so much of the play. The fear of not knowing who your partner is is a huge thing in the play.
Daniel Sullivan
P H OTO CO U R T E S Y
O F K E V I N B ER N E .CO M
How do you make sense of this play given the instability of
the medieval Scottish time period?
James came into English royalty as a Scottish king, and the
idea of joining England and Scotland together was something
that Shakespeare certainly wasn’t going to go against, but
there’s an ambivalence in it. What I find so wonderful about
Shakespeare is that even though he was able to play up to a
king like James, at the same time he left a lot of unanswered
questions about what was going to happen in the future.
We’re doing the play in its period, in the Dark Ages. I feel
it’s really about the bloody smoking sword. I think that certainly it’s a world that begins to live with a kind of fear that bad
things can happen at any time. But I’m not here to underline
those themes. I simply feel that we identify with it, as something that’s very much present in our world today.
Can you talk about the role of fate in the play?
Fate is created; it’s not something that exists. One of the
things that I disagree with [literary critic] Harold Bloom about
in terms of the witches is that they don’t make things happen…. I believe they absolutely do. Without them, I don’t think
the play would take place.
The witches are the driving force.
Oh, very much so. You can see it as a test—they see this
huge ambition in this man, and they promote it. You can see it
as some sort of universal, that everyone has this potential; let’s
see what we can do to pull it out of him. But they have agency
in the play. I don’t think this world would collapse without
their pushing it. Macbeth wouldn’t do what he does, I believe,
if it weren’t for the seeing eye of the witches knowing what
his flaw is, and promoting it from the beginning. I mean, if
Macbeth came back from the war and had not met the witches
who suggest to him what the future is going to be, would he
kill Duncan? I think that’s a big question.
HAIL TO THEE,
THANE OF CAWDOR!
A primer on medieval Scottish royalty
B Y K AT I E C R A DD O C K
There are few surviving literary or historical
chronicles of the early rulers of Scotland; its early history is
almost labyrinthine in its complexity and contestability. We
do know that five major tribes—the Picts, Gaels or Scots
(who were actually from Ireland), Angles, Britons, and Norsemen—occupied Scotland before they were first unified under
Kenneth MacAlpin. Each tribe had its own traditional system
for determining its rulers, and these systems were not entirely
harmonious. For example, the Picts likely used matrilineal
succession, where the Scots did not permit succession
through maternal bloodlines. The story of medieval Scottish
succession, therefore, is rife with arguments, confusion, and
full-on battles.
Kenneth MacAlpin began a royal succession known today
as the House of Alpin—17 kings who reigned in Scotland for
almost 200 years, from approximately 843 until 1034. The
House of Alpin followed tanistry, a Gaelic custom for passing
on titles and lands. Under tanistry, the king was elected by
family heads in an assembly. The family heads concurrently
elected a tanist, or heir-apparent, so if the king died or became unfit to rule, the tanist could become king immediately,
avoiding a period of chaos and preventing a dangerous power
vacuum. These assemblies mandated that a king must be fully
grown and sound of mind and body; once elected, he would
rule for the rest of his life. In a significant departure from the
English primogeniture system, the tanist was not necessarily
the king’s firstborn son; rather, any qualified male relation
The story of medieval Scottish
succession, therefore, is rife
with arguments, confusion,
and full-on battles.
(brother, cousin, nephew) could be elected. In the case of the
House of Alpin, tanist Giric impatiently killed off his predecessor Aed to become king; several others are rumored to have
done the same during the first centuries of Scottish royalty.
Scottish society in the High Middle Ages (a period
roughly between 900 and 1300) was a legally stratified feudal
system. “Laws of the Brets and Scots,” a codification document from the period, describes five castes: king, mormaer,
toísech (thane), ócthigern (a non-noble freeman who owned
land or livestock), and serf (before the 12th century, Scotland
also recognized a sixth group—that of the mug, or slave). The
mormaers and thanes had similar roles, though the mormaers
ranked above thanes, falling right beneath the king of Scotland. It is generally thought that for the purposes of Macbeth,
Shakespeare condensed the classes of mormaers and thanes
into merely thanes to describe the rank of characters such as
Macbeth and Macduff—one large, noble, land-holding class
just below the king filled with nephews and cousins, all of
These assemblies mandated that
a king must be fully grown and
sound of mind and body...
whom could potentially inherit the throne of Scotland. These
lords controlled most of Scotland’s northern territory and
ruled over their lands like kings of provinces: they were the
secular and religious leaders of their territories, supervising
law and maintaining order, and had their own warrior societies. They were expected to pay a regular cain, or tribute, to the
king of Scotland—usually in the form of weaponry, livestock,
and taxes collected from peasants. They were also expected
to provide conveth, or food and hospitable accommodations
for the king whenever he wished to visit. When required,
these lords would give up their local armies in service of the
king’s battles and expositions.
The House of Alpin came to an end with Malcolm II, who
left no male heirs. Duncan I, the son of Malcolm II’s daughter Bethóc, began the House of Dunkeld. Early in Duncan’s
reign, Macbeth was recorded as Duncan’s dux, which could
mean both “duke” and “war leader,” implying that Macbeth
may have been Duncan’s right-hand military man. When
Duncan led an army into Macbeth’s northern domain of
Moray, Duncan was killed in battle against Macbeth, and
Macbeth succeeded him as king. Duncan followed his relative
and predecessor Kenneth MacAlpin and many of the early
Scottish kings in burial at the Isle of Iona’s Rèilig Odhrain, an
ancient island burial ground off the western coast of Scotland.
Macbeth was the last of these kings to be buried on the Isle of
Iona after Malcom III, Duncan’s son, killed him.
M ACBET H FA M ILY T R EE
KENNETH IV
KENNETH II
M A L COL M I I
SI WA R D
BE T HÓC
DOA DA
SI N E L
GRUOC H
M AC BE T H
DU NC A N
M A L COL M I I I
E DG A R
B A NQUO
DONA L B A I N
A L E X A N DE R I
F L E A NC E
DAV I D I
M A RG A R E T
WA LT E R ST UA RT
ROBE RT I I
JA M E S I V
JA M E S I
The gadfly:
Meet Macbeth Dramaturg
Barry Kraft
BY SARAH ROSE LEONARD
Barry Kraft is a rare breed: He is one of the few
Shakespeare dramaturgs on the planet. He has spent the bulk
of his professional life—and childhood—immersed in the
Bard’s writings as an actor and avid reader. He comes to Berkeley Rep’s production of Macbeth from the Oregon Shakespeare
Festival, where he helps directors, actors, and designers navigate historical context and tricky language. Literary Manager
Sarah Rose Leonard talked with Barry about the process of
dramaturging a Shakespeare play and the elusive, enduring
power of one of his most famous works, Macbeth.
Sarah Rose Leonard: I hear you’ve acted in all 38 of Shakespeare’s plays. Is that correct?
Barry Kraft: I have, and many of them several times.
That’s incredible. How did dramaturgy come into your life?
My first Shakespeare play was when I was 12 years old; it
was one of John Carradine’s last Hamlets. He came through
my hometown of Laguna Beach with his core company and
auditioned locals for the peripheral roles. I was cast as the
prologue to the play within a play, The Murder of Gonzago.
And I thought, “Shakespeare, wow!” It was life-changing. I
started reading, and studying, and seeing, and I was totally
imbued with Shakespeare—everything: criticism, amateur productions, listening to it on records; I just couldn’t get enough.
And I have a very retentive memory, so much of Shakespeare
stayed in my head. And as the years and decades went by, I
became a font of knowledge (sometimes unwelcome, sometimes welcome).
It was back in the end of the ’92 season, Henry Woronicz,
who was the artistic director of osf (Oregon Shakespeare Festival), said, “How would you like to be a dramaturg?” I guess
somebody had talked to him and said, “Kraft’s very helpful in
rehearsals.” So he said, “Why don’t you—” because they didn’t
have an official dramaturg then—“Why don’t you be [our]
dramaturg?” So I said to Henry, “What’s that?” And Henry
said, “I don’t know either, but we’re going to find out together,” which I loved. And I said, “But I want to keep on acting!”
There’s a thing in our culture—very seldom are you allowed to
be a recognized practitioner in two different fields. They say,
“You’re this, so you can’t be that.” It’s really awful—instead
of widening the horizons, they squeeze them in on you. And I
said, “We’ll find out what a dramaturg is, but I still want to act.”
Just imagine if someone had said to Shakespeare 400 years
ago, “You can only be one of these: an actor, a poet, a playwright, or a shareholder in the Globe Theatre—now choose!”
How much poorer his life would have been!
For many seasons at osf, I would take a small part in a
play, like John of Gaunt in Richard II, and I would dramaturg it
at the same time—or the Poet in Timon of Athens. So the shift
was very gentle. So after a time I said to myself, “I’ve acted in
all the plays. Why not just focus on dramaturgy?” It’s a shorter
gig and leaves more time for travel and other interests.
When you’re dramaturging a show, whether or not you’re
acting in it, how do you prepare for the production?
With Shakespeare, the big difference is that half of his
plays are published in at least two forms (usually just two—the
early quartos during his lifetime, except for Othello, and then
the great first folio in 1623 that contains 36 of the plays, half of
them never before published). With many of those plays, there
are gigantic differences in the original texts. So the first thing
I do with those plays that have two or more original forms is
I make a parallel examination and highlight each instance of
what I think is a meaningful difference. It could be in just a
wording, it could be in the character who’s saying the speech—
whenever there’s a difference between quarto and folio, I put
it out on paper and then present it to the director. Before we
start we decide which of these choices, quarto or folio, we
might want to do. Now, in the case of Macbeth, there’s only
one source, it’s just the folio. There I don’t do a quarto/folio
comparison, but I of course read, and reread, the play minutely.
Then I make notes of the meanings of the words—I use
anywhere from five editions to 17, as when I dramaturged King
Lear. I try to find the clearest definition of obsolete words or
allusions that the actors can use. And if a couple, or several,
editors disagree about the meaning, I gather all of those meanings so the director, the actor, and I can collaborate on what
is actually being said at that precise moment, for the needs of
that specific production.
When you’re in the rehearsal room, what are you
focusing on?
One of the things I do is usually sit next to the director
and listen to the questions that the actors come up with, and
I will give an answer when it seems appropriate. Sometimes
it’s hard for dramaturgs in the room to do that, because the
director and the actor are hot at it, and the dramaturg has
something to say that lends light, but it’s very hard sometimes
to break in on the director-actor conversation. I call myself a
I call myself a “gadfly” at
the Festival, and I base it on
Socrates’ defense...
“gadfly” at the Festival, and I base it on Socrates’ defense, “I’ve
been charged with corrupting the youth of Athens. I haven’t
done any such thing; Athens is like a very large and lazy horse,
and what I do is go in like a gadfly and pester it, and I ask questions, and I make the city answer, and in the end you may swat
me and kill me”—which, of course, they did; he had to drink
the hemlock—“and then you’ll go on sleeping for the rest of
your life.” So sometimes what I have actually done, after I’ve
told the director I’m a bit of a gadfly, I’ll go, “Bzzzz!” And they
can say, “Not now!” or whatever, but they know the dramaturg
has something to offer at that moment. Most of the directors
I’ve worked with many, many times, I have an ease with about
knowing when to come in.
Do you find historical context important for
Shakespeare’s plays?
It really depends on the specific play. In a play like Macbeth, I’m reading Holinshed’s Chronicles, realizing that Shakespeare had two different stories, with names slightly changed,
about the murder of the king and the retribution. I find that
fascinating. A prince of a scholar, Alan Dessen, told me decades ago, “When you’re looking, Barry, at the original source
and what Shakespeare did, it’s fun to see where Shakespeare
copies slavishly, but it’s far more interesting to see where he
alters his source to interject his own viewpoint.” So far, the
...unlike Romeo and Juliet, Othello,
King Lear, and Hamlet, Macbeth
dies isolated from his nearest and
dearest.
most interesting thing I’ve found in the Holinshed is that the
Macbeth character was competently on the throne for 10 years
after having murdered his predecessor. So you think, “What
does Shakespeare achieve by having these events take place
over no more than a year or two, enough time for Macbeth
to make himself a tyrant who everybody hates and wants to
depose? What does that mean in terms of speed of the play?”
So with the historical context for Macbeth, I’m interested in
the court of James, the witch trials, James’ interest in witches,
Banquo, and James being a descendant of Banquo and all of
that—the equivocation, the trials of the Gunpowder Plot—all
of that stuff.
What’s something you’ve learned about Macbeth that’s
surprised you?
It must’ve been Jonathan Bate who made the observation
that, unlike Romeo and Juliet, Othello, King Lear, and Hamlet,
Macbeth dies isolated from his nearest and dearest. Romeo
and Juliet are practically in each other’s arms; Othello is strangling the object of his love; King Lear is holding his daughter in
his arms; and Horatio is right there at the final seconds, receiving the injunction from Hamlet, “And in this harsh world draw
thy breath in pain,/To tell my story.” But Lady Macbeth dies
isolated, and Macbeth dies isolated from her, and I thought,
yes, that is surprising. It’s obvious, but I had never considered
it before.
What is a burning question you have about this play
right now?
I’m thinking about the movie American Sniper. It’s the story
of a soldier—a man who is eminently good at picking off the
enemies, and then he comes home and he can’t find
a way to interject himself into peacetime society, his family,
and friends. I think this is the story of war. This play of Macbeth
is so troublesome to me—it’s a burning question of how you
can go off and kill, in hand-to-hand combat, so many humans,
and get such high praise for doing so, and then come back and
say, “Well, why is it bad now? If I perceive this person to be my
enemy, and I could be king—as I seem fated to be—why is
it a bad thing to exercise my skill in taking him off?” And this
is why it’s deeply troubling to me. I was a conscientious objector—I refused induction during the Vietnam War—but I’ve
been thinking about war and warfare all of my life. How do
you go from being a killer of human beings, with ease, to
ingratiating yourself in society and saying, “No, that is a wrong
activity now, even though it was right before, and it could be
right again”?
Pleasing a new
monarch with a
new play
T R EE I L LU S T R AT I O N CO U R T E S Y O F W EL LCO M E I M AG E S
BY BARRY KRAFT
Early in the play, three wayward/weïrd sisters en-
counter the Scottish warriors Macbeth and Banquo and speak
predictions “of noble having and of royal hope” to Macbeth.
Banquo, feeling more than a bit neglected, demands of them,
“If you can look into the seeds of time/And say which grain will
grow, and which will not,/Speak then to me.” The remainder of
the play sprouts from the growth of the seeds planted, or foreseen, by those three strange women. “The seeds of time” is a
resonant phrase, meaning in part the sources of future events.
If poet-playwright William Shakespeare had the power of
looking into the seeds of time, what might he have seen upon
the death of Queen Elizabeth on March 24, 1603? For starters
he would have seen (as would practically everyone else) the
smooth ascension of the 36-year-old King James VI of Scotland
to the throne—thus becoming King James I of England. But
could Shakespeare have foreseen that the new King would
prove to be even more fond of the theatre than Elizabeth was,
and that within two months of donning the crown, James
would bring Shakespeare’s acting company directly under his
royal patronage?
