A CLASSIC COMEDY OF MISTAKEN IDENTITY
THE COMEDYOF R ERJUNE 25–JULY 20 ORS
BY WILLIAM SHAKESPEA ER DIRECTED BY AA ONR POSNE R 2014 BRUNS AMPHITHEATER, ORINDA SEASON 40TH ANNIVERSARY
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One of the most beautiful Now in my 15th year as your artistic director, I remain and rare aspects of the steadfast in the promise I made to the board when they Bruns is how much space hired me (back in those salad days): I couldn’t promise there is. The lobby is that everything they’d see would be right, or great, but nearly endless, certainly in what I could (and continue to) promise is to bring all of its views. It’s open and the imagination to bear on telling the stories of these available to all. And our immense and wooly plays. staff has been working diligently to make sure our But something I’ve learned along the way involves the space is, more than space to tell our stories through the productions of anything, welcoming to Shakespeare, Hansberry, Dickens, Chekhov, Neale all. You’ll see changes, Hurston. No matter what anyone says, there is no from our “Welcome production that does not interpret a play; traditional Center” to our “Story Hub” (next to our café counter), a or experimental, all productions reveal the stories of place to sit and learn about all the work we do in the artists who make them. At Cal Shakes we not only classrooms and with communities, as well as to admit that—we revel in it. I believe that the greatest interact. Plus, our Triangle Lab wall has become several gift we give artists is the space to tell their stories, to walls scattered throughout our grounds, where you can give them the freedom of expression that allows for one share your experiences and tell your own stories. of the most delightful aspects of what theater can offer: surprise. We have space for diverse audiences to come together. And we have space for artists to dream. Our stage is I’m sure we surprised many when we made Hans- nearly 80 feet wide, and is essentially a blank slate. berry’s story come to life in the Orinda hills. To do When a director and designer come to it, they are given Shakespeare is not a surprise to anyone familiar with a tabula rasa to dream big, to embrace or deny nature, Cal Shakes. But to do it with more than a twist, but a to sculpt a visual landscape that is as bold and brave as shaker and ingredients you may not have expected is the play they are working on. You saw it most acutely what makes everything here—on stage and throughout with Dede Ayite’s set design for A Raisin in the Sun, the Bruns—surprisingly alive. which was at once epic and intimate, a brilliant response that butted our natural world up against the cramped We live in a cramped world—literally, as our cities grow urban world of Southside Chicago in the late ‘50s. denser and denser—and in the world of our minds, where we have more information thrown at us daily Tonight, the slate is wiped clean and we enter into a than we used to have in a week or even a month (I’m wildly different world than Raisin playwright Lorraine showing my age here). Our theater remains dedicated Hansberry’s—this, a brightly colored landscape for to giving you space: to wander through nature, to tell Shakespeare’s classic comedy of mistaken identity to your stories, to listen to new ones, to be surprised, come to vibrant, smartly silly life. and—we hope—to laugh.
Perhaps the most thrilling defi nition of space at Cal enjoy Aaron Posner’s production of Shakes is the space we aim to give for artists to boldly Shakespeare’s The Comedy of Errors. imagine their responses to the great works of world literature. From Shakespeare to Hansberry, our plays this year are not historical documents. They are not complete without the artists who come to them, and because they all carry with them big ideas about the world, they give space for artists to enter into them with big imaginations. Being safe in your thinking doesn’t JONATHAN MOSCONE pay off with these plays. They demand risk. And they Artistic Director provide the space for the brave exploration and expres- sion that mark our work.
Photos by Kevin Berne.
encoreartsprograms.com 3 July 2014 Volume 23, No. 2 Entertain, enrich, engage Since 1974, Cal Shakes has been building community through inclusive, authentic, and joyful theater Paul Heppner Publisher experiences. We are proud to support this year’s Susan Peterson production of Comedy of Errors. Design & Production Director Ana Alvira, Deb Choat, www.pwc.com Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director © 2014 PricewaterhouseCoopers LLP, a Delaware limited liability partnership. All rights reserved. Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoremediagroup.com
Paul Heppner Publisher Leah Baltus Editor-in-Chief Marty Griswold Sales Director Joey Chapman Account Executive Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com
Paul Heppner President Untitled-19 1 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre5/14/14 • Broadway 4:00 PM Reach a Center for the Performing Arts • Pacific Northwest Ballet Paramount & Moore Mike Hathaway Theatres • Seattle Children’s Theatre • Seattle Men’s Vice President SophiSticated Chorus • Seattle Opera • Seattle Repertory Theatre Erin Johnston • Seattle Shakespeare Company • Seattle Symphony Communications Manager audience Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Genay Genereux Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • Accounting American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Corporate Office Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center 425 North 85th Street Seattle, WA 98103 for the Performing Arts • Pacific Northwest Ballet • Paramount put your business here p 206.443.0445 f 206.443.1246 & Moore Theatres • Seattle Children’s Theatre • Seattle [email protected] Men’s Chorus • Seattle Opera • Seattle Repertory Theatre 800.308.2898 x105 Seattle Shakespeare Company • Seattle Symphony • Seattle www.encoremediagroup.com Women’s Chorus Tacoma City Ballet • Tacoma Philharmonic Encore Arts Programs is published monthly by Encore Media • Taproot Theatre • UW World Series at Meany Hall • Village Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction www.encoremediagroup.com without written permission is prohibited.