Actually “royal protection” rather than “royal patronage”
would be a more precise term to describe the connection between court and theatre. If London’s city magistrates had their
way, there would be no theatre at all: players and playgoers,
they firmly believed, were elements of a sinful, dirty business—
the Devil’s domain. Only by means of the useful fiction that
the plays performed at public theatres were extended rehearsals, practice trials to prepare the works for court consumption,
was theatre permitted to exist. However, only when performing at court before the King (usually during holiday seasons)
would the King’s Men—as Shakespeare’s company would
come to be known—receive lavish royal rewards for their efforts. All other times the company had to rely on gate receipts
to make ends meet.
We imagine that Shakespeare, motivated by necessity and
curiosity, began to enquire into the habits, history, likes, and
dislikes of this new English monarch, two years his junior. He
studied his quarry with a keen eye. For instance, James had
been heard to say that he disliked long plays, and eyewitnesses
had observed him slumbering through them. Duly noted.
Then there was the royal practice of “touching for the
King’s Evil.” From the time of Edward the Confessor (1042)
the condition of the “King’s Evil”—tuberculosis of the lymph
nodes in the neck—was allegedly cured by the laying on of
royal hands. King James was always pleased to exercise this
power. Duly noted.
And what about genealogy, family trees?
King James I boasted to have traced his royal Scottish lineage
from a (mythical) Banquo’s (mythical) son Fleance, on up to
himself. Duly noted.
More importantly, there was the matter of witchcraft.
James had an almost morbid fascination with witches, witch
trials, witchcraft. He believed that his own life and concerns
had been put into jeopardy on several occasions through the
agency of witch sorcery. He had attended witch trials, avidly
Actually “royal protection”
rather than “royal patronage”
would be a more precise term to
describe the connection...
cross-examined and testified against supposed witches, and
had administered capital punishment to the unfortunate
women his courts found guilty of practicing witchcraft. In
1597, James wrote and published his own contribution on the
subject: Demonology, in Form of a Dialogue. Duly noted.
All well and good. But now, how were these disparate duly
noted Jamesian threads to be knotted together into an actual
and actable performance piece that would be well received
by the monarch? It might seem that one crucial element was
missing—the plot. Creating a storyline was never a problem
for Shakespeare: he simply hitched his imagination and poetic
skill to whatever readily available vehicle he fancied—be it
another author’s play, poem, tale, biography, history, etc.—and
drove off in his own direction. Only a handful of the 40 plays
he wrote, or occasionally collaborated upon, feature an original
plot. (In today’s world, the Bard would be behind bars for plagiarism.) Plot creation wasn’t his skill: what he did with
plots was!
In the case of Macbeth, he dipped back into a favorite
source he had often used for his English history plays—Raphael Holinshed’s Chronicles of England, Scotland and Ireland, 2nd
edition, 1587. Shakespeare lifted most of the facts of Macbeth’s
career from Holinshed’s history, but for details of the murder
of King Duncan he substituted Holinshed’s account of the
murder of an earlier Scottish king. Shakespeare’s most dynamic
alterations of the chronicle history were to severely truncate
and blacken Macbeth’s 10 years of well-governed ruling over
Scotland following Duncan’s murder, and to make the character of Banquo—King James’ ancestor—innocent, when in
Holinshed he was chief amongst Macbeth’s “trusty friends”
who aided him in dispatching Duncan.
In mid-autumn of 1605 a near catastrophe almost claimed
the lives of King James, his family, his ministers, and the
members of both houses of Parliament. Its aftermath would
give Shakespeare the focus he needed to coalesce all of the observed Jamesian threads into a compelling dramatic unity.
A small group of Catholic gentlemen, embittered by King
James’ failure to extend toleration to adherents of their faith,
saw to it that a vault situated beneath the House of Lords was
packed with 36 barrels of gunpowder along with iron bars. On
November 4, the night before James was to appear in person
to open a new session of Parliament, conspirator Guy Fawkes
was arrested in the vault with all the implements needed to
blow the whole shebang sky high. Under excruciating torture,
Fawkes gave the names of his co-conspirators who were then
hunted down, tortured, tried (with the King watching the judicial proceedings unobserved), then hanged and quartered.
The link to Macbeth was the last man to be hanged. Father
Henry Garnet, a Jesuit priest, knew of the Gunpowder Plot,
but under constraint of the Catholic seal of the confessional
was silenced from speaking out. A handful of years before
James was crowned King of England, Garnet had written A
Treatise of Equivocation which justified the morality of giving
misleading or ambiguous statements under oath. To equivocate, to juggle words with multiple meanings so as to avoid
incriminating oneself, or revealing the secrets of the confessional, or committing the sin of lying under oath was defensible behavior, Garnet believed.
In a flash Shakespeare must have realized his own art was
that of the equivocator: from the lowest pun to the highest
flights of metaphor, duplicity was the stock of his trade, the
marrow of his being. Hence, as well as peppering his new play
with references to equivocation, he fashioned the very fabric
of Macbeth out of the material of duplicity, of doubleness.
Plot creation wasn’t his skill:
what he did with plots was!
We can hope his new play (probably performed at court
in the summer of 1606), was amply rewarded by King James.
For if Shakespeare was able to look into the seeds of time, he
would have seen an outbreak of plague that summer which
would effectively close the theatres for the following two and
a half years.
Might this have been the origin of the curse said to
haunt Macbeth?
N E X T AT B E R K E L E Y R E P
The cast of Treasure Island
P H OTO BY R I C H H EI N
A CO - PRO D U C TIO N WITH
LO O KIN G G L A SS TH E ATRE COM PANY
“Zimmerman remains a
superior storyteller”
—CHICAGO TRIBUNE
ADAPTED AND DIRECTED BY
Mary Zimmerman
FROM THE NOVEL BY ROBERT LOUIS STEVENSON
STARTS APRIL 22 · PEET ’S THEATRE
SEASON SPONSORS
Berkeley Repertory Theatre presents
William Shakespeare
directed by Daniel Sullivan
by
FEB RUARY 19 –APRIL 10, 2016
RODA THE ATRE · M AIN SE A SON
Macbeth is made possible thanks to the generous support of
SEASON SPONSORS
Jack & Betty Schafer
Michael & Sue Steinberg
The Strauch Kulhanjian Family
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R
SUSAN M E DAK , M ANAGIN G D IREC TO R
CAST
Duncan/Porter/Doctor James Carpenter*
Lennox Scott Coopwood*†
First murderer/Servant to Derek Fischer
Duncan/Messenger
Bleeding captain/Seyton/ Gene Gillette*
Lord/Old man
Macbeth Conleth Hill*
Banquo/Siward/Lord Christopher Innvar*
Donalbain/Lord/Soldier Eddie Ray Jackson*
Macduff/Lord Korey Jackson*
Mentieth/Messenger Paul Jennings
Ross/Third murderer Billy Eugene Jones*
LE A D S P O N S O R S
Bruce Golden & Michelle Mercer
Helen & John Meyer/Meyer Sound
Stewart & Rachelle Owen
Macduff’s son Leon Jones
Malcolm Adam Magill
Witch/Gentlewoman Rami Margron*
Lady Macbeth/Witch Frances McDormand*
Angus/Second murderer Nicholas Pelczar*
Fleance/Servant/Siward’s son Tyler Pierce*
SPONSORS
Carole B. Berg
Susan Chamberlin
Robin & Rich Edwards
Sandra & Ross McCandless
Leonard X & Arlene B. Rosenberg
A S S O CIAT E S P O N S O R S
Hitz Foundation
Sue Reinhold & Deborah Newbrun
Linda & Steven Wolan
Affiliations
The director is a member of the Society of
Stage Directors and Choreographers, Inc., an
independent national labor union. The Scenic,
Costume, Lighting, and Sound Designers in
lort Theatres are represented by United
Scenic Artists Local usa-829, iatse.
Lady Macduff/Witch Mia Tagano*
Ensemble Paul Henry, Devin O’Brien
PRODUC TION S TAFF
Scenic Design
Costume Design
Lighting Design
Composition/Sound Design
Video Design
Dramaturg
Fight Direction
Voice Coach
Casting
Douglas W. Schmidt
Meg Neville
Pat Collins
Dan Moses Schreier
Alexander V. Nichols
Barry Kraft
Dave Maier
Lynne Soffer
Amy Potozkin, csa,
and Tara Rubin, csa
Stage Manager Michael Suenkel*
*Indicates a member of Actors’ Equity Association, the Union of Professional Actors and
Stage Managers in the United States.
†
Understudy for Macbeth
BE R K E L E Y R E P P R E S E N T S
James Carpenter
D U N C A N/ P O R T E R / D O C T O R
James last appeared
at Berkeley Rep in
Head of Passes and has
performed in over 30
productions at the Theatre during his 12-year
tenure as an associate
artist. His other Bay
Area credits include
American Conservatory
Theater, Aurora Theatre Company, Cutting
Ball Theater, Magic Theatre, Marin Theatre
Company, San Jose Repertory Theatre, Shakespeare Santa Cruz, Shotgun Players, and TheatreWorks. He is currently in his 12th season as
an associate artist with California Shakespeare
Theater. His other regional credits include
work at Arizona Theatre Company, the Huntington Theatre Company, Intiman Theatre,
the Old Globe, Oregon Shakespeare Festival,
and Yale Repertory Theatre. He is the recipient of the Bay Area Theatre Critics Circle’s
Barbara Bladen Porter Award for Excellence in
the Arts and its Lifetime Achievement Award
and in 2010 was named a Lunt-Fontanne
Fellow. James’ film and TV credits include Nash
Bridges, Metro, and The Rainmaker, and the
independent projects Presque Isle, Singing, and
For the Coyotes.
Scott Coopwood
L E N N O X / U N D E R S T U DY M AC B E T H
Scott’s regional
favorites include the
title roles in Hamlet,
Macbeth, Cymbeline,
King John, and Cyrano
de Bergerac, as well as
Iago in Othello; Edmund
in King Lear; Angelo in
Measure for Measure;
Charlie in The Scene;
Kippy in Take Me Out; Shylock in The Merchant
of Venice; Jacques in As You Like It; Trigorin in
The Seagull; Benedick, Don John, and Dogberry
in Much Ado About Nothing; Petruchio in The
Taming of the Shrew; Harry Brock in Born
Yesterday; Brennan in Frost/Nixon; Edward in
Someone Who’ll Watch Over Me; and Johan in
Groundswell. He has performed at Arkansas
Repertory Theatre; Artists Repertory Theatre;
Capital Repertory Theatre; San Jose Repertory Theatre; Center Repertory Company;
Capital Stage; the Utah, Orlando, and Lake
Tahoe Shakespeare Festivals; Arizona Theatre
Company; Marin Theatre Company; Portland
Center Stage; the Seattle and Marin Shakespeare Companies; Shotgun Players; and SF
Playhouse; as well as work with the Toronto,
Windsor, and Oregon Symphony Orchestras.
Scott is also co-executive director of Shakespearience!, a Bay Area nonprofit education
program for kids.
profiles
Derek Fischer
F I R S T M U R D E R E R / S E R VA N T
T O D U N C A N/M E S S E N G E R
Derek has been an
understudy at Berkeley
Rep multiple times
and is now excited and
honored to be making
his official Berkeley
Rep debut. He has
worked with numerous
companies throughout
the Bay Area, including
SF Playhouse, California Shakespeare Theater,
PianoFight, Sleepwalkers Theatre, Town Hall
Theatre Company, the Bay One Acts Festival,
Cutting Ball Theater, and others. His favorite
productions include Storefront Church, Of Mice
and Men, The White Plague, The Chairs, The
Bald Soprano, and The Pond.
Gene Gillette
B L E E D I N G C A P TA I N/ S E Y T O N/ LO R D/
OLD MAN
Gene recently completed the national tour of
War Horse in which he
played Ted Narracot for
the National Theatre
of Great Britain. Other
work includes Thurio
in The Two Gentlemen of Verona at the
Shakespeare Theatre
Company, Stanley in A Streetcar Named Desire
(Ovation Award) at Theatreworks in Colorado,
Padraic in The Lieutenant of Inishmore (Ovation
Award) and Bobby Reyburn in Coyote on a
Fence (Ovation Award) at Curious Theatre
Company, Pale in Burn This at Shakespeare
Santa Cruz, Jock in the world premiere of
columbinus at Round House Theatre/Perseverance Theatre, the title role in Hamlet at Denver Civic Theatre, Tybalt in Romeo and Juliet
and Oliver in As You Like It at Folger Theatre,
Branko in Honey Brown Eyes at the Working
Theater, and Burke in Anna Christie on a barge
in Red Hook, Brooklyn with Spleen Theatre,
where he serves as co-artistic director. His
TV work includes The Good Wife, Person of
Interest, Elementary, and Law & Order: svu. He
holds an mfa from the Shakespeare Theatre
Company’s Academy for Classical Acting at
George Washington University. Paul Henry
ENSEMBLE
Paul is thrilled to be
making his Berkeley Rep
debut with Macbeth
having previously
understudied Pericles,
Prince of Tyre and
Party People. His recent
regional credits include
Claudius/Ghost in
Hamlet for SF Shakes
on Tour; Juan in Man of La Mancha and the
Percussionist for Peter and the Starcatcher,
both at pcpa - Pacific Conservatory Theatre;
The Constable in Fiddler on the Roof at Pacific
Coast Repertory Theatre; and Harry Bailey in
It’s a Wonderful Life: The Musical at Sacramento
Theatre Company. Paul holds a BA in Acting
from csu, Fresno and is a graduate of pcpa.
You can see Paul this summer as he joins the
company of the Illinois Shakespeare Festival
in Twelfth Night, Hamlet, and Peter and the
Starcatcher. Visit paulhenry.me to learn more.
Conleth Hill
M AC B E T H
Conleth is an acclaimed
actor on stage, film,
television, and radio,
as well as a writer and
director. His film credits
include Perrier’s Bounty,
Intermission, Salmon
Fishing in the Yemen,
Woody Allen’s Whatever
Works, The Shore (Oscar,
Best Live Action Short), Shooting for Socrates,
The Good Word, A Patch of Fog, The Truth Commissioner, and Two Down. His television credits
include Varys in hbo’s award-winning Game
of Thrones, Suits, Goodbye Mr. Chips, That Day
We Sang, Inside Number Nine, Foyle’s War, Blue
Heaven, The Life and Times of Vivienne Vyle, and
Arthur and George. His theatre credits include
A Midsummer Night’s Dream, Whistle in the
Dark, Conversations on a Homecoming, Waiting
for Godot, The Home Place, and Uncle Vanya, all
at Lyric Theatre Belfast. He also appeared at
the National Theatre in Democracy, Philistines
(Olivier Award nomination), The Seafarer (also
Broadway, Tony Award nomination, Drama
Desk Award), All’s Well That Ends Well, The
White Guard, and The Cherry Orchard. His
West End credits include Mel Brooks’ The
Producers (Olivier Award), Shoot the Crow, and
Quartermaine’s Terms, and his West End and
Broadway performance in Stones in His Pockets
earned him Irish Times, Olivier, Dora, Drama
Desk, Theatre League, Outer Critics Circle,
and Whatsonstage.com awards, as well as
Theatrical Management Association and Tony
Award nominations. Hill has also written for
television and theatre, and has directed three
productions of David Ireland’s comedy Can’t
Forget About You.
Christopher Innvar
Eddie Ray Jackson
Korey Jackson
Christopher is making
his Berkeley Rep debut.
Other collaborations
with Daniel Sullivan
include King Lear at
the Delacorte Theater
and Sharr White’s
The Snow Geese for
Manhattan Theatre
Club. Other nyc credits
include Broadway runs of Victor/Victoria, Les
Misérables, The Threepenny Opera, 110 in the
Shade, The People in the Picture, and Porgy and
Bess. Off-Broadway projects include the title
role in Floyd Collins at Playwrights Horizons,
Chuck Mee’s Big Love at Signature Theatre
Company, Simon Stephens’ Harper Regan at
Atlantic Theater Company, and lead roles for
Red Bull, Transport Group, Lincoln Center,
the Women’s Project, and Vineyard Theatre.
Regional theatre work includes productions at
Steppenwolf Theatre Company, the Guthrie
Theater, Yale Repertory Theatre, McCarter
Theatre Center, and Long Wharf Theatre. He
is an affiliated artist with the Shakespeare
Theatre Company and a founding associate
artist with Barrington Stage Company where
his directing credits include The Whipping Man,
The Other Place, and Shining City.
Eddie Ray was last seen
at Berkeley Rep in X’s
and O’s (A Football Love
Story) and reprised his
role as Man 4 at Center
Stage in Baltimore. He
was seen off Broadway at Classic Stage
Company in Much Ado
About Nothing (Don
Pedro). His regional credits include Oregon
Shakespeare Festival in The Heart of Robin
Hood (Much Miller); Marin Theatre Company
in Fences (Cory) and Fetch Clay, Make Man
(Muhammad Ali), a coproduction with Round
House Theatre; Magic Theatre in Pen/Man/
Ship (Jacob); and American Stage Theatre
Company in Intimate Apparel (George). Eddie
Ray received an mfa in Theatre, acting emphasis, from Columbia University.
Korey is thrilled to be
making his Berkeley Rep
debut in this production of Macbeth. Other
credits include Wild with
Happy (the Public Theater), Far from Heaven
(Playwrights Horizons),
School for Wives (Two
River Theater), and Sex
of the Baby (Access Theater). Film/TV credits
include 5 Flights Up starring Morgan Freeman
and Diane Keaton (Focus), The Good Wife (cbs),
The Following (fox), Law & Order: svu (nbc),
Homeland (Showtime), Nurse Jackie (Showtime), Royal Pains (usa), and the upcoming
second season of Daredevil (Netflix). He is a
graduate of nyu’s Graduate Acting Program
where he originated the title role in the world
premiere of Tony Kushner’s Henry Box Brown
Play. He is also a recipient of the Leonore
Annenberg Artist Fellowship.
B A N Q U O/ S I WA R D/ LO R D
D O N A L B A I N/ LO R D/ S O L D I E R
M AC D U F F/ LO R D
Extraordinary Performance.
Proudly serving Berkeley, Albany, Kensington, Alameda, El Cerrito,
Emeryville, Oakland and Piedmont
Lorri Rosenberg Arazi
Leslie Avant
Anna Bahnson
Norah Brower
Carla Buffington
Jackie Care
Maria Cavallo-Merrion
Stina Charles-Harris
Carla Della Zoppa
Leslie Easterday
Gini Erck
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1625 Shattuck Avenue | Berkeley, CA 94709 | 510.982.4400
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Ira & Carol Serkes
Geri Stern
Diane Verducci
pacificunion.com
Paul Jennings
M E N T I E T H/M E S S E N G E R
Paul is delighted to be
returning to Berkeley
Rep, where he was last
seen onstage as the
Sturgis Drang understudy in Troublemaker,
or the Freakin Kick-A
Adventures of Bradley
Boatright. Recent local
credits include Richard
III in Dick 3 (San Francisco Theater Pub), Judge
Danforth in The Crucible (Custom Made Theatre Co.), Pilate in The Last Days of Judas Iscariot, and Jake in H2O (Aluminous Collective). His
television credits include John Wayne Gacy in
Behind the Screams: Killer Clown. In 2013, Paul
was selected as an International Fellow at
Shakespeare’s Globe, London.
Billy Eugene Jones
R O S S/ T H I R D M U R D E R E R
profiles
Gala. During his school’s annual concert he
conducts up to two pieces. Leon believes he
will pursue acting and theatre as a career, and
his dream is to be in a Broadway musical. Leon’s hobbies include singing, watching action
movies, stage combat, and live plays.
Adam Magill
M ALCOLM
Adam is making his
Berkeley Rep debut. His
Bay Area credits include
Stupid Fucking Bird (SF
Playhouse), The Whale
(Marin Theatre Company), The Mousetrap
(Shotgun Players), Dr.
Jekyll & Mr. Hyde (City
Lights Theater Company), and Shiner (FaultLine Theater). He is a
graduate of the Foothill Theatre Conservatory.
Rami Margron
W I T C H/G E N T L E W O M A N
Billy’s Broadway credits
include A Raisin in the
Sun, The Trip to Bountiful, The Big Knife, The
Mountaintop, Passing
Strange, Radio Golf, and
Gem of the Ocean. He
appeared off Broadway
in Pitbulls (audelco
nomination for Best
Actor at Rattlestick Playwrights Theater),
The Jammer (Atlantic Theater Company), In
the Footprint (the Civilians), and Waiting for
Godot and Three Sisters (Classical Theatre of
Harlem). His regional credits include The Good
Negro (Goodman Theatre); Stick Fly (Elliot
Norton nomination for Best Supporting Actor
at Arena Stage and the Huntington Theatre
Company); Richard II, Death of a Salesman, and
Breath, Boom (Yale Repertory Theatre); Othello
(California Shakespeare Theater); and Spunk
(Actors Theatre of Louisville). Other regional
credits include Two River Theater, the Alliance
Theatre, Hartford Stage, and numerous
productions at Dallas Theater Center. Billy is a
graduate of Yale School of Drama.
Rami is pleased to be
returning to Berkeley Rep after playing
The Bawd, Batman,
and others in Pericles,
Prince of Tyre. She has
performed locally with
California Shakespeare
Theater, Crowded Fire
Theater, Intersection
for the Arts, the Magic Theatre, Marin Theatre
Company, Mugwumpin, Pacific Repertory
Theatre, Pear Theatre, San Francisco Shakespeare Festival, Shotgun Players, Town Hall
Theatre Company, Willows Theatre Company,
Woman’s Will, Word for Word, and a handful
of dance companies. She studied acting at
the Bennett TheatreLab in San Francisco,
clown and buffoon in Paris, and over 20 styles
of dance and movement in the U.S., Haiti,
Cuba, Brazil, and Indonesia. She is a company
member of Crowded Fire and Rara Tou Limen
Haitian dance company, and she co-hosts The
Shout, a monthly storytelling event
in Oakland.
Leon Jones
Frances McDormand
At age 7, Leon began
acting in plays such as
The Lion King as Rafiki
the monkey. While
attending California
Shakespeare Theater’s
Summer Conservatory,
he played Edmund in
King Lear. He regularly
participates in the
Martin Luther King, Jr. Oratorical Festival and
has performed violin and vocals at Yoshi’s in
Oakland. He also performed for Libby Schaaf,
mayor of Oakland, at the Education Fund
On Broadway, Frances
received the Tony,
Drama Desk, and Outer
Critics Circle Awards
for her performance in
David Lindsay-Abaire’s
Good People directed by
Daniel Sullivan. Other
stage appearances
include The Country
Girl directed by Mike Nichols on Broadway,
Caryl Churchill’s Far Away directed by Stephen
Daldry at New York Theatre Workshop, her
Tony–nominated performance as Stella in A
M AC D U F F ’ S S O N
L A DY M AC B E T H/ W I T C H
Streetcar Named Desire, The Sisters Rosensweig
directed by Daniel Sullivan at Lincoln Center
Theater, The Swan at the Public Theater, A
Streetcar Named Desire (this time as Blanche)
at the Gate Theatre in Dublin, and Dare
Clubb’s Oedipus. With the Wooster Group,
she performed in To You, The Birdie!; North
Atlantic; and Early Shaker Spirituals. Films
include The Good Dinosaur, Moonrise Kingdom,
Promised Land, Miss Pettigrew Lives for a Day,
Friends with Money, North Country, Laurel Canyon, Something’s Gotta Give, Almost Famous,
Wonder Boys, Madeline, Primal Fear, Short Cuts,
Lone Star, Beyond Rangoon, Paradise Road,
Mississippi Burning, Hidden Agenda, Darkman,
and in collaboration with Joel and Ethan Coen,
Burn After Reading, The Man Who Wasn’t There,
Fargo (for which she received an Academy
Award), Raising Arizona, Blood Simple, and the
upcoming Hail Caesar!. With her company
Hear/Say, Frances produced Every Secret Thing
and Olive Kitteridge (which received eight
Emmy Awards including Outstanding Limited
Series and Leading Actress) and is developing a screen adaptation inspired by Michael
Pollan’s book Omnivore’s Dilemma.
Devin O’Brien
ENSEMBLE
Devin is pleased to be
joining Berkeley Rep
for the first time. He
has recently performed
with a host of Bay Area
theatres, including Aurora Theatre (Mud Blue
Sky), Encore Theatre at
Z Space (Hookman), and
New Conservatory Theatre Center (Die Mommie Die!). He also serves
as a company member with Sonoma Valley
Shakespeare. You can see him next at SF
Playhouse in Red Velvet. He received his BA in
Theatre Arts from Cal Poly–San Luis Obispo.
Nicholas Pelczar
A N G U S/ S E C O N D M U R D E R E R
Nicholas is pleased to
be making his Berkeley
Rep debut. Bay Area
credits include Major
Barbara, Arcadia, War
Music, Rock ’n’ Roll, and
A Christmas Carol at
American Conservatory
Theater; The Whale,
Jacob Marley’s Christmas
Carol, The Whipping Man, Othello, The Glass
Menagerie, and boom at Marin Theatre Company; The Pitmen Painters at TheatreWorks;
Hamlet and As You Like It at Pacific Repertory
Theatre; A Midsummer Night’s Dream at San
Francisco Shakespeare Festival; The Lyons,
Marius, and Dublin Carol at Aurora Theatre
Company; and A Midsummer Night’s Dream,
Pygmalion, Hamlet, The Tempest, Titus Andron-
icus, The Taming of the Shrew, Macbeth, Much
Ado About Nothing, The Life and Adventures of
Nicholas Nickleby, Othello, All’s Well That Ends
Well, and The Importance of Being Earnest at
California Shakespeare Theater. He is a graduate of act’s Master of Fine Arts Program.
MAKE THE CONNECTION
Tyler Pierce
EBCF
F L E A N C E / S E R VA N T/ S I WA R D ’ S S O N
Tyler appeared at Berkeley Rep in How to Write
a New Book for the Bible
and Crime and Punishment. He also appeared
in King Lear, Henry IV,
Two Gentlemen of Verona, and Dracula (Utah
Shakespeare Festival);
Everything You Touch
(Theatre @ Boston Court); How to Write a New
Book for the Bible, Death of a Salesman, and
Death of the Author (South Coast Repertory);
Hasty Pudding (Ojai Playwrights Conference);
Handle with Care, The Road to Appomattox,
and I’ll be Back Before Midnight (the Colony
Theatre); How to Write a New Book for the
Bible (Seattle Repertory Theatre); Venus in
Fur (B Street Theatre); Good People (Geffen
Playhouse); Gronholm Method (Falcon Theatre); Death of a Salesman (the Old Globe); A
Streetcar Named Desire (the Guthrie Theater);
The Night Is a Child (Milwaukee Repertory Theater and Pasadena Playhouse); Dracula and A
Christmas Carol (Actors Theatre of Louisville);
Macbeth, Pericles, A Midsummer Night’s Dream,
Lorenzaccio, and The Tempest (the Shakespeare
Theatre Company); Youth Inc. (McCarter Theatre Center); and Fat Pig and The Internationalist (the Studio Theatre). Please visit
tylerpierce.wix.com/actorsite.
Mia Tagano
is proud to sponsor
BERKELEY REPERTORY THEATRE
We’ve supported the performing arts
in the East Bay for over 86 years.
CONNECT WITH US: EAST BAY COMMUNITY FOUNDATION
T: 510-836-3223
E: [email protected]
CONNECT.EBCF.ORG
Discover a whole
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on Senior Living.
Lake Park offers every opportunity
for residents to enjoy a rewarding lifestyle.
L A DY M AC D U F F/ W I T C H
Mia is making her
Berkeley Rep debut.
Most recently appearing in the West Coast
premiere of Love and
Information at American
Conservatory Theater,
she has also performed
locally with Magic Theatre (Every Five Minutes),
TheatreWorks (M. Butterfly and Loudest Man
on Earth), California Shakespeare Theater
(The Life and Adventures of Nicholas Nickleby
and Hamlet), and San Francisco Shakespeare
Theatre (Twelfth Night). Her regional stage
credits include Tamburlaine and Edward II at
the Shakespeare Theatre Company, Snow
Falling on Cedars at Portland Center Stage
and Hartford Stage, and Tantalus, a 10-hour
co-production with the Denver Center for the
Performing Arts and the Royal Shakespeare
Company. Her New York credits include 99
Histories at Cherry Lane Theatre and Far East
at the Lincoln Center for the Performing Arts,
directed by Daniel Sullivan. Her TV and film
credits include All My Children, Law & Order,
Tantalus – Behind the Mask, and John Barton’s
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Shakespeare Sessions. Mia received her mfa in
Acting from the University of Washington.
Daniel Sullivan
DIREC TOR
Daniel won the 2001 Tony Award for Best
Direction of a Play for Proof, and he was most
recently nominated for another Tony in 2011
for The Merchant of Venice, starring Al Pacino.
Daniel most recently directed The Country
House, The Snow Geese, Orphans, and Glengarry Glen Ross on Broadway. For the Public Theater, he directed A Comedy of Errors, As You
Like It, All’s Well That Ends Well, Twelfth Night,
A Midsummer Night’s Dream, Stuff Happens,
and The Merry Wives of Windsor.
Douglas W. Schmidt
SCENIC DESIGNER
Of the over 200 productions designed by
Douglas in the past 50 years, he has 50 Broadway credits including the original production
of Grease, which for many years held the
record for the longest-running show in the
history of Broadway. His history with Director
Daniel Sullivan dates back to the early 1970s
when both were on the staff of the Repertory Theatre of Lincoln Center. In addition
to working together at that venue they also
collaborated over the years on productions
at Seattle Repertory Theatre and Manhattan
Theatre Club. Locally his work has been seen
at American Conservatory Theater and last
summer for California Shakespeare Theater’s
production of The Mystery of Irma Vep. Last
year Douglas was honored with the United
States Institute for Theatre Technology Award
for Distinguished Achievement in Scene
Design and the Robert L.B. Tobin Award for
Sustained Excellence in Theatrical Design.