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Untitled-3 1 4/21/14 9:44 AM CELEBRATE CAL SHAKES OUR STORY: PART TWO AT SeaRChiNG FOR a NeW hOMe 40
By Resident dRamatuRg PhiliPPa Kelly
In the halcyon days of the Berkeley Shakespeare Festival (the then-name of Cal Shakes) in the ‘70s and ‘80s, audience members had filled John Hinkel Park to capacity with their sleeping bags, bongs, and Bun- sen burners, many arriving over an hour ahead of time to set up camp. It was difficult to imagine a setting for the Shakespeare Festival other than this beautiful, vernal amphitheater, scents wafting from the bay and eucalyptus trees standing patiently by. But the neighbors were increasingly disturbed by the impact of the growing crowds on this quiet residential area, and the City of Berkeley ordered that the Festival must be gone by the end of 1990. If the company was to survive, a new home had to be found.
In 1986, Artistic Director Dakin Matthews moved to Los Angeles to pursue television opportunities, and director and educator Michael Addison was elected by the board to replace him. Addison’s first season—in which he mounted Shakespeare’s Lancastrian history cycle, a series of four plays which chronicles the rise and fall of three great British monarchs—received great critical and audience acclaim. In the coming years Addison was to play a huge role in expanding the company’s mission, which included the all-important issue of where it would set down new roots.
In the quest for an environment that would reproduce as closely as possible the Hinkel Park experience, forty sites were tested over the two years between 1986 and 1988. The board settled on the Tilden Park area, and Professor Hugh Richmond, board member and eminent UC Berkeley scholar, volunteered to visit Grizzly Peak between 10 and 11pm several nights running, in order to test the drop in tempera- ture once the fog rolled in. On one occasion the police, not expecting a theater scout, threatened him with an arrest on suspicion of late-night drug dealing. Still he persist- ed with his thermometer, giving up only when the company’s bid for an abandoned driving range across from the Tilden Park Golf Course was opposed by a group of lawyers living on Grizzly Peak Boulevard, who claimed that a new theater space would interfere with the California Native Plant Society’s annual sale. With the threat of a lawsuit (and discouraged by the fact that even the elderly David Brower had been con- vinced to oppose our plans), the Berkeley Shakespeare Festival reluctantly let go of its Tilden Park dreams.
Finally, in 1988, at the suggestion of Tom Telefsen, husband of board president Myrna Walton, and with the support of philanthropists Clarence Woodard and Claude Hutchinson, the Festival Board was able to make a plausible bid for the current Siesta Valley location on the protected watershed of the East Bay Munici- pal Water District (EBMUD) in the hills between Berkeley and Orinda. The site climbs through curtains of eucalyptus trees, leveling out at the top to a large stretch of land. Encouraged by the $2 million that had been gathered from philanthropic capital funds, the EBMUD directors enthusiastically endorsed a prospec- tive site in Orinda and made the Festival an extraordinary offer: an initial lease for the sum of only $400. This amount represents grazing rights for 10 cows at a rate of $40 per year per cow, and to this day our performances are punctuated by an occasional pleasurable “moo” from adjacent fields.
Once the site had been agreed upon, Board Member Ellen Dale—who today, 25 years later, is still one of the company’s most dynamic forces—set to work to dispel Berkeley’s “tunnel phobia.” Ellen offered to Top: Shabaka and Julian lopez-Morillas in drive on consecutive summer evenings through the Caldecott Tunnel in peak-hour traffic from various key Measure for Measure, 1989; right: Marco Barricelli and lura Dolas in Antony and Berkeley locations. She found that it took less time to get from Berkeley through the tunnel to what is now Cleopatra, 1991; bottom: Jarion Monroe Wilder Road than it took most Berkeley residents to reach Hinkel Park. She also invited volunteers to be- and linnea Pyne in The Tempest, 1992.
1974 1986 1991 come “FRIENDS of the BARD,” aimed at getting people from the Orinda side of the tunnel involved in the theater project.
Architect and long-time scenic designer Gene Angell, advised by Michael Addison, Hugh Richmond and board member Bernard Taper (one of the original “Monuments Men”), HONOR developed a design for a modern outdoor amphitheater that would reproduce the intimate tHe Past, OUR STORY: PART TWO relationship between audience and actors at Shakespeare’s Globe Theater, matching the ENSURE dimensions of its stage within a few centimeters. Plans were made for an all-round audi- tHe FutuRe ence experience involving picnics inside and outside the amphitheater, as well as informa- tive pre-show presentations (known today as “Grove Talks”). There would be space in the parking lot for 150 cars, and, eventually, a regular shuttle service to and from the Orinda with Bart Station. Up to 547 patrons would be seated at each performance—one quarter of the number that, on any given summer’s day in Shakespeare’s London, got seated on the bal- CAL shAkEs conies (sixpence) or jostled cheek-by-jowl (one penny), the air a pungent mix of the bread, LEgACy CiRCLE. cheese, and slabs of venison, goat, swan, and duck that could be bought at the teeming market stalls outside Shakespeare’s theater.