His production of The Sound of Music recently
opened to rave reviews at the Ahmanson
Theatre in Los Angeles and began a two-year
tour of the United States.
Meg Neville
COSTUME DESIGNER
Meg’s recent Berkeley Rep credits include One
Man, Two Guvnors (also at South Coast Repertory); Party People (Bay Area Theatre Critics
Circle nomination); Tribes; The Intelligent
Homosexual’s Guide to Capitalism and Socialism
with a Key to the Scriptures; and X’s and O’s (A
Football Love Story) (also at Center Stage in
Baltimore). She also worked on Pericles, Prince
of Tyre; Ghost Light; In the Wake; Yellowjackets;
Eurydice (also at Second Stage Theatre and
Yale Repertory Theatre); tragedy: a tragedy;
Suddenly Last Summer; Dinner with Friends;
Closer; and The Life of Galileo. Her recent
productions at Oregon Shakespeare Festival
include Long Day’s Journey Into Night, The Cocoanuts (also at the Guthrie Theater), Taming
of the Shrew, and Ghost Light. Meg is an associate artist with California Shakespeare Theater,
where she has designed numerous produc3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5
profiles
tions including, recently, Twelfth Night. Other
Bay Area theatre credits include Marin Theatre
Company, the Cutting Ball Theater, American
Conservatory Theater, San Jose Repertory
Theatre, Joe Goode Performance Group, and
Magic Theatre. She has also worked at Atlantic
Theater Company, Brooklyn Academy of
Music, Chicago Opera Theater, NY Stage and
Film, Hartford Stage, Kirk Douglas Theatre,
Portland Stage Company, and Dallas Theater
Center. Meg is a graduate of Brown University
and the Yale School of Drama. She resides
in San Francisco with her husband and children Daisy, Sunny, and Nate.
Pat Collins
LIGHTING DESIGNER
Pat’s Berkeley Rep credits include The
Misanthrope and Twilight: Los Angeles, 1992.
On Broadway she designed such shows as
Orphans, Good People, How the Grinch Stole
Christmas, Sight Unseen, Doubt, Proof, The
Heidi Chronicles, The Sisters Rosensweig, I’m Not
Rappaport, The Threepenny Opera, Ain’t Misbehavin’, and others. She has designed the lighting for many productions at regional theatre
companies, among which are Arena Stage,
Center Stage in Baltimore, McCarter Theatre
Center, Steppenwolf Theatre Company,
Manhattan Theatre Club, the Lincoln Center,
the Old Globe, the Alley Theatre, Goodman
Theatre, Hartford Stage, Ford’s Theatre, and
others. In the field of opera, Pat has designed
for such companies as the Metropolitan Opera, San Francisco Opera, Santa Fe Opera, the
Royal Opera House (Covent Garden), the Paris
Opera, the Bayerisches Staatsoper (Munich),
and others.
Dan Moses Schreier
COMPOSER/SOUND DESIGNER
Dan’s Broadway credits include The Visit (starring Chita Rivera), A Gentleman’s Guide to Love
and Murder, Act One, Sondheim on Sondheim, A
Little Night Music, Gypsy (Patti Lupone), Radio
Golf, John Doyle’s production of Sweeney Todd,
A Catered Affair, Gem of the Ocean, Pacific
Overtures, Assassins, The 25th Annual Putnam
County Spelling Bee, Into the Woods, Topdog/
Underdog, Dirty Blonde, The Tempest (Patrick
Stewart), and Bring in ’da Noise, Bring in ’da
Funk. His off-Broadway credits include Road
Show, Homebody/Kabul, Floyd Collins, and others. He composed music for The Merchant of
Venice with Al Pacino, Julius Caesar with Denzel
Washington, The Tempest with Patrick Stewart, and Dan Hurlin’s Disfarmer at St. Ann’s
Warehouse. Dan received four Tony Award
nominations, three Drama Desk Awards, an
Obie Award for Sustained Excellence, and
has recently been commissioned to compose
a musical with Brian Selznick (The Invention
of Hugo Cabret) based on Brian’s book, The
Houdini Box.
Alexander V. Nichols
VIDEO DESIGNER
Alex is returning to Berkeley Rep for his 33rd
production. His Broadway credits include
Wishful Drinking, Hugh Jackman—Back On
Broadway, and Nice Work If You Can Get It.
His off-Broadway productions include In
Masks Outrageous and Austere, Los Big Names,
Horizon, Bridge & Tunnel, Taking Over, Through
the Night, and In the Wake. Alex has worked at
regional theatres throughout the country, including American Conservatory Theater, Mark
Taper Forum, National Theatre of Taiwan,
Oregon Shakespeare Festival, and La Jolla
Playhouse, among others. His dance credits
include resident designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory
Ballet; lighting supervisor for American Ballet
Theatre; and resident visual designer for the
Margaret Jenkins Dance Company since 1989.
His designs are in the permanent repertory of
San Francisco Ballet, Boston Ballet, Alvin Ailey
American Dance Theater, Hubbard Street
Dance, Hong Kong Ballet, Singapore Dance
Theatre, odc/sf, and the Royal Winnipeg Ballet. Alex’s other projects include the museum
installation Circle of Memory, a collaboration
with Eleanor Coppola, presented in Stockholm, Sweden, and the video and visual design
for Life: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass,
presented at the Concertgebouw, Amsterdam.
Barry Kraft
D R A M AT U R G
In 28 seasons as actor and dramaturg at
the Oregon Shakespeare Festival, Barry has
dramaturged nearly 50 Shakespeare productions as well as Equivocation, The Cure at Troy,
and Arcadia, among others. Numerous acting
credits include osf, the Colorado Shakespeare
Festival, the Utah Shakespeare Festival,
the Old Globe, San Jose Repertory Theatre,
Berkeley Shakespeare Festival, and American
Conservatory Theater, among others. He has
been in 87 full productions of all Shakespeare’s
38 plays (more than 100 roles). He has written
Shakespeare Insult Generator and has recorded
several books on tape for Blackstone Audio,
including Ovid’s Metamorphoses. Barry is also
a teacher and a guest lecturer.
Dave Maier
FIGHT DIREC TOR
A five-time recipient of the San Francisco Bay
Area Theatre Critics Circle Award for Fight
Direction, Dave has choreographed violence
for a dozen Berkeley Rep productions, including One Man, Two Guvnors; Party People; The
House that will not Stand; Troublemaker, or the
Freakin Kick-A Adventures of Bradley Boatright,
and The Lieutenant of Inishmore. He is the
resident fight director for San Francisco Opera
and California Shakespeare Theater. His work
has also been seen at American Conservatory
Theater, La Jolla Playhouse, Marin Theatre
TILSON THOMAS
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Eminent conductor Charles Dutoit leads the San Francisco Symphony
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Michael Tilson Thomas conducts one of Mahler’s most emotionally
complex, intimate works: the epic The Song of the Earth, featuring soloists
Sasha Cooke “[who sings] with cut-glass precision and luminous depth”
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Company, SF Playhouse, Aurora Theatre,
Magic Theatre, and Shotgun Players, among
others. As an instructor of theatrical combat,
Dave has taught classes and workshops for
Stanford University, UC Berkeley, UC Santa
Cruz, St. Mary’s College of California, San
Francisco Conservatory of Music, and Pixar
University. He is currently teaching stage
combat classes at Berkeley Rep’s School
of Theatre.
Lynne Soffer
VO I C E C OAC H
Lynne has served as dialect/text coach on over
265 productions at American Conservatory
Theater, San Francisco Opera, Magic Theatre,
California Shakespeare Theater, Marin Theatre
Company, TheatreWorks, the Old Globe,
Dallas Theater Center, Arizona Theatre Company, Arena Stage, Seattle Repertory Theatre,
and Denver Center, among others, including
over 35 productions for Berkeley Rep. Her
film and television credits include Fruitvale,
Metro, Duets, The Land of Milk and Honey, and
America’s Most Wanted. Lynne is also a professional actor, acting teacher, and director and
is the recipient of the 2011 Actors’ Equity Lucy
Jordan Humanitarian Award.
Amy Potozkin, csa
D I R E C T O R O F C A S T I N G/
A R T I S T I C A S S O C I AT E
This is Amy’s 26th season at Berkeley Rep.
Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona
Theatre Company, Aurora Theatre Company, B
Street Theatre, Bay Area Playwrights Festival,
Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre,
Social Impact Productions Inc., and Traveling
Jewish Theatre. Amy cast roles for various
independent films, including Conceiving Ada,
starring Tilda Swinton; Haiku Tunnel and Love
& Taxes, both by Josh Kornbluth; and Beyond
Redemption by Britta Sjogren. Amy received
her mfa from Brandeis University, where she
was also an artist in residence. She has been
an audition coach to hundreds of actors and a
presentation/communication coach to many
businesspeople. Amy taught acting at Mills
College and audition technique at Berkeley
Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay
Area. Prior to working at Berkeley Rep, she
was an intern at Playwrights Horizons in New
York. Amy is a member of csa, the Casting
Society of America, and was nominated for
Artios Awards for Excellence in Casting for The
Intelligent Homosexual’s Guide to Capitalism
and Socialism with a Key to the Scriptures and
One Man, Two Guvnors.
Tara Rubin, csa
CASTING
Tara has been casting at Yale Rep since 2004.
Her Broadway projects include Bullets Over
profiles
Broadway; Aladdin; A Time To Kill; Big Fish; The
Heiress; One Man, Two Guvnors (U.S. casting);
Ghost; How to Succeed in Business Without
Really Trying; Promises, Promises; A Little Night
Music; Billy Elliot; Shrek; Guys and Dolls; The
Farnsworth Invention; Young Frankenstein; The
Little Mermaid; Mary Poppins; Les Misérables;
Spamalot; Jersey Boys; The 25th Annual Putman
County Spelling Bee; The Producers; Mamma
Mia!; The Phantom of the Opera; and Contact.
She has cast for the off-Broadway shows Love,
Loss, and What I Wore and Old Jews Telling
Jokes. Tara has also worked for the Kennedy
Center, La Jolla Playhouse, Dallas Theater Center, the Old Globe, Westport Country Playhouse, and Bucks County Playhouse. Her film
work includes Lucky Stiff and The Producers.
Michael Suenkel
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley
Rep as the stage management intern for the
1984–85 season and is now in his 22nd year
as production stage manager. Some of his
favorite shows include 36 Views, Endgame,
Eurydice, Hydriotaphia, and Mad Forest. He has
also worked with the Barbican in London, the
Huntington Theatre Company, the Juste Pour
Rire Festival in Montreal, La Jolla Playhouse,
Pittsburgh Public Theater, the Public Theater
and Second Stage Theater in New York, and
Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s The Late
Henry Moss.
Tony Taccone
MICHAEL LEIBERT
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director
of Berkeley Rep, the Tony Award–winning
nonprofit has earned a reputation as an
international leader in innovative theatre. In
those 19 years, Berkeley Rep has presented
more than 70 world, American, and West
Coast premieres and sent 23 shows to New
York, two to London, and one to Hong Kong.
Tony has staged more than 40 plays in
Berkeley, including new work from Culture
Clash, Rinde Eckert, David Edgar, Danny Hoch,
Geoff Hoyle, Quincy Long, Itamar Moses,
and Lemony Snicket. He directed the shows
that transferred to London, Continental Divide
and Tiny Kushner, and two that landed on
Broadway as well: Bridge & Tunnel and Wishful
Drinking. Prior to working at Berkeley Rep,
Tony served as artistic director of Eureka Theatre, which produced the American premieres
of plays by Dario Fo, Caryl Churchill, and David
Edgar before focusing on a new generation of
American writers. While at the Eureka, Tony
commissioned Tony Kushner’s legendary
Angels in America and co-directed its world
premiere. He has collaborated with Kushner
on eight plays at Berkeley Rep, including The
Intelligent Homosexual’s Guide to Capitalism
and Socialism with a Key to the Scriptures. Tony’s
regional credits include Actors Theatre of
Louisville, Arena Stage, Center Theatre Group,
the Eureka Theatre, the Guthrie Theater,
the Huntington Theatre Company, Oregon
Shakespeare Festival, the Public Theater, and
Seattle Repertory Theatre. As a playwright, he
debuted Ghost Light, Rita Moreno: Life Without
Makeup, and Game On, written with Dan
Hoyle. In 2012, Tony received the Margo Jones
Award for “demonstrating a significant impact,
understanding, and affirmation of playwriting,
with a commitment to the living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration
and operations of the Theatre. She has served
as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent
the interests of nonprofit theatres across the
nation. Susan chaired panels for the Massachusetts Arts Council and has also served on
program panels for Arts Midwest, the Joyce
Foundation, and the National Endowment for
the Arts. Closer to home, Susan serves on the
board of the Downtown Berkeley Association
(dba). She is the founding chair of the Berkeley
Arts in Education Steering Committee for
Berkeley Unified School District and the
Berkeley Cultural Trust. She was awarded
the 2012 Benjamin Ide Wheeler Medal by the
Berkeley Community Fund. Susan serves on
the faculty of Yale School of Drama and is
a proud member of the Mont Blanc Ladies’
Literary Guild and Trekking Society. She lives
in Berkeley with her husband.
Theresa Von Klug
G E N E R A L M A N AG E R
Theresa joined Berkeley Rep at the beginning
of the 2015–16 season. She has over 20 years
of experience in the New York not-for-profit
performing arts sector where she has planned
and executed events for dance, theatre, music,
television, and film. Most recently she was
the interim general manager for the Public
Theater and general manager/line producer
for Theatre for a New Audience, where she
opened its new state-of-the-art theatre in
Brooklyn, and filmed a major motion picture
of the inaugural production of Julie Taymor’s A
Midsummer Night’s Dream, released June 2015.
Theresa has worked as a production manager
at the New Jersey Performing Arts Center and
New York City Center, including the famous
Encores! Great American Musicals in Concert,
and as a field representative/lead negotiator
for the Association of Theatrical Press Agents
and Managers. She holds a MS in Labor
Relations and Human Resources Management
from Baruch College.
Peter Dean
P R O D U C T I O N M A N AG E R
Peter arrived at Berkeley Rep in 2014 after
a 20-year career in New York, Boston, and
Denver. Prior to trekking across the country
to find home, Peter was serving as production
manager at the Public Theater, where favorite
works include Here Lies Love, Father Comes
Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical
collaborations with Sting, the Roots, and the
Eagles. Peter also spent time in New York
helping Alex Timbers to develop Rocky the
Musical, The Last Goodbye, and the cult classic
Dance Dance Revolution the Musical. Other favorites include working with Edward Albee to
remount The Sandbox and The American Dream
at their original home at the Cherry Lane Theatre, Little Flower of East Orange directed by
the late Phillip Seymour Hoffman, and being
a part of the development team for The Ride,
an interactive four-mile traveling performance
in the heart of Times Square. Regionally
Peter has had the honor of working with the
Huntington Theatre Company, American
Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals,
Colorado Ballet, Central City Opera, and the
Denver Center Theatre Company. Peter is a
graduate of Otterbein University.
Madeleine Oldham
R E S I D E N T D R A M AT U R G/ D I R E C T O R ,
T H E G R O U N D F LO O R
Madeleine is the director of The Ground Floor:
Berkeley Rep’s Center for the Creation and
Development of New Work and the Theatre’s
resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of The
House that will not Stand, Passing Strange, and
In the Next Room (or the vibrator play), among
others. As literary manager and associate
dramaturg at Center Stage in Baltimore,
she produced the First Look reading series
and headed up its young audience initiative.
Before moving to Baltimore, she was the
literary manager at Seattle Children’s Theatre,
where she oversaw an extensive commissioning program. She also acted as assistant and
interim literary manager at Intiman Theatre
in Seattle. Madeleine served for four years on
the executive committee of Literary Managers
and Dramaturgs of the Americas and has
also worked with act (Seattle), Austin
Scriptworks, Crowded Fire, the Eugene O’Neill
Theatre Center, the Kennedy Center, New
Dramatists, Playwrights Center, and Portland
Center Stage.
SEASON SPONSORS
Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s
board and is on the boards of San Francisco
Opera and the Straus Historical Society. He
is vice-chair of the Oxbow School in Napa
and an emeritus trustee of the San Francisco
Art Institute where he served as board chair.
Betty is on the boards of Earthjustice, Coro
Foundation, Sponsors for Educational Oppor2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3
tunity (seo), San Francisco Community College
Foundation, and Brandeis Hillel Day School.
They live in San Francisco.
SEASON SPONSORS
Michael and Sue have been interested in the
arts since they met and enjoy music, ballet,
and live theatre. Michael, who recently retired
as chairman and chief executive officer of
Macy’s West, served on Berkeley Rep’s board
of trustees from 1999 to 2006 and currently
serves on the board of directors of the Jewish
Museum. Sue serves on the board of the
World of Children. The Steinbergs have always
enjoyed regional theatre and are delighted to
sponsor Berkeley Rep this season.
SEASON SPONSORS
Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently
vice president of the board. He is chairman of
the Roda Group (rodagroup.com), a venturedevelopment company based in Berkeley focused on cleantech investments, best known
for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and
bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of
CoolSystems, a medical technology company,
and a member of the UC Berkeley Engineering
Dean’s college advisory board. He is chairman
of the board of trustees for the Mathematical
Sciences Research Institute; a member of the
board of Northside Center, a mental-health
services agency based in Harlem, New York
City; and a co-founder of the William Saroyan
Program in Armenian Studies at Cal. His wife,
Julie A. Kulhanjian, is an attending physician
at Oakland Children’s Hospital. They have
three children.
LEAD SPONSORS
Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they
moved with two young children in tow to
Berkeley. Their favorite evenings at Berkeley
Rep were usually the discussion nights where
often friends would join them as well. Michelle
and Bruce always felt that Berkeley Rep was an
exceptional Bay Area cultural treasure as it was
willing to support courageous new works and
nurture innovative young playwrights. In 2002,
Bruce and Michelle moved to London, where
they nourished themselves on a steady diet of
English theatre (note the proper spelling) until
they could return to their beloved Berkeley Rep.
They are delighted once again to be back in the
very center of leading-edge theatre and are honored to be lead producers for two of this season’s great productions. Their two now grown
children are also tremendous theatre junkies
and will hopefully be joining Bruce and Michelle
for some of this season’s performances.
profiles
Helen & John Meyer/Meyer Sound
Susan Chamberlin
John and Helen Meyer founded Meyer Sound
in 1979 to make high-quality, professional
sound systems. The company is now a global
leader offering a full-range of innovative audio
solutions including the patented Constellation Acoustic System recently installed in the
Peet’s Theatre. Global offices support clients
such as prestigious concert halls, sports stadiums, and airports, as well as restaurants, corporate boardrooms, and university classrooms
around the world. All products are manufactured at the company’s Berkeley headquarters
with premium materials and rigorous quality
control. Meyer Sound breakthroughs have
garnered more than 40 U.S. and international
patents and a string of top industry awards
including the prestigious R&D 100. A lifelong
passion for culture and community drives
John and Helen Meyer’s generous support
of performing arts organizations locally and
worldwide. The Meyers have subscribed to
Berkeley Rep since the Theatre’s inception,
and Helen has served as an integral member
of the Theatre’s board of trustees for 18 years.
Susan is a retired architect and project
manager. Currently she, along with her husband Steve, directs the work of their family
foundation. She also serves on the board of
the Oakland Museum of California and is the
vice-chair of the UC Berkeley Foundation
board of trustees.
LEAD SPONSORS
LEAD SPONSORS
Rachelle and Stewart are honored to sponsor
Macbeth. Rachelle is a social worker by training, serves on the board of Bay Area Community Services and volunteers for the Red Cross.
Stewart is a former vice chairman of Young &
Rubicam and partner/owner of mcgarrybowen. He serves as president on the Berkeley
Rep board and on the boards of a number of
startups including Ruby’s Rockets, JustGoGirl,
and Revelator Coffee Company.
Carole B. Berg
SPONSOR
Carole is a former president and longtime
member of Berkeley Rep’s board of trustees
since 1987, currently serving as a sustaining
advisor. She founded and twice co-chaired the
highly successful Narsai Toast, which has now
become the Speakeasy gala. She has served
as a past president of the Marin Symphony
Association, a founding member of the Berkeley Festival and Exhibition, and as a trustee
for numerous Bay Area arts and community
organizations, among them American Bach
Soloists, Berkeley Community Fund, Cal Performances, Community Music Center, Kronos
Quartet, Marin Theatre Company, Philharmonia Baroque Orchestra, San Francisco Performances, and San Francisco Symphony Youth
Orchestra Committee. A former music major,
she has a passion for the performing arts, the
Warriors, and the Oakland A’s, not necessarily
in that order. SPONSOR
SPONSORS
Robin and Rich have been strong supporters
of Berkeley Rep for more than 20 years when
they started serving on the gala committee
(on which they continue to serve). Rich was
co-chair of the Narsai Toast for five years.
Robin retired from active law practice as a
partner of Dentons US llp four years ago and
joined Berkeley Rep’s board in early 2012. Rich
retired in 1998 as a senior partner of SF’s Robertson Stephens & Co., a high-tech-focused
investment bank, and became a professional
photographer. Both Rich and Robin have been
very active as board members and fundraisers
for numerous Bay Area nonprofit organizations. They now spend about half the year
traveling the world by sea.
SPONSORS
Sandra McCandless is a long-standing
Berkeley Rep board member who has served
as co-chair of the corporate committee and
as a member of the executive and compliance
committees. Sandra represents management
in employment matters as a partner of the
global law firm Dentons US llp. She is also a
neutral arbitrator for the American Arbitration
Association. Sandra has been named one
of the Most Influential Women in Bay Area
Business by the San Francisco Business Times.
Sandra is also a leader of the American Bar
Association, the largest professional services
organization in the world, and has served on
its board of governors and chair of its finance
committee. Ross teaches science and mathematics at Mount Diablo High School and is an
avid dancer and birdwatcher. The McCandless’
love of theatre dates back to Sandra and Ross’
joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter
Phyra McCandless and son-in-law Angelos
Kottas are also enthusiastic members of the
Berkeley Rep family.
SPONSORS
Len is a partner in the Palo Alto and San Francisco offices of Mayer Brown llp, an international law firm, where he is the co-head of the
West Coast real estate practice and a leader of
the cross-border real estate investment practice. He is a member of Berkeley Rep’s board
of trustees and is currently secretary of the
board. Len also heads the local alumni chapter
of his alma mater, Brandeis University, and serves
on the Alumni Association board of directors. Arlene, a recovering lawyer, serves on the boards of
the couple’s local educational foundation and their
synagogue, Peninsula Temple Sholom. Len and
Arlene have two teenaged sons and a lot of miles
on their car. Now removed from the cold winters
and thriving theatre scene of their former home,
Chicago, Len and Arlene have enjoyed deepening
their attachment to Berkeley Rep over the years,
and are delighted to be sponsoring Macbeth.
The Bernard Osher Foundation
PRODUC TION SPONSOR
The Bernard Osher Foundation, supporting higher
education and the arts, was founded in 1977 by
Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding at colleges and universities across the
nation, with a recent emphasis on assisting reentry
students. In addition, the Foundation supports a
national network of lifelong learning institutes for
seasoned adults on the campuses of 119 institutions of higher education. The Foundation also
benefits programs in integrative medicine at Harvard University, Northwestern University, ucsf,
and Vanderbilt University in the United States
as well as at the Karolinska Institute in Sweden.
Finally, an array of performing arts organizations,
museums, and select educational programs in the
San Francisco Bay Area and the state of Maine receive Foundation grants. Barbro Osher, Honorary
Consul General of Sweden in California, chairs the
Foundation’s Board of Directors.
KATHIE LONGINOTTI
REALTOR® and Berkeley Rep Subscriber
510.981.3032
www.AtHomeEastBay.com
BART
SEASON SPONSOR
Bay Area Rapid Transit (bart) is the backbone of
the Bay Area transit network and serves more than
100 million passengers annually. bart’s all-electric trains make it one of the greenest and most
energy-efficient transit systems in the world. Visit
bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart
(like Berkeley Rep!). At bart.gov/bartable, you can
get discounts, enter sweepstakes offering fantastic
prizes, and find unique and exciting things to
do just a bart ride away. While you’re there, be
sure to sign up for bartable This Week, a free,
weekly email filled with the latest and greatest
bartable fun.
KPIX-TV (Channel 5)
SEASON SPONSOR
kpix 5 shares a commitment with cbs News to
original reporting. “Our mission is to bring you
compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager
Bruno Cohen. “And just like Berkeley Rep, we’re
passionate about great storytelling. We strive
to showcase unique stories that reflect the Bay
Area’s innovative spirit, incredible diversity, and
rich culture as well as its challenges.” Sister station
kbcw 44 Cable 12 airs the region’s only halfhour newscast at 10pm. Produced by the kpix 5
newsroom, “Bay Area NightBeat” offers viewers a
fresh perspective on current events along with a
lively — and often provocative — look at what the
Bay Area is saying and sharing online and in social
media. Both stations are committed to supporting
valuable community organizations such as Berke-
Coldwell Banker Berkeley
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to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell
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Real Estate LLC, Coldwell Banker Residential Brokerage or NRT LLC. CalBRE License #01908304.
EXPRESS YOUR
DISCOVER THE BEST OF YOUR ARTISTIC
SELF WITH OVER 40 THEATRE CLASSES
FOR EVERY AGE, LEVEL, AND INTEREST.
New youth, teen, and adult classes
start April 4 —register today!
Summer Theatre Intensive
GRADES 6–8 • JUN 20–JUL 15
GRADES 9–12 • JUL 19–AUG 12
berkeleyrep.org/classes
financial aid available for youth/teen classes
Filmmaking & Acting Intensive
GRADES 9–12 • JUL 18–AUG 5
berkeleyrep.org/summerintensive
financial aid available
ley Rep, and are proud to serve as season
media sponsors.
HOME
Peet’s Coffee
SEASON SPONSOR
Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and salutes
Berkeley Rep for its dedication to the highest
artistic standards and diverse programming.
Peet’s is honored to support Berkeley Rep’s
renovation of the new, state-of-the-art Peet’s
Theatre. In 1966, Alfred Peet opened his first
store on Vine and Walnut in Berkeley, and
Peet’s has been committed to the Berkeley
community ever since. As the pioneer of the
craft coffee movement in America, Peet’s is
dedicated to small-batch roasting, superior
quality beans, freshness, and a darker roasting
style that produces a rich, flavorful cup. Peet’s
is locally roasted in the first leed® Gold certified roaster in the nation.
Wells Fargo
SEASON SPONSOR
G
As the top corporate philanthropist in the Bay
Area (according to the S.F. Business Times),
Wells Fargo recognizes Berkeley Repertory
Theatre for its leadership in supporting the
performing arts and its programs. Founded
in 1852 and headquartered in San Francisco,
Wells Fargo provides banking, insurance,
investments, mortgage, and consumer and
commercial finance. Talk to a Wells Fargo
banker today to see how they can help you
become more financially successful.
Assistant fight director
Megan Messinger
Assistant lighting designer
Steven Sorenson
R E A L T O R S
GRUBBCO.COM
AS
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20 LA
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Additional staff
The GRUBB Co.
Assistant scenic designer
Maya Linke
Costume shop
Allison Mortimer
Deck crew
Melina Cohen-Bramwell
Gabriel Holman
Matt Reynolds
Electrics
Melina Cohen-Bramwell
Gabriel Holman
Brad Hopper
Will Poulin
Minerva Ramirez
Matt Reynolds
Sarina Renteria
Corey Schaeffer
Andrea J. Schwartz
Kourtney Snow
Caitlin Steinmann
Molly Stewart-Cohn
Thomas Weaver
Lauren Wright
Production assistant
Sofie Miller
Twelfth Night
Great Expectations
The River Bride
Roe
Timon of Athens
The Yeomen
of the Guard
Vietgone
Richard II
Hamlet
The Wiz
The Winter’s Tale
Amy Kim Waschke in The Winter’s Tale
ELEVEN PLAYS IN THREE THEATRES • FEBRUARY 19-OCTOBER 30
800-219-8161 • osfashland.org
Additional staff
CO N TIN U E D
Props artisans
Amelia Burke-Holt
Zoe Gopnik-McManus
Noah Kramer
Rebecca Willis
Scene shop
Ross Copeland
Brian Fugelsang
William Gering
Noah Lange
Carl Martin
Sam Sheldon
Colin Suemnicht
Read Tuddenham
Scenic artists
Lassen Hines
Chris Jee
Anya Kazimierski
Noah Kramer
Noah Lange
Emma Lehman
Anna McGahey
Andrea Phillips
Studio teacher
Victoria Northridge
sdcf Sir John Gielgud Fellow
Chika Ike
Video crew
Sarina Renteria
Audrey Wright
Lauren Wright
Wardrobe
Megan Finley
Christina Weiland
U.S. immigration representation
provided by the Law Office of Lisa Palter
(lisasvisas.com).
MEET US IN THE BAR!
Join us for signature cocktails
curated by East Bay
Spice Company, wine paired
with each play, craft beer, and
delectable treats.
Open before and after the show,
and during intermission
Intimate. Eclectic. Adventurous.
ANNOUNCING
SF OPERA LAB SEASON ONE
Join us for the inaugural season in the Dianne and Tad Taube
Atrium Theater at the Diane B. Wilsey Center for Opera.
WINTERREISE
SVADBA-WEDDING
Schubert’s Romantic song cycle
of longing and loneliness is taken
to new heights in this multimedia
collaboration between South African
artist William Kentridge, baritone
Matthias Goerne and pianist Markus
Hinterhäuser.
A Serbian bride-to-be and her friends
prepare for her wedding day in this
a cappella opera with co-music
directors Dáirne Ní Mheadhra and
John Hess. Michael Cavanagh directs
this exuberant new production.
ChamberWORKS
VOIGT LESSONS
Franz Schubert
March 11–13 • $125
April 7 and 20 $35
•
Members of the San Francisco Opera
Orchestra perform two eclectic and
intimate nights of music and song
featuring the 2016 Adler Fellows.