The plans for the new amphitheater were given a final boost by new board member David Bond. Enchanted by a performance of The Merry Wives of Windsor in John Hinkel Park, Bond had been solicited, and appointed, for leadership roles more quickly than Prospero could say “magic”: elected to the Board and the Finance Committee, and Chair of the MosConE PERMAnEnT Finance committee, all within 24 hours. The morning after his recruitment, he found him- EndowMEnT LEAd donoRs self seated at a 7am meeting. “Should we go ahead?” he was asked by Michael Addison. Ellen & Joffa Dale “How much have you raised?” asked Bond. ($2 million.) “How much do you still need?” Sharon & Barclay Simpson ($1 million.) “Sure, let’s go build a theater,” was his response, after which he recalls going home and banging his head on the table. LEgACy CiRCLE ChARTER MEMBERs In scratching together the final million dollars, the company was assisted by the indefatiga- Mary Jo & Bruce Byson ble Carol Upshaw, a Shakespeare enthusiast and teacher who is still to be found today at Phil & Chris Chernin every Cal Shakes production and many of our events. Cast by most who knew her as “Ms. Debbie Chinn Shakespeare,” Carol embarked on four years of constant fundraising, hosting a breakfast Ellen & Joffa Dale Peter Fisher at the Claremont Country Club every three weeks for a large committee of volunteers. Her Douglas Hill events were famous for her Shakespeare props, books, buttons, and dolls, together with Xanthe & Jim Hopp flowers and easels displaying photos of committee members working on various events. David Ray Johnson Aided by interior designer Donna White, Carol knew how to generate enthusiasm and Mark Jordan excitement. Says longtime board member and Cal Shakes supporter Sharon Simpson (and Debby & Bruce Lieberman godmother-to-be of our most recent building at the Orinda site), “we would leave the Tina Morgado meeting all pumped up and ready to work.” Richard Norris Shelly Osborne The company’s plans were ambitious, with James & Nita Roethe designs for expanded facilities. A proper green Laura & Robert Sehr room would replace the two trailers which, Sharon & Barclay Simpson parked outside the Hinkel amphitheater, had Jean Simpson been the actors’ “tiring room,” the place in Valerie Sopher which they’d change, rest, and snack between Kate Stechschulte & David Cost, scenes. There were plans for off-site offices for in memory of Margaret Cost company management, with quarters specifically M.J. Stephens & Bernard Tagholm Arthur Weil Continued on page 24. Carol Jackson Upshaw Jay Yamada Monique Young
left: Julian lopez-Morillas in King Lear, 1991; right: Romeo & Juliet, 1989. iNTeReSTeD iN JOiNiNG The CiRCle? CONTaCT [email protected] FOR MORe iNFORMaTiON.
2004 2014 NExT UP: A New Spring: Life at the Bruns. Spotlight on Cal shakes Artists in Communities
Cal Shakes’ work in classrooms and communities depends on the skills and talents of some extraordinary teaching artists. Like the actors you see on our stage, these dedicated individuals have honed their abilities over years of practice, combining artistic skill with the ability to connect with young people and community members in a wide variety of settings. We caught up with four of our favorite collaborators and asked them each to share a moment that continues to inspires their work.
Arielle Brown is a resident Artist-Investigator at Cal Shakes. She is the direc- tor of the Love Balm Project which explores how testimonial theater can help heal, working with mothers who have lost their children to violence.
What was one exciting moment that came out of teaching theater?
A few years ago I taught a class of young men at Alameda County Juvenile Justice Center. We played an original improv game called “Change the Image of God.” I developed the game to give the youth the opportunity to embody authority, confidence, and reverent grandeur. The youth did not take well to the game at first. Many of them considered the game to be a tremendous sacrilege but very quickly they began to join in the idea of performing God. I noticed a difference in the way they carried their bodies. i noticed a difference in the ways they approached each other as they assumed the position of a god. they stood up within themselves and held each other higher. I’ll never forget that.
ARIeLLe BRoWn
Molly Raynor is the director of RAW (Richmond Artists with) Talent, one of our partner organizations. RAW Talent is a creative arts and youth devel- opment organization in Richmond. Youth from RAW Talent will be partici- pating in a week-long residency culminating in a performance on the Bruns stage this August.
What was one exciting moment that came out of teaching theater?
Last year, RAW Talent put on our first play ever—Te’s Harmony, a modern day interpretation of Romeo & Juliet set in Richmond, California. after months of hard work planning, writing, and rehearsing, the night was finally upon us—we were overwhelmed with nerves as the sold-out 600-seat El Cerrito Performing Arts Theater filled with excitement, laughter, and antici- pation. in the closing scene, te and harmony, Richmond’s own Romeo and Juliet, broke the fourth wall with a group poem demanding an end to the feud between North and Central Richmond; demanding us all to re-imagine Rich- mond through the lens of love. All of the actors onstage began crying, and as I looked around I realized that everyone around me was crying too, even my 80-year-old grandma from Michigan. As the cast received a standing ovation and the theater screamed in unison, it hit me that the play had transcended a traditional theater piece and moved beyond the stage—that we were all MoLLY RAYnoR grieving together, healing together, moving towards a new day for the City of Pride and Purpose, together. i still get chills thinking about it.