Highlights include the premiere
of “Bourne to Shelley” by Shinji
Eshima (April 7), and Adler Julie
Adams performing works by Previn,
Chausson and Ponchielli (April 20).
Ana Sokolović
April 2–10 • $75
May 6 and 8 $45
•
The superstar soprano’s one-woman
show, developed with playwright
Terrence McNally and director
Francesca Zambello, weaves songs
and arias into a vivid and moving
account of her life and career with
music direction by Kevin Stites.
Winterreise is sponsored, in part, by The Sarah Ratchye and Edward Frank Family Foundation.
Svadba-Wedding is sponsored, in part, by Dianne and Tad Taube.
THE TRIPLETS
OF BELLEVILLE
CINE-CONCERT
BenoÎt Charest
April 14–23 • $25
Be transported to 1920s Paris and Le
Jazz Hot in a live performance of the
original score during a screening of
this beloved animated film.
sfoperalab.com
(415) 864-3330
Veterans Building
401 Van Ness Ave., Fourth Floor
The Taube Atrium Theater is
equipped with the Meyer Sound
Constellation® acoustic system.
Media Sponsor
A.C.T.'s WINTER/SPRING season—
4 - P L AY P A C K A G E S S TA R T AT $ 1 3 A P L AY .
A MYTHICAL NEW AMERICAN MUSICAL
THE WEST COAST PREMIERE OF
BROADWAY’S BRILLIANT NEW COMEDY
MAR 9–APR 3 AT THE GEARY THEATER
FEB 3–APR 10 AT THE STRAND THEATER
A FUNNY AND HEARTBREAKING MUSICAL
ABOUT FINDING “THE ONE”
DAVID STRATHAIRN RETURNS TO A.C.T.
Chester
Bailey
Photo by Kevin Berne
MAY 11–JUN 5 AT THE GEARY THEATER
MAY 25–JUN 12 AT THE STRAND THEATER
ACT-SF.ORG/JOIN
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We thank the many institutional partners who enrich our community by
championing Berkeley Rep’s artistic and community outreach programs.
We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who
made their gifts between December 2014 and January 2016.
G IF T S O F $ 10 0,0 0 0 A N D A B OV E
The California Endowment
The California Wellness Foundation
The William & Flora Hewlett Foundation
The Shubert Foundation
G IF T S O F $50,0 0 0 –9 9,9 9 9
Akonadi Foundation
The Reva and David Logan Foundation
National Endowment for the Arts
The Bernard Osher Foundation
The Harold and Mimi Steinberg Charitable Trust
BE R K E L E Y R E P T H A N K S
G IF T S O F $2 5,0 0 0 –49,9 9 9
Anonymous
BayTree Fund
Edgerton Foundation
The Ira and Leonore S. Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
G IF T S O F $ 10,0 0 0 –24,9 9 9
map Fund
Sierra Health Foundation
Institutional Partners
G IF T S O F $5,0 0 0 –9,9 9 9
Anonymous
Berkeley Civic Arts Program
Distracted Globe Foundation
East Bay Community Foundation
Ann and Gordon Getty Foundation
Panta Rhea Foundation
Ramsay Family Foundation
The Ida and William Rosenthal Foundation
G IF T S O F $750 –4,9 9 9
Alameda County Arts Commission/artsfund
Berkeley Association of Realtors
Joyce & William Brantman Foundation
Civic Foundation
The Entrekin Foundation
jec Foundation
twanda Foundation
COR P OR AT E S P ON S OR S
SEASON SPONSORS
G I F T S O F $ 10 0,0 0 0 A N D A B OV E
SPONSORS
G I F T S O F $ 3,0 0 0 – 5,9 9 9
Mechanics Bank Wealth Management
The Morrison & Foerster Foundation
4U Sports
Bayer
Gallagher Risk Management Services
Macy’s
Union Bank
CO R P O R AT E PA R T N E R S
G I F T S O F $ 6,0 0 0 –11,9 9 9
LE A D S P O N S O R
G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9
American Express
PE R FO R M A N CE S P O N S O R S
G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9
Armanino llp
City National Bank
Deloitte
LG Wealth Management llc
Meyer Sound
Panoramic Interests
Schoenberg Family Law Group
U.S. Bank
B U S IN E S S M E M B E R S
G I F T S O F $ 1, 5 0 0 –2 ,9 9 9
Bank of the West
BluesCruise.com
Cooperative Center Federal Credit Union
McCutcheon Construction
Oliver & Company
E XECU TIV E S P O N S O R S
G I F T S O F $ 2 5,0 0 0 –49,9 9 9
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent
opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and
arts education in the community.
For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S
act Catering
Angeline’s Louisiana Kitchen
Aurora Catering
Autumn Press
Bare Snacks
Bistro Liaison
Bogatin, Corman & Gold
C.G. Di Arie Vineyard & Winery
Café Clem
Comal
Cyprus
Dashe Cellars
Domaine Carneros by Taittinger
Donkey & Goat Winery
Drake’s Brewing Company
East Bay Spice Company
etc Catering
Eureka!
Farella Braun & Martel llp
Farm League Design &
Management Group
five
Folie à Deux
Gather Restaurant
Gecko Gecko
Hafner Vineyard
Hotel Shattuck Plaza
Hugh Groman Catering &
Greenleaf Platters
Jazzcaffè
Kevin Berne Images
La Mediterranee
La Note
Latham & Watkins llp
Match Vineyards
Mayer Brown llp
Pathos Organic Greek Kitchen
Phil’s Sliders
Picante
PiQ
Public Policy Institute
of California
Quady Winery
Revival Bar + Kitchen
The Ritz-Carlton, San Francisco
St. George Spirits
Sweet Adeline
Tigerlily Berkeley
Venus Restaurant
Whole Foods Market
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
Pro-bono legal services are
generously provided by
Farella Braun & Martel llp,
Latham & Watkins llp, and
Mayer Brown llp
M AT C H I NG G I F T S
The following companies have matched their
employees’ contributions to Berkeley Rep. Please
contact your company’s HR office to find out if your
company matches gifts.
Adobe Systems Inc. · Advent Software · American
Express · Apple · Applied Materials · Argo Group ·
at&t · Bank of America · BlackRock · Bristol Myers
Squibb · Charles Schwab & Co, Inc · Chevron
Corporation · Clorox · Constellation Energy · Dolby ·
Gap · Genentech · Google · ibm Corporation · John
Wiley & Sons, Inc. · kla Tencor · Lawrence Livermore
National Laboratory · Macy’s Inc. · Matson
Navigation Company · Microsoft · Morrison &
Foerster · norcal Mutual Insurance Company ·
Nvidia · Oracle Corporation · Salesforce.com · Shell
Oil · Sidley Austin llp, San Francisco · Synopsys · The
Walt Disney Company · Union Bank, The Private
Bank · visa u.s.a., Inc.
BE R K E L E Y R E P
THANKS
Donors to the Annual Fund
We thank the many individuals in our community who help Berkeley Rep produce
adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands
of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual
Fund, who made their gifts between December 2014 and January 2016.
To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
S P ON S OR C I RC L E
SEASON SPONSORS
$ 10 0,0 0 0 +
LE A D S P O N S O R S
$ 5 0,0 0 0 – 9 9,9 9 9
Martha Ehmann Conte
Frances Hellman & Warren Breslau
Wayne Jordan & Quinn Delaney
Ms. Wendy E. Jordan
Jane Marvin/Peets Coffee
Mary Ruth Quinn & Scott Shenker
Steve Silberstein
E XECU TIV E S P O N S O R S
$ 2 5,0 0 0 –49,9 9 9
Edward D. Baker
Rena Bransten
John & Stephanie Dains
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson M
Edward Kaufmann
Pam & Mitch Nichter
Marjorie Randolph
Sheli & Burt Rosenberg, in honor of
Leonard X Rosenberg
Jack & Valerie Rowe
Jean & Michael Strunsky
Guy Tiphane
Gail & Arne Wagner
A S S O CIAT E S P O N S O R S
$ 6,0 0 0 – 11,9 9 9
SPONSORS
$ 12 ,0 0 0 –2 4 ,9 9 9
Anonymous
Barbara & Gerson Bakar
Carole B. Berg
Maria Cardamone & Paul Matthews
Susan Chamberlin
David & Vicki Cox
Thalia Dorwick
David & Vicki Fleishhacker
Paul Friedman & Diane Manley M
Paul Haahr & Susan Karp
Scott & Sherry Haber
Jack Klingelhofer
Dixon Long
Dugan Moore
Joan Sarnat & David Hoffman
Liliane & Ed Schneider
Norah & Norman Stone
Janis Turner
Felicia Woytak & Steve Rasmussen
Anonymous (3)
Shelley & Jonathan Bagg
Edith Barschi
Neil & Gene Barth
Valerie Barth & Peter Wiley
Lynne Carmichael
Daniel Cohn & Lynn Brinton
Julie & Darren Cooke
Robert Council & Ann Parks-Council
Daryl Dichek & Kenneth Smith, in memory
of Shirley D. Schild
Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards M
Tracy & Mark Ferron
John & Carol Field, in honor of
Marjorie Randolph
Virginia & Timothy Foo
Jill & Steve Fugaro
Mary & Nicholas Graves
Doug & Leni Herst, in honor of Susie Medak
Hitz Foundation
Christopher Hudson & Cindy J. Chang, MD
Seymour Kaufman & Kerstin Edgerton
Wanda Kownacki
Ted & Carole Krumland
Zandra Faye LeDuff
Peter & Melanie Maier, in honor of
Jill Fugaro
Dale & Don Marshall
Martin & Janis McNair
Susan Medak & Greg Murphy,
in honor of Marcia Smolens
John & Helen Meyer / Meyer Sound
Steven & Patrece Mills M
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Barbara L. Peterson
Sue Reinhold & Deborah Newbrun
Kaye Rosso
Pat Rougeau
Patricia Sakai & Richard Shapiro
Cynthia & William Schaff
Emily Shanks
Pat & Merrill Shanks
Karen Stevenson & Bill McClave
Lisa & Jim Taylor
Wendy Williams
Linda & Steven Wolan
Martin & Margaret Zankel
A R T I S T IC DI R E C T OR’ S C I RC L E
PA R T N E R S
$ 3,0 0 0 – 5,9 9 9
Anonymous (4)
Marcia & George Argyris
Stephen Belford & Bobby Minkler
Becky & Jeff Bleich
Cynthia & David Bogolub
Kim Boston K
Jim Butler
Brook & Shawn Byers
Ronnie Caplane
Jennifer Chaiken & Sam Hamilton
Constance Crawford
Karen & David Crommie
Lois M. De Domenico
Delia Fleishhacker Ehrlich
Nancy & Jerry Falk
Karen Galatz & Jon Wellinghoff
Richard & Lois Halliday
Earl & Bonnie Hamlin
Vera & David Hartford
Renee Hilpert K
Richard N. Hill & Nancy Lundeen
James C. Hormel &
Michael P. Nguyen, in honor of
Rita Moreno
Lynda & Dr. J. Pearce Hurley
Kathleen & Chris Jackson
Duke & Daisy Kiehn
Rosalind & Sung-Hou Kim
Louise Laufersweiler &
Warren Sharp
Christopher & Clare Lee
Charlotte & Adolph Martinelli
Phyra McCandless &
Angelos Kottas
Miles & Mary Ellen McKey
Michele & John McNellis
Toby Mickelson & Donald Brody
Eddie & Amy Orton
Janet Ostler
Sandi & Dick Pantages
Pease Family Fund
Kermit & Janet Perlmutter
Ivy & Leigh Robinson
David S. H. Rosenthal &
Vicky Reich
Beth & David Sawi
Stephen Schoen & Margot Fraser
Linda & Nathan Schultz
Beryl & Ivor Silver
Audrey & Bob Sockolov
Vickie Soulier
Stephen Stublarec &
Debra S. Belaga
Deborah Taylor
Pamela Gay Walker/
Ghost Ranch Productions
Patricia & Jeffrey Williams
Sheila Wishek
Sally Woolsey
Mark & Jessica Nutik Zitter
B E N E FAC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (9)
Mel Adamson K
Naomi Auerbach & Ted Landau
Nina Auerbach
Linda & Mike Baker
Michelle L. Barbour
Don & Gerry Beers M
David Beery & Norman Abramson
Annikka Berridge
BluesCruise.com
Brian Bock and Susan Rosin
Caroline Booth
Linda Brandenburger
Broitman-Basri Family
Don & Carol Anne Brown
Katherine S. Burcham M
Stephen K. Cassidy &
Rebecca L. Powlan
Leslie Chatham & Kathie Weston
Terin Christensen
Ed Cullen & Ann O'Connor
James Cuthbertson
Meredith Daane M
Barbara & Tim Daniels M
Jim & Julia Davidson
Richard & Anita Davis
Ilana DeBare & Sam Schuchat
David & Helen Dichek
Francine & Beppe Di Palma
Becky Draper
Susan English & Michael Kalkstein
Bill & Susan Epstein, in honor of
Marge Randolph
Merle & Michael Fajans
Cynthia A. Farner
Lisa & Dave Finer
Ann & Shawn Fischer Hecht
Linda Jo Fitz M
Patrick Flannery
James & Jessica Fleming
Jacques Fortier
Thomas & Sharon Francis
Herb & Marianne Friedman
Don & Janie Friend, in honor of
Bill & Candy Falik
Christopher R. Frostad M
James Gala
Dennis & Susan Johann Gilardi
Marjorie Ginsburg &
Howard Slyter
Daniel & Hilary B. Goldstine
Phyllis & Gene Gottfried
Robert & Judith Greber
William James Gregory
Garrett Gruener & Amy Slater
Ms. Teresa Burns Gunther &
Dr. Andrew Gunther
Migsy & Jim Hamasaki
Bob & Linda Harris
Ruth Hennigar
In memory of Vaughn &
Ardis Herdell
Howard Hertz & Jean Krois
Bill Hofmann & Robbie Welling M
The Hornthal Family Foundation,
in honor of Susie Medak's
leadership
Rick Hoskins & Lynne Frame
Paula Hughmanick &
Steven Berger
George & Leslie Hume
Ingrid Jacobson
Beth & Fred Karren
Doug & Cessna Kaye
Bill & Lisa Kelly
Steve K. Kispersky
Jean & Jack Knox
Lynn Eve Komaromi, in honor of
the Berkeley Rep Staff
John Kouns & Anne Baele Kouns
Robert Lane & Tom Cantrell
Randy Laroche & David Laudon
Sherrill Lavagnino &
Scott McKinney
Andrew Leavitt & Catherine Lewis
Ellen & Barry Levine
Bonnie Levinson & Dr. Donald Kay
Erma Lindeman
Jennifer S. Lindsay
Tom Lockard & Alix Marduel
John Maccabee K
Vonnie Madigan
Elsie Mallonee
Naomi & Bruce Mann
Helen Marcus & David Williamson
Lois & Gary Marcus
Sumner & Hermine Marshall
Rebecca Martinez
Jill H. Matichak
Erin McCune
Kirk McKusick & Eric Allman
Dan Miller
Andy & June Monach
Scott Montgomery & Marc Rand
Jerry Mosher
Marvin & Neva Moskowitz
Daniel Murphy & Ronald Hayden
Judith & Richard Oken
Sheldeen Osborne
Joshua Owen & Katherine Robards
Judy O’Young, MD & Gregg Hauser
Matt Pagel & Corey Revilla
Gerane Wharton Park
Bob & MaryJane Pauley
Tom & Kathy Pendleton
David & Bobbie Pratt
Carol Quimby-Bonan
Andrew Raskopf &
David Gunderman
Bill Reuter & Ruth Major
Maxine Risley, in memory of
James Risley
John & Jody Roberts
Horacio & Angela Rodriguez
Deborah Romer & William Tucker
Boyard & Anne Rowe
Enid & Alan Rubin, in honor of
Rebecca Martinez
Lisa Salomon & Scott Forrest
Monica Salusky &
John K. Sutherland
Jeane & Roger Samuelsen
Stephen C. Schaefer
Jackie & Paul Schaeffer
Dan Scharlin & Sara Katz
Joyce & Jim Schnobrich
Neal Shorstein, MD &
Christopher Doane, in honor of
Gail Wagner, MD
Mark Shusterman, M.D.