8 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG elizabeth Carter is a Bay Area actor, director, teaching artist, and long-time collaborator with California Shakespeare Theater. She was last seen in Aurora Theatre’s critically-acclaimed production of David Davalos’ Wittenberg. She has taught and directed at our Summer Shakespeare Conservatories for many years.
What is it that excites you about teaching theater to kids?
I am excited when I see a student finally discover their voice! That moment when they finally take the stage and realize that their voice has meaning and is im- portant, that their words affect the entire story unfolding. it is this moment that i believe is our greatest gift to young people. To be able to stand up in front of others confidently and speak their truth, which will allow them to potentially change the world. it is possible through the power of their voice.
How do you see Cal Shakes’ work impact communities?
Right now I am working in a Shakespeare residency at a diverse Catholic school in Oakland that would otherwise be unable to experience a Cal Shakes program with- out the help of a grant from a generous board member. i see how my students are eLIZABeTH CARTeR eager to dive into Shakespeare’s language, even if it’s their second or sometimes third play. I see more and more ways that Cal Shakes is finding to connect with communities often left out of the conversation of theater. If we as an organization continue to listen, there is great work ahead to provide true inclusionary theater.
Brett Jones started with Cal Shakes as a Summer Shakespeare Conservatory intern, transitioned into our Teaching Artist Fellowship program, and now works for Cal Shakes as a professional teaching artist, in addition to being the Lead Summer Conservatory Coordinator and Administrator. He has also taught, directed, and acted with Bay Area Children’s Theatre and works as a wardrobe assistant at Berkeley’s Aurora Theatre.
What is it that excites you about teaching theater to kids?
Children’s theater holds a special place in my heart. theater has the possibility and capability to teach us about the human condition. in watching or performing, theater asks of us to see the world through another’s eyes. audiences sit in a room with a performer and both are required to experience the extraordinary circum- stances of a person’s life. That level of empathy, of being able to take words on a page and experience them as another would, is what excites me as performer and BReTT JoneS a human of this world. It is, however, my opinion that society does much more speaking than it does listening. Frequently we surround ourselves with the information we want to hear instead of hearing all the information available, lead- ing us to be blind to experiences and views of others. By allowing students the opportunity to experience another person’s life and point of view, especially a view that differs from their own, theater asks youth to expand their humanity; to investigate why someone would have that point of view; and reveals information about life they may not have otherwise had the chance to experience. What excites me about theater for youth are the opportunities for students to become empathetic, from which they could grow into empathetic adults, and mature into empathetic leaders with the ability to lead us to a more caring, understanding, and inclusive world.
How do you see Cal Shakes’ work impact communities?
I was in a Title 1 school (meaning at least 40% of students who attend the school are from families that make no greater than twice the poverty level). The office was constantly filled with students who had been written up. There was a general sense of mistrust on campus. The 32 students of my residency class were jammed into a room big enough for 20 to fit comfortably. As the assistant teaching artist, Jacinta Sutphin, and I were working with the students, we noticed an overall resistance to work as a group. Each student made it clear that they needed to be the one in control. A few classes went by without improvement, until one day Jacinta and I decided to shift our focus. We set up a condition for the class. If we have to stop we will all clap to get us back on track. However, everyone had to clap, and we all had to clap together. We weren’t allowed to move on until we had all clapped. It took what seemed like forever before the first time we could move on, but each time after we became more quickly in sync. The students began to listen to each other.
Jump to the second to last day: I am walking into the class. I look over and see one of the more timid students playing with a ball on the playground. A few students go over and try to take the ball from him. Instantly, two students from his class were there. These students— who had been particularly rowdy and disruptive in the past—defended their classmate, and when they were done, the three of them clapped together as a sign of kinship. That is what theater does; from diverse people and ideas, it creates community.
encoreartsprograms.com 9 THE COMEDY OF ERRORS BY WILLIAM SHAKESPEARE 2014 DiRECTED BY AARON POSNER JUNE 25–JULY 20 SEASON A Classic Comedy of Mistaken Identity
PYGMALiON BY GEORGE BERNARD SHAW
DiRECTED BY JONAtHAN MOSCONE JULY 30–AUGUST 24 Moscone and Shaw, together Again
A MiDSUMMER NiGHT’S DREAM BY WILLIAM SHAKESPEARE
DiRECTED BY SHANA COOPER
MOvEMENT BY ERIKA CHONG SHuCH SEPTEMBER 3–28 From the Director of Romeo and Juliet
JOIN US FOR OUR 40TH ANNIVERSARY SEASON Single Tickets & Flex Subscriptions on sale now. www.calshakes.org 510.548.9666
Pictured: Marcus Henderson as Walter and Ryan Nicole Peters as Ruth in Patricia McGregor‘s A Raisin in the Sun (2014); photo by Kevin Berne.
Titles, dates, and artists subject to change. CALIFORNIA SHAKESPEARE THEATER JONATHAN MOSCONE Artistic Director SUSIE FALK MAnAging Director THE COMEDY OF ERRORS PRESENTS BY WILLIAM SHAKESPEARE 2014 DiRECTED BY AARON POSNER THE JUNE 25–JULY 20 SEASON A Classic Comedy of Mistaken Identity COMEDYOF ER ORSR PYGMALiON BY WILLIAM SHAKESPEARE DIRECTED BY AARON POSNER BY GEORGE BERNARD SHAW
DiRECTED BY JONAtHAN MOSCONE JUNE 25 – JULY 20, 2014 JULY 30–AUGUST 24 BRUNS MEMORIAL AMPHITHEATER, ORINDA Moscone and Shaw, together Again SET DESIGNER NINA BALL COSTUME DESIGNER BEAVER BAUER LIGHTING DESIGNER DAVID CUTHBERT SOUND DESIGNER ANDRE PLUESS A MiDSUMMER VOCAL/TEXT COACH LYNNE SOFFER RESIDENT FIGHT DIRECTOR DAVE MAIER NiGHT’S DREAM STAGE MANAGER KAREN SZPALLER ASSISTANT DIRECTOR LEAH GARDNER BY WILLIAM SHAKESPEARE ASSISTANT LIGHTING DESIGNER KRISTA SMITH PRODUCTION ASSISTANT CHRISTINA LARSON DiRECTED BY SHANA COOPER ASSISTANT TO THE DIRECTOR OREN STEVENS MOvEMENT BY ERIKA CHONG SHuCH CAST SEPTEMBER 3–28 EGEON, ANGELO, ENSEMBLE RON CAMPBELL From the Director of Romeo and Juliet ADRIANA, ENSEMBLE NEMUNA CEESAY LUCIANA, ENSEMBLE TRISTAN CUNNINGHAM ANTIPHOLUS ADRIAN DANZIG COURTESAN, ABBESS, ENSEMBLE PATTY GALLAGHER DROMIO DANNY SCHEIE DUKE, BALTHASAR, ENSEMBLE LIAM VINCENT JOIN US FOR OUR 40TH ANNIVERSARY SEASON EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON, Single Tickets & Flex Subscriptions on sale now. PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA www.calshakes.org ASSOCIATE PRODUCERS: JIM & NITA ROETHE 510.548.9666 PRESENTING SEASON PARTNERS PARTNERS
PRODUCTION SEASON PARTNER UNDERWRITERS Pictured: Marcus Henderson as Walter and Ryan Nicole Peters as Ruth in Patricia McGregor‘s A Raisin in the Sun (2014); photo by Kevin Berne.
Partial support for open captioning provided by Theatre Development Fund Titles, dates, and artists subject to change.
encoreartsprograms.com 11
COE_cover+color.indd 2 5/28/14 1:33 PM YOURSELF TO COME
BY RESIDENT DRAMATURG PHILIPPA KELLY
A A S H e naech i I I likewise on identical twins and misidentifi cation. C L S L A T S The o ed o rrors T in the fi rst recorded staging of the play in December A o ed o rrors The o ed o rrors I M O I nt ined i es T ins and E S hat The Tell s About u an eha ior N L S S at birth or in infancy, who, when reunited, fi nd The o ed o rrors T A A I the Dromios, as servants to his high-born sons; to A A S twenty-fi ve years later, as a result of searching for
12 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG E A because T E A A I S Dromio asks, echoing his master who declares, “So I, to fi nd a mother and a brother,/ In quest N A A
THOUGH ONLY IN HIS LATE TWENTIES WHEN HE WROTE THE COMEDY OF ERRORS, SHAKESPEARE WAS ALREADY BEGINNING TO SPECULATE DEEPLY ABOUT WHAT MAKES US HUMANS THE CREATURES WE ARE.
The o ed o r S rors S A idsu er ight s rea fi nal slot) building it around such questions of T rea H The o ed H o rrors S nized by their lovers, fi nd themselves battling a es I T T el th ight ing F ear, oriolanus, and uch Ado About othing S and fi nding yourself again. The world of Shake- E A T
encoreartsprograms.com 13 THE COMEDY OF ERRORS:
IN MISSTEPS
BY ZOE YOUNG, CONTRIBUTING DRAMATURG
t t e r i e r ter E t in t e e n ee n t er r C C C C E A S J E H S K a let ing ear L C C T E L Just eleven years after the fi rst production of o ed O J o rrors J S S H o ed o rrors C C C T A S E L n in t e r e n t i e r ee A n t e ter e n r in t e ee L T in i e e it t ine b t E i e g i e e ing n rint ere t e r ing n e t r e g M o ed o rrors et en i te et er t bre t e r n S istle to the hesians E T S C S A S E L A S us after his fi rst encounter with a mistaken Dromio. e t i t n i en ge A S ni b e gg er t t e ei e t e e e r r ing r erer t t nge t e in i ing it e t t e r t e b T S t ene ii
14 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG THE COMEDYOF R A A S ER ORS: E A SYNOPSIS A DEATH A S SENTENCE: merchant, is fi ned for E E he cannot come up with the fi ne. F S A A HEARTBREAKING A III A S BACKSTORY: H L A O S T I to fi nd his brother, and he wants to fi nd
THIS ARISTOCRATIC MISSTEP MERCY: H IS JUST ONE OF MANY THEMATIC “ERRORS” THAT SHAKESPEARE LOST SOULS: S E DELIBERATELY COMMITS IN THIS H COMEDY OF SUCH. EVEN THE A SETTING IS A WARPED VERSION S OF A RENAISSANCE TROPE.