Edie Silber & Steve Bomse
Dave & Lori Simpson
Amrita Singhal & Michael Tubach
Cherida Collins Smith
Ed & Ellen Smith
Sherry & David Smith
Sigrid Snider
David G. Steele
Andrew & Jody Taylor
Alison Teeman &
Michael Yovino-Young
Susan Terris
Jonathan & Kiyo Weiss
Beth Weissman
Wendy Willrich
Steven Winkel & Barbara Sahm
Charles & Nancy Wolfram
Ron & Anita Wornick
Sam & Joyce Zanze
Jane & Mark Zuercher
LEGEND
K in-kind gift
M matching gift
We are pleased to recognize
first-time donors to
Berkeley Rep, whose names
appear in italics.
CH A M PIO N S
$ 1,0 0 0 –1, 49 9
Anonymous (6) · Gertrude E. Allen, in
memory of Robert Allen · Peggy & Don Alter ·
Pat Angell, in memory of Gene Angell · Ross
E. Armstrong · Barbara Jones & Massey J.
Bambara M · Leslie & Jack Batson · Patti
Bittenbender · Dr. S. Davis Carniglia & Ms. M.
Claire Baker · Paula Carrell · Stan & Stephanie
Casper · Ed & Lisa Chilton · Patty & Geoff
Chin · Chris & Martie Conner · Phyllis
Coring K · Mike & Pam Crane · Teri Cullen ·
Abby & Ross Davisson · Harry & Susan
Dennis · Robert Deutsch · Corinne & Mike
Doyle · David & Monika Eisenbud · Paul
Feigenbaum & Judy Kemeny · Frannie
Fleishhacker · Lisa Franzel & Rod Mickels ·
Donald & Dava Freed · Judith & Alex Glass ·
Ann Harriman, in memory of Malcolm White ·
Elaine Hitchcock · Mr. & Mrs. Harold M.
Isbell · Ken & Judith Johnson · Randall
Johnson · Barbara E. Jones, in memory of
William E. Jones · Thomas Jones · Marilyn
Kecso · Christopher Killian & Carole
Ungvarsky · Janet Kornegay and Dan Sykes ·
Woof Kurtzman & Liz Hertz · William & Adair
Langston · Linda Laskowski · Glennis Lees &
Michael Glazeski · Nancy & George Leitmann,
in memory of Helen Barber · Jay & Eileen
Love · Meg Manske · John E. Matthews · Brian
& Britt-Marie Morris · Margo Murray · Paul
Newacheck · Claire Noonan & Peter
Landsberger · Judy Ogle · Lynette Pang &
Michael Man · Charles R. Rice · Richard
Rouse M · Mitzi Sales & John Argue · Teddy &
Bruce Schwab · Seiger Family Foundation ·
Alice & Scott So · Joshua & Ruth Simon ·
Douglas Sovern & Sara Newmann · John St.
Dennis & Roy Anati · Gary & Jana Stein · Annie
We gratefully recognize
the following members
of the Annual Fund whose
contributions were
received in December
2015 and January 2016:
S U PP O R T E R S
$ 2 5 0 –49 9
Anonymous (5) · Terry Pink Alexander & John
Blaustein, in honor of Susie Medak · Richard &
Ann Batman · Dr. Joan Bradus & Mr. Dale
Friedman M · Lawrence & Marilyn Capitelli ·
Joanne Casey · John & Izzie Crane M · Dawn
and Phil Daro · Michael Ehrenzweig & Josh
Bettenhausen · Malcolm D. Ewen · Richard &
Barbara Fikes · Daniel Friedland & Azlynda
Alim · Karl & Kathleen Geier · Gail Gordon &
Jack Joseph · Bonnie & Sy Grossman ·
Marilynn Hodgson · Juli Kauffman · Jalyn &
Lance Lang · John Leys · Christine Macomber ·
Peggy & John Mooney · Rex Morgan & Greg
Reniere · Jennifer Palangio · Fred & Susan
Pownall · Brian Saliman · Sonja Schmid · Rune
Stromsness · Joyce & Jack Sweitzer · Mark
Whatley & Danuta Zaroda
CO N T RIB U TO R S
$ 15 0 –2 49
Anonymous (6) · Ann Bauman · Charles
Benedict · Dupsi Brown-Kuria · R. Nelson
Byrne · William Chalkley · Jean Conger · Nancy
N. Conover · Rena Davidow · Jim & Cathy
Fisher · Marlyn Gershuny · David Gibson M ·
Judy & Jeff Greenhouse · Robert Hass · Joanne
Howard, in memory of Roy Howard · Elizabeth
Jasny · Jean Kay · Amalia Kessler & Adam
Stenzel · Michael Tilson Thomas & Joshua
Robison · Pate & Judy Thomson · Alistair &
Nellie Thornton · Deborah & Bob Van Nest ·
Lee Yearley & Sally Gressens
A DVO C AT E S
$500–999
Anonymous (20) · Denny Abrams · Fred &
Kathleen Allen · Kerrie Andow · Robert &
Evelyn Apte · Jerry & Seda Arnold · Gay & Alan
Auerbach · Steven & Barbara Aumer-Vail ·
Todd & Diane Baker · Celia Bakke · Steve
Benting & Margaret Warton · Richard & Kathy
Berman · Robert Berman & Jane Ginsburg ·
Caroline Beverstock · Steve Bischoff · Gun
Bolin · Ellen Brackman & Deborah Randolph ·
Diane Brett · Eric Brink & Gayle Vassar M · Jill
Bryans · Wendy Buchen · Barbara & Robert
Budnitz · Don Campbell and Family · Dr. Paula
Campbell · Robert & Margaret Cant · Bruce
Carlton · John Carr · Carolle J. Carter & Jess
Kitchens · Laura Chenel · Kim & Dawn Chase ·
Karen Clayton & Stephen Clayton · Dennis
Cohen & Deborah Robison · Robert & Blair
Cooter · Philip Crawford · Sharon & Ed
Cushman · Jill & Evan Custer · Robert & Loni
Dantzler · Pat & Steve Davis · Jacqueline
Desoer · Noah & Sandra Doyle · Kristen
Driskell · Linda Drucker & Lawrence Prozan ·
Burton Peek Edwards & Lynne Dal Poggetto ·
Roger & Jane Emanuel · Meredith & Harry
Endsley M · Gini Erck & David Petta · Michael
Evanhoe · James Finefrock & Harriet Hamlin ·
Brigitte & Louis Fisher · Martin & Barbara
Fishman · Patrick Flannery · Robert Fleri, in
memory of Carole S. Pfeffer · Stephen
Follansbee & Richard Wolitz · Midge Fox K ·
Dean Francis · Nancy H. Francis · Harvey &
Deana Freedman · Paul & Marilyn Gardner ·
Talcott · Kimberly Landes, in honor of Al &
Carole Johnson · David Lesnini · The Medress
Family Fund of the Jewish Community
Foundation · Anthony Meier · Spencer &
Roberta Michels · Gregg & Ruth Morris · Jim
Murphy · Gerald and Ellen Oicles · Ralph Pais
& Gayl Huston · Daniel Palmerlee · Robert &
Audrey Pedrin · Beth Polland · Paco Ramirez ·
Marcia Ribner · Joe Rudy M · Emily D. Sexton ·
Dr. & Mrs. Gary Shrago · Debbie Smith ·
Richard & Darlene Smith · Donald Stang &
Helen Wickes · Jane & Jay Taber · Jules Tippett ·
Henry & Susan Veit · Laurie Walter
FRIE N D S
$ 75 –149
Anonymous (10) · Ida and Myles Abbott ·
Robert & Karen Abra · Barry & Joanne
Adcock · Elizabeth & Robert Andersen · John
& Kaaren Antoun · Judy & Robert Aptekar ·
David Arpi & Natalie Gubb · Vanessa Baker ·
Michael & Della Barnett · Phil & Jane Batson ·
Linda & Bob Beckstrom · Richard & Carol
Bee · Robin & Edward Blum · Eric B. Brown ·
Mary Campisi · John E. Caner · Ken Waldeck &
Paula A Clark · Todd Douglas, in honor of The
Dickerhoff Family · Edmund L. DuBois ·
Michelle B. Edwards · Marjorie Esquivil ·
Catherine & John Faust · Laury Fischer & Sue
Schweik · Ellen & Jon Florey · Catherine E. Fox ·
David & Susan Garfin · Harold & Gail
Glassberg · Susan & Steve Grand · Lynn
Greenberg & Michael Rothschild · Ruth N.
Greenwald · Eric Hahn · Halprin/Khaligh ·
Christina Halsey · Richard & Sylvia Hammond,
in honor of Leo & Lidewey Blitz · Austin &
Lynne Henderson · Lisa Herrinton · Winifred
Hess · Charles Howard, in memory of the
Howard Family · Estie Sid Hudes · Lynn
Ireland · Barbara B Job · Marjorie & Theodore
Keeler · Carli Kim · Debie Krueger, in memory
of Alex Maffei · Judith Lamberti, MD · Sushma
Tim Geoghegan · Robert Goldstein & Anna
Mantell · Susan & Jon Golovin · Jane
Gottesman & Geoffrey Biddle · Linda
Graham · Priscilla Green · Don & Becky
Grether · Dan & Linda Guerra · John G.
Guthrie · Ken & Karen Harley · Janet Harris ·
Dan & Shawna Hartman Brotsky M · Geoffrey
& Marin-Shawn Haynes · Irene & Robert
Hepps · Steven Horwitz K · Helmut H.
Kapczynski & Colleen Neff · Patricia Kaplan ·
Marjorie & Robert Kaplan, in honor of Thalia
Dorwick · Natasha Khoruzhenko & Olegs
Pimenovs · Beth & Tim Kientzle M · Mary S.
Kimball · Beverly Phillips Kivel · Jeff Klingman
& Deborah Sedberry · Judith Knoll · Joan &
David Komaromi · Yvonne Koshland · Jennifer
Kuenster & George Miers · Natalie Lagorio ·
Jane & Michael Larkin · Almon E. Larsh Jr ·
Henry Lerner · Ray Lifchez · Renee M. Linde ·
Mark & Roberta Linsky · Bruce Maigatter &
Pamela Partlow · Joan & Roger Mann · Sue &
Phil Marineau · Marie S. McEnnis · Sean
McKenna · Christopher McKenzie & Manuela
Albuquerque · Brian McRee · Ruth Medak ·
Geri Monheimer · Ronald Morrison · Patricia
Motzkin & Richard Feldman · Moule Family
Fund · Ron Nakayama · Kris & Peter
Negulescu · Jeanne E. Newman · Pier &
Barbara Oddone, in memory of Michael
Leibert · Peggy O'Neill · Carol J. Ormond ·
Mary Papenfuss & Roland Cline · Nancy Park ·
Brian D. Parsons · James Pawlak · P. David
Pearson · Bob & Toni Peckham, in honor of
Robert M. Peckham, Jr. · Lewis Perry · Suzanne
Pierce, in honor of Carol D. Soc · F. Anthony
Placzek · Gary F. Pokorny · Charles Pollack &
Joanna Cooper · Susie & Eric Poncelet ·
Roxann R. Preston · Rich Price · Linda Protiva ·
Laurel & Gerald Przybylski · Dan & Lois
Purkett · Kathleen Quenneville · David &
Mary Ramos · Sheldon & Catherine Ramsay ·
Adam Rausch K · Arthur Reingold & Gail
Bolan · Helen Richardson · Wesley Richert ·
Paul & Margaret Robbins · Gary Roof &
Douglas Light · Ronald & Karen Rose · Marie
Rosenblatt · Geri Rossen · Jirayr & Meline
Roubinian · Deborah Dashow Ruth, in
memory of Leo P. Ruth · Eve Saltman & Skip
Roncal, in honor of Kerry Francis & John
Jimerson · Dorothy R. Saxe · Joyce & Kenneth
Scheidig · Laurel Scheinman · Bob & Gloria
Schiller · Mark Schoenrock & Claudia
Fenelon · John & Lucille Serwa · Lyman
Shaffer · Brenda Buckhold Shank, M.D., Ph.D. ·
Margaret Sheehy · Steve & Susan Shortell ·
Margaret Skornia · William & Martha Slavin ·
Carra Sleight · Suzanne Slyman · Jerry & Dick
Smallwood · Louis & Bonnie Spiesberger ·
Robert & Naomi Stamper · Herbert
Steierman · Monroe W. Strickberger · Prof
Jeremy Thorner & Dr. Carol Mimura · Karen
Tiedemann & Geoff Piller · William van Dyk &
Margi Sullivan · Gerald & Ruth Vurek · Jon K.
Wactor · Adrian & Sylvia Walker · Louise &
Larry Walker · Kate Walsh & Dan Serpico ·
Buddy & Jodi Warner · Dena & Wayne
Watson-Lamprey · Mike Weinberger &
Julianne Lindemann · Harvey & Rhona
Weinstein · William R. Weir · Robert & Sheila
Weisblatt · Sallie Weissinger · Dr. Ben & Mrs.
Carolyn Werner · Elizabeth Werter & Henry
Trevor · Fred Winslow & Barbara Baratta ·
Laura & Ernest Winslow · Carol Katigbak
Wong · Evelyn Wozniak · Moe & Becky Wright ·
Margaret Wu & Ciara Cox · Sandra Yuen &
Lawrence Shore
Magnuson & Leif Magnuson · Joann
Malta-Weingard · Jim McDonald & Myrna
David · David W McMurry · Gary Meyer ·
Carrol Mills, in memory of Stan Eremia · Ethel
Mussen · Andre & Ellen Neu · Caroline
Putnam · Ann & Joseph Ranish · Donald Riley
& Carolyn Serrao · Nancy Rodriguez-Bell ·
Ruth Rosen & David Galin · Ann Rosenberg &
Lorenzo Kampel · Nicole Sanchez & Grace
Sanchez Noonan · Marsha Silberstein · Joan
Steber · Shayna & Elliott Stein · Shirley J. Svihra ·
Joyce Tayer · Michael & Katherine Taylor · Dan
& Mila Thomas · Douglas Tilden · Oscia
Timschell · Eric Ting & Meiyin Wang · Roseanna
Torretto · M. Christine Torrington · Jose
Vergara · Mary Wadsworth · Jim Wenninger ·
Margaret Wheeler · Patricia Wipf · Stan Zaks
Insel · Robert Jenkins · Samuel Jinich · Bruce
Johnson & Brooke Kuhn · Anne & Jeffery Katz ·
Kara Krone & Kevin Ligutom · Geoffrey Lasky ·
Dr. Doreen Leighton · Colleen & Brian Lewis ·
Jean Rowe Lieber · Michael Lim · Katherine
Lorber · Kevin Loughlin · Karen Lowhurst ·
Marcie MacDonough · Julie Mattoon · Joyce K.