A NUISANCE INTERRUPTION A S L FOR A MAN ABOUT TOWN. S E A H Sha es eare and the n ention o the u an N S J C I S. ANTIPHOLUS SUFFERS THE SAME FATE IN REVERSE– S L E o ed o rrors CHARACTER STUPIDITY I S OR PLOT NECESSITY? I T all embark to fi nd our “other half.” A RESOLUTION: A F T T P NE T SAVE THE DATES! GEORGE BERNARD SHAW’S Meet the artists, save money on tickets, sample local food and drink, and more during the runs of The Comedy of Errors and Pygmalion. PYGMALION JULY 30–AUG 24 COMEDY OF EVENTS PYGMALION ERRORS
Inside Scoop 7/16 These special events 6/9 provide an insider's view of See website 6-8pm at Heinz an upcoming production, for up-to-date Rehearsal Hall featuring directors, cast, details. and artists up close.
L PETER CALLEN ER CATHERINE CASTELLANOS I CARPENTER LIE ECCLES ANTHON F SCO Lower-Priced olonel ic ering rs. earce Al red oolittle rs. ns ord ill enr iggins Previews 7/ 30, Be a part of the process 6/25–27 by seeing the show before 7/ 31, 8/1 opening, at a discounted price.
Opening Night! Mingle with cast, creative 6/28 8/2 team, and critics at a free post-show party. PON ER O AR SHARON LOCK OO IRENE L CIO NICK PELC AR EL SE PRICE arlor aid rs. iggins li a oolittle redd ns ord ill lara ns ord ill Meet the Artists Matinees 6/29 & 8/3 & Post-show chat with cast 7/13 8/17 & creative team.
Open-Captioned A LESSON IN MANNERS Performances Performances featuring 7/2 8/6 ESI ENT AMATU HILI A KELL open captioning for patrons who are deaf or N S g alion hard-of-hearing. J M I g alion was fi rst Teen Nights 7/8 & 8/12 & A special pre-show event S M S C for students ages 13-18. 7/17 8/21 S Fridays in the Grove his dalliances. But love in his case was defi nitely not blind, and he is said to have A pre-show performance 8/1, 8/8, of the Bay Area’s best 6/27, 7/4, musicians, storytellers, 8/15, 7/11, 7/18 g alion H A spoken word artists in the 8/22 Upper Grove. Included in Higgins by his friend Colonel Pickering: retrain the speech of a poor Cockney fl ower the ticket price.
Complimentary 8/5, 7/1, 7/8, Tuesday Tastings 8/12, E Enjoy pre-show samples 7/15 from local purveyors. 8/19 A A F H H I L E L C InSight Matinee C C C M S L Post-show talk with the 7/6 8/10 H J E M E H T dramaturg. A S A O Camper Night S S Students from our an Oscar for its fi lm version and would engender a whole host of spin-offs, including prestigious Summer S air ad ducating Rita M Conservatories are 7/11 8/15 invited to come together S for pre-show activities M and picnicking. Maker Workshop Tap into your creativity at our monthly Maker 7/19 8/23 Workshops. Suitable for C aspiring artists of all ages. For complete descriptions of these and other events, click calshakes.org/events. “Banking with First Republic is a wonderful experience – I forgot this level of service existed anywhere.”
PAUL TAYLOR DANCE COMPANY Paul Taylor Choreographer
(800) 392-1400 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender
ad proofs.indd 1 4/7/14 3:06 PM WHO’S WHO
ACTING COMPANY Hairspray, A Flea in her Ear, and The Piano Lesson. Ceesay holds a BA in theater from UC PATTY GALLAGHER* RON CAMPBELL* Irvine’s Claire Trevor School of Arts. (Courtesan, Abbess, (Egeon, Angelo, Ensemble) Ensemble) TRISTAN Patty Gallagher Previous shows at CUNNINGHAM* is delighted to be Cal Shakes include: (Luciana, Ensemble) performing at Cal Shakes Pericles, The Triumph When she was only again, after appearing of Love, Restoration ten years old, Ms. in Twelfth Night, A Comedy, The Tem- Cunningham started Midsummer Night’s pest, The Comedy of performing with Dream and Happy Errors, Much Ado About Vermont’s own country Days. She is Professor of Theatre Arts at UC Nothing, The Merry Wives of Windsor, and circus, Circus Smirkus. Santa Cruz, where she teaches movement, Henry IV. Awards include: the Fox Fellowship After touring for eight mask, Balinese dance, and clown. She holds for Distinguished Performance, London Fringe years, she decided to change her focus to the Pavel Machotka Chair in Creative Studies One-Man Show of the Year, a Los Angeles acting; she recently graduated with a BFA from at Porter College. Her collaborators include: Drama Critics Circle Award, and three Bay Area SUNY Purchase Acting Conservatory. Her Bay The Rogue Theatre (where she is an Artistic Theatre Critics Circle Awards (Lead and Solo Area credits include: A Winter’s Tale at Cal Associate), Shakespeare Santa Cruz, Folger Performances). Recent credits include playing Shakes, Julius Caesar with African American Theatre, Ranga Shankara, Jagriti (India), Purnati Buckminster Fuller (R. Buckminster Fuller, the Shakespeare Company, The Road to Hades (Bali), New Pickle Circus, Ripe Time Theatre, History [and the Mystery] of the Universe at with Shotgun Players, Tenderloin with Cutting Two River Theatre, Teatro del Cronopio, and San Jose Rep), Sherlock Holmes (The Hound Ball, A Midsummer Night’s Dream with Grupo Malayerba (Ecuador). Favorite roles of the Baskervilles at TheatreWorks), and four San Francisco Shakespeare Festival, and The include: Red Peter (Kafka’s Monkey), Hoopoe years as “The King of the Clowns” in Cirque Arsonists with Aurora Theatre. She is a proud (Conference of the Birds), Ranevskaya (Cherry du Soleil’s Kooza, touring Europe, Japan, and member of Actors’ Equity and is thrilled to be Orchard), Ariel (The Tempest), and Orlando North America. Ron has worked in the Bay Area working with California Shakespeare Theater for (Orlando). Her directing projects include at American Conservatory Theatre, Aurora, and the second time. Tom Jones, Double Bind, and Twelfth Night Theatre Artaud; elsewhere at Mark Taper Forum, (all for Shakespeare Santa Cruz), as well as LATC, Actor’s Gang (Los Angeles), Habima ADRIAN DANZIG* Krapp’s Last Tape (with Paul Whitworth) and (Antipholus of Ephesus, Theater (Israel), Mercury Theater (Chicago), Girly Chaplin/Sister Keaton. She is a former Antipholus of Syracuse) Royal Albert Hall, Old Globe, Old Red Lion (Lon- Director-in-Residence at the Clown Conservatory For the last 15 years don), Metro Stage (Washington D.C.), Intiman (SF Circus Center). She is a Fulbright Scholar Adrian has been Theatre, Seattle Rep, and Huntington Theatre and holds a Ph.D from University of Wisconsin– Producing Artistic (Boston). Mr. Campbell also created “Chef Cecil Madison. Director of 500 B. DeGrille” for Teatro Zinzanni in San Francisco Clown, a Chicago- and Seattle. For more on Mr. Campbell, visit DANNY SCHEIE* based Clown Theater (Dromio of Ephesus, SoarFeat.org. ensemble that tours Dromio of Syracuse) NEMUNA CEESAY* nationally. He regularly performs the shows in Previous Cal Shakes (Adriana, Ensemble) the 500 Clown touring repertoire: Macbeth, roles over eleven seasons Nemuna Ceesay is so Frankenstein, Christmas, and Trapped. He include Bottom (A excited to be in her has led workshops in physical theater all around Midsummer Night’s second show at Cal the country, and internationally, for the past 10 Dream), Dogberry Shakes, after playing years. Other recent credits include a national (Much Ado About Beneatha in A Raisin tour of The Better Half, a dance/theater hybrid Nothing), Feste (Twelfth in the Sun (her Cal he created with Lucky Plush Productions; Night), Mercutio (Romeo and Juliet), Launcelot Shakes debut). A Caliban in the Feast: an Intimate Tempest Gobbo (The Merchant of Venice), Gremio (The recent graduate of at Chicago Shakespeare Theater; The Seagull Taming of the Shrew), Player King (Hamlet), the Master of Fine Arts Program at American at Lake Lucille in New City, NY; and Orlando Dr. Caius (The Merry Wives of Windsor), Conservatory Theater, Ceesay has appeared in at Court Theatre in Chicago. In addition, he Harlequin (The Triumph of Love), Lord A.C.T.’s A Christmas Carol and Major Barbara, has performed in shows at Goodman Theatre, Foppington (Amy Freed’s Restoration Comedy), a co-production with Theatre Calgary which Second City, Steppenwolf Studio, Berkeley Rep, the Duchess of Berwick (Lady Windermere’s performed in San Francisco as well as Calgary, Brooklyn Academy of