Mendel · Trevor Meyerowitz · Terry
Meyers-Gibbins & John Gibbins · Chris Miller ·
Danessa & Steve Miller · Reid Miller · Farrokh
Modabber · Patricia Mondloch · Raymond
Montoya · Tim Moore · Veronica Morelos ·
Thomas Owen · Sara L. Pahlke · Doris Peacock,
in memory of Michael Duden, actor · Linda
Perkins · Ginny Preston · Paul & Christine
Prusiner · Judith Rabbie · Brandon Racer ·
Daniel & Barbara Radin · Teresa Ramirez ·
Gary M. Raucher · Richard B. Ressman ·
Thomas Ropelewski · Josh Rotenberg · Frances
Roth · Suzanne Samberg · Suzanne Sattergren ·
Maxine Sattizahn · Julia Scannell · Jamie
Schein · William Schnitzer · Benjamin
Schwartz · David & Pauline Schwartz, in
memory of Dr. Philip & Shirley Schield · Elizabeth
Schwerer · Alexander Scott · Kathleen Scott ·
Ryne Scott · Jerry Shluker · Will Stockard ·
Robert Strochak · Barbara Sullivan · Joyce
Suter · Susanna Tadlock · Michael Teichman ·
Tanya Telson · Ed & Barbara Tonningsen ·
Robert & Christen Treuhaft · Joanne A. Trezek ·
Shirley R. Trimble · Grace Wahlberg · Andre L.
Wilson & Robert E. Perry · Brad Witherspoon ·
Edith Zakai
PAT RO N S
$ 1 –74
Anonymous (8) · Don & Bette Anderson ·
James & Rebecca Austin · Lisa Bacani · Charles
Belov · Catherine Benedict · Lucia Blakeslee ·
Ann Blessing · Susan A. Blew · Maryalice
Bonilla · Anne Bosshardt · Benita & Burton
Boxerman, in honor of Leonard X Rosenberg ·
Sarah Brann · William Brown · Carl Brush ·
Michael Buchanan · Meredith Charlson, in
memory of Daniel Stone · Julie Chew · Sandra
Cioppa · Eleanor D. Cohen · Jane E. Connors ·
Mary & Matthew Connors · Wendy Cooper ·
Sean Culman · David Currie · Ms. Ellen Daniell ·
Guy Dunham · Ruth Dunham · Lisa Earl ·
Mariko Eastman · Bernadette Finch · Phillip
Fleishman · Rinat Fried · Ernest Galvan · Ann
Cirksena & Polly Gassler · Sidney & Eleanor
Glass · Astrid & Mark Goldman · Helen
Goldsmith & Paul Garson Heller · Mr. & Dr.
Martin Goldstein · James M. Hall · Mr. Steven
Hamman · Rosemary Hegarty · Robin Horner ·
Ann Humphrey · Charlotte & Neil Huntley ·
Mary Lou Hutson · John F. Inciardi · Barbara
Sustaining members
as of January 2016:
The Society welcomes the
following new members:
Thomas W. Edwards
& Rebecca Parlette-Edwards
Anonymous (6)
Norman Abramson & David Beery
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Susan & Barry Baskin
Carole B. Berg
Linda Brandenburger
Broitman-Basri Family
Jill Bryans
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Paula Champagne & David Watson
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Bill & Susan Epstein
William Espey & Margaret
Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey & Deana Freedman
Joseph & Antonia Friedman
Paul T. Friedman
Dr. John Frykman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Mary & Nicholas Graves
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Julie & Paul Harkness
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Lynda & Dr. J. Pearce Hurley
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez
Suzanne & Charles McCulloch
John G. McGehee
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Stephanie Mendel
Toni Mester
Shirley & Joe Nedham
Pam & Mitch Nichter
Sheldeen G. Osborne
Sharon Ott
Amy Pearl Parodi
Barbara L. Peterson
Regina Phelps
Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
David Rovno
Tracie E. Rowson
Deborah Dashow Ruth
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Guy Tiphane
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust—Weil Family
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Helen Barber
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Gladys Perez-Mendez
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected].
Extraordinary theatre.
All because of you.
Ensure more great theatre by exceptional
artists with your gift to the Annual Fund.
As a donor, you’ll receive special perks like
behind-the-scenes tours, free goodies at
concessions and much more!
Give today.
berkeleyrep.org/give · 510 647-2906
The cast of Amélie, A New Musical (photo courtesy of kevinberne.com)
BOA R D OF
T RU ST E E S
BE R K E L E Y R E P STA F F
Michael Leibert Artistic Director
Tony Taccone
ARTISTIC
Director of Casting &
Artistic Associate
Amy Potozkin
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Manager
Sarah Rose Leonard
Ground Floor Visiting
Artistic Associate
SK Kerastas
TCG Artist-in-Residence
Reggie D. White
Associate Artist
Liesl Tommy
Artists under Commission
David Adjmi · Todd Almond ·
Christina Anderson · Glen Berger ·
Jackie Sibblies Drury ·
Rinne Groff · Dave Malloy ·
Lisa Peterson · Sarah Ruhl ·
Joe Waechter
P R ODUC T ION
Production Manager
Peter Dean
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Leslie M. Radin · Karen Szpaller ·
Julie Haber · Kimberly Mark Webb
Production Assistants
Amanda Mason · Sofie Miller ·
Betsy Norton
S TA G E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P R OP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Assistant Technical Director
Matt Rohner
Shop Foreman
Sam McKnight
Master Carpenters
Patrick Keene
Jamaica Montgomery-Glenn
SCENIC ART
Charge Scenic Artist
Lisa Lázár
COSTUMES
Costume Director
Maggi Yule
Associate Costume Director/
Hair and Makeup Supervisor
Amy Bobeda
Managing Director
Susan Medak
Draper
Alex Zeek
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
Box Office Manager
Richard Rubio
Ticket Services Supervisor
Samanta Cubias
Box Office Agents
Sophia Brady · Nathan Brown ·
Christina Cone · Julie Gotsch ·
Eliza Oakley
ELECTRICS
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
M A R K E T I NG &
C OM M U N I C AT ION S
Director of Marketing,
Communications, and
Patron Engagement
Polly Winograd Ikonen
Director of Public Relations
Tim Etheridge
Marketing Director
Peter Yonka
Art Director
Nora Merecicky
Communications Manager
Karen McKevitt
Audience Development Manager
Sarah Nowicki
Webmaster
Christina Cone
Video & Multimedia Producer
Christina Kolozsvary
Program Advertising
Ellen Felker
Interim Senior House Manager
Debra Selman
Assistant House Managers
Jessica Charles · Steven Coambs ·
Aleta George · Tuesday Ray ·
Ayanna Makalani · Mary Cait Hogan ·
Sarah Mosby
Interim Concessions Manager
Hugh Dunaway
Concessionaires
Jessica Bates · Samantha Burse ·
Steven Coambs · Alisha Ehrlich ·
Sarah Mosby · Benjamin Ortiz ·
Jenny Ortiz · Sandy Valois
S OU N D A N D V I DE O
Sound Supervisor
James Ballen
Sound Engineers
Angela Don
Annemarie Scerra
Video Supervisor
Alex Marshall
A DM I N I S T R AT ION
Controller
Suzanne Pettigrew
General Manager
Theresa Von Klug
Associate General Manager/
Human Resources Manager
David Lorenc
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Sarah Williams
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Payroll Administrator
Rhonda Scott
Systems & Applications Director
Diana Amezquita
Systems Assistant
Debra Wong
Yale Management Fellow
Adam Frank
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Director of Special Events
Julie Cervetto
Special Events Manager
Kelsey Hogan
Individual Giving Manager
Joanna Taber
Development Database
Coordinator
Jane Voytek
Development Operations Associate
Beryl Baker
Executive Assistant
Emma Nicholls
B OX OF F I C E
Ticket Services Director
Destiny Askin
Subscription Manager
Laurie Barnes
Marvin Greene · Susan-Jane Harrison ·
Andrew Hurteau · Julian LópezMorillas · Dave Maier · Patricia Miller ·
Jack Nicolaus · Slater Penney · Marty
Pistone · Diane Rachel · Christian
Roman · Rolf Saxon · Elyse Shafarman ·
Arje Shaw · Joyful Simpson · Rebecca
Stockley · Reggie White
Jan and Howard Oringer
Teaching Artists
Erica Blue · Carmen Bush · Khalia
Davis · Amber Flame · Safiya
Fredericks · Gendell Hing-Hernández ·
Dave Maier · Michelle Navarette · Jack
Nicolaus · Carla Pantoja · Marcelo
Pereira · Radhika Rao · Salim Razawi ·
Lindsey Schmelzter · Teddy Spencer ·
Simon Trumble · Elena Wright · Patricia
Wright · Michelle Wyman
Teen Core Council
Bridey Bethards · Carmela Catoc ·
Fiona Deane-Grundman · Lucy Curran ·
Tess DeLucchi · Devin Elias ·
Adin Gilman-Cohen · Max Hunt ·
Michael Letang · Joi Mabrey ·
Genevieve Saldanha · Christian
Santiago · Maya Simon · Chloe Smith
Docent Co-Chairs
Matty Bloom, Content
Joy Lancaster, Recruitment
Selma Meyerowitz, Off-Sites
and Procedures
Macbeth Docents
Richard Lingua, Lead Docent
Matty Bloom · Sandy Greenberg ·
Dee Kursh · Dale Marshall ·
Selma Meyerowitz · Joan Sullivan
201 5–16 B E R K E L E Y R E P
FELLOWSHIPS
Bret C. Harte Directing Fellow
Molly Houlahan
Company Management Fellow
Emilie Pass
Costume Fellow
Anna Slotterback
Development/Fundraising Fellow
Loren Hiser
Education Fellow
OP E R AT ION S
Jamie Yuen-Shore
Facilities Director
Graphic Design Fellow
Mark Morrisette
Itzel Ortuño
Facilities Manager
Harry Weininger Sound Fellow
Lauren Shorofsky
Sam Fisher
Building Engineer
Lighting/Electrics Fellow
Thomas Tran
Harrison Pearse Burke
Maintenance Technician
Marketing &
Johnny Van Chang
Communications Fellow
Facilities Assistants
Lorenz Angelo Gonzales
Sophie Li · Carlos Mendoza · James
Peter F. Sloss Literary/
Posey · Jesus Rodriguez · LeRoy Thomas Dramaturgy Fellow
Katie Craddock
BERKELEY REP
Production Management Fellow
S C HO OL OF T H E AT R E
Katherine DeVolt
Director of the School of Theatre
Properties Fellow
Rachel L. Fink
Samantha Visbal
Associate Director
Scenic Art Fellow
MaryBeth Cavanaugh
Melanie Treuhaft
Program Manager, Training and
Scenic Construction Fellow
Community Programs
Shannon Perry
Anthony Jackson
Stage Management Fellow
Registrar
James McGregor
Katie Riemann
Community Programs Administrator
Modesta Tamayo
Faculty
Andy Alabran · Bobby August Jr. · Erica
Blue · Rebecca Castelli · Jiwon Chung ·
Sally Clawson · Dex Craig · Laura
Derry · Deborah Eubanks · Maria
Frangos · Nancy Gold · Gary Graves ·
President
Stewart Owen
Vice Presidents
Roger A. Strauch
Jean Z. Strunsky
Treasurer
Emily Shanks
Secretary
Leonard X Rosenberg
Chair, Trustees Committee
Jill Fugaro
Chair, Audit Committee
Kerry L. Francis
Immediate Past President
Thalia Dorwick, PhD
Board Members
Carrie Avery
Edward D. Baker
David Cox
Robin Edwards
Lisa Finer
David Fleishhacker
Paul T. Friedman
Karen Galatz
Bruce Golden
David Hoffman
Jonathan C. Logan
Susan Karp
Jane Marvin
Sandra R. McCandless
Susan Medak
Pamela Nichter
Richard M. Shapiro
Tony Taccone
Gail Wagner
Felicia Woytak
Past Presidents
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Marjorie Randolph
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Martin Zankel
Sustaining Advisors
Carole B. Berg
Rena Bransten
Diana J. Cohen
William T. Espey
William Falik
John Field
Nicholas M. Graves
Scott Haber
Richard F. Hoskins
Carole Krumland
Dale Rogers Marshall
Helen Meyer
Dugan Moore
Mary Ann Peoples
Peter Pervere
Marjorie Randolph
Pat Rougeau
Patricia Sakai
Jack Schafer
William Schaff
Michael Steinberg
Michael Strunsky
Martin Zankel
F OU N DI NG DI R E C T OR
Michael W. Leibert
Producing Director, 1968–83
FYI
Latecomers
Please arrive on time. Late seating is not guaranteed.
Connect with us online!
Theatre info
Considerations
Visit our website berkeleyrep.org
You can buy tickets and plan your visit,
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.
No food or glassware in the house
Beverages in cans or cups with lids
are allowed.
Accessibility
Both theatres offer wheelchair seating and
special services for those with vision or
hearing loss. Assistive listening devices are
available at no charge in both theatre lobbies.
Scripts are available in the box office.
No smoking
The use of e-cigarettes is prohibited in
Berkeley Rep’s buildings and courtyard.
facebook.com/
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@berkeleyrep
@berkeleyrep
vimeo.com/
berkeleyrep
We’re mobile!
Download our free iPhone or Google Play
app — or visit our mobile site —to buy
tickets, read the buzz, watch video, and plan
your visit.
Tickets/box office
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
Educators
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Ticket exchange
Subscribers may exchange their tickets for
another performance of the same show—
for free! Online or by phone.
Nonsubscribers may also exchange their
tickets, but an exchange fee and reasonable
restrictions will apply, by phone or in person
only.
All exchanges can be made until 7pm the day
preceding the scheduled performance. All
exchanges are made on a seat-available basis.
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647-2949; email [email protected];
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Phones / electronics / recordings
Please make sure your cell phone or watch
alarm will not beep. Use of recording
equipment or taking of photographs in the
theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look, but
please don’t step onto the stage.
Bringing children to the Theatre
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre. All
attendees must have a ticket: no lap-sitting
and no babes in arms.
Theatre maps
RO DA
stage
stage
PE E T ' S
stage
stage
stage
••
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Disgraced at Berkeley Rep-Encore Arts San Francisco

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