Music, Public Theater, Fan) and multiple roles in Nicholas Nickleby, Alberta, Canada. She has appeared in MFA Shakespeare & Company, and Lookingglass Pericles, and An Ideal Husband. He is the Program productions of very still & hard to Theatre Company. He has performed his solo former Artistic Director of Shakespeare Santa see, The House of Bernarda Alba, Polaroid works at The Kitchen, P.S. 122, Ontological- Cruz, where he acted and directed for thirteen Stories, Derek Walcott’s The Odyssey, Andrew Hysteric Theater, and Soho Rep. He was an seasons. Since then he has acted at Berkeley Lippa’s The Wild Party, The Strangest Kind early Neo-Futurist and a founding member of Rep, Arena Stage, Yale Rep, Trinity Rep, Asolo of Romance, Tartuffe, Twelfth Night, Seven Redmoon Theater. He has studied clown with Rep, the Folger, South Coast Rep, Pasadena Guitars, and The Country Wife. She also Ctibor Turba, Philippe Gaulier, Ronlin Foreman, Playhouse, Actors Theater of Louisville, Two worked for two seasons at Summer Repertory Dominique Jando, Els Comediants, David River, San Jose Rep, TheatreWorks, Marin, Theatre in Santa Rosa, performing shows Shiner, Avner the Eccentric, and was a clown and Intersection for the Arts. Other recent in rotating repertory, including Avenue Q, with Big Apple Circus Clown Care for seven Sarah Ruhl’s Passion Play, The Mousetrap, years.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
18 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG WHO’S WHO appearances include Next Fall at San Jose Rep Aaron has directed more than 100 productions Spectacular, and for eight years designed (Critics Circle nomination), What the Butler Saw at major regional theaters across the country Boitano’s personal costumes. at the Jewel, and Peer Gynt at UCSC, where he including Cal Shakes (A Midsummer Night’s is a Professor of Theater Arts. He has received Dream in 2009), American Repertory DAVID LEE CUTHBERT Bay Area Critics Circle awards for his work at Theatre, Arena Stage, Portland Center Stage, (Lighting Designer) Aurora, Magic, Theater Rhinoceros, and as Seattle Rep, The Alliance, Actor’s Theatre of Mr. Cuthbert is pleased to return to Cal Shakes Nero in Amy Freed’s You, Nero. He has a BA Louisville, American Players Theatre, Theatre after having previously created lighting for The in Theater and Drama from Indiana University J, Woolly Mammoth, and many more. Aaron Verona Project. He is a regular at San Jose and a PhD from Cal in Dramatic Art. He joined is an Eisenhower Fellow and a graduate of Rep, having most recently designed lighting Actor’s Equity playing Damis in Tartuffe at the Northwestern University; he hails from Eugene, and media for Legacy of Light. He previously Los Angeles Theater Center. Oregon, and lives near Washington DC with designed scenery and media for Secret his wife, actress Erin Weaver, and his amazing Order and As You Like It, and lighting for LIAM VINCENT* daughter, Maisie. The Dresser, Rabbit Hole, The 25th Annual (Duke of Ephesus, Putnam County Spelling Bee, Groundswell, Balthasar, Ensemble) NINA BALL and The Kite Runner, for which he received Liam most recently (Set Designer) the Bay Area Theatre Critics Circle Award for appeared as Karl Ms. Ball’s designs have been seen at American best lighting of a play. He lit Billy Crystal’s Lindner in Cal Shakes’ Conservatory Theatre, San Jose Repertory Tony® award-winning 700 Sundays on production of A Raisin Theatre, Aurora Theatre Company, Shotgun Broadway as well as its international tours. in the Sun, and prior to Players, SF Playhouse, Center REP, Z Space, Mr. Cuthbert’s work has also been seen at this, as Bob Cratchit in A Napa Valley Conservatory, San Francisco Opera San Jose, Magic Theatre, Arena Stage, Christmas Carol at the Mime Troupe, Word for Word, TheatreFIRST, South Coast Repertory, Intiman Theatre, San American Conservatory Theater. Past Cal Shakes Berkeley Playhouse, the Jewish Theatre San Diego Repertory Theatre, Old Globe, La Jolla productions include The Taming of the Shrew, Francisco, Musical Theatre Works, Town Hall Playhouse, American Repertory Theater, and Candida, Titus Andronicus, Twelfth Night, Theatre, Solano College, Willows Theatre Arizona Theatre Company. He was a resident Romeo and Juliet, Private Lives, King Lear, Company, St. Mary’s College, and San Francisco designer at San Diego’s renowned alternative Richard III, The Merry Wives of Windsor, Henry State University. She has been nominated for theater company, Sledgehammer, where he IV, and A Midsummer Night’s Dream. Mr. numerous San Francisco Bay Area Theatre designed sets, lights, and media on dozens of Vincent has also appeared in productions at the Critics Circle, Shellie and Arty Awards. Recent productions. He is the theater arts department Alliance, the Huntington, Aurora, TheatreWorks, honors include SFBATCC awards for My Fair chair and an associate professor of design at the Marin Theater Company, SF Playhouse, Portland Lady at SF Playhouse and Metamorphosis at University of California at Santa Cruz. Center Stage, Arizona Theater Company, Aurora Theatre, a BroadwayWorld San Francisco Shakespeare Santa Cruz, Pasadena Playhouse, Award for Care of Trees at Shotgun Players, ANDRE PLUESS San Jose Rep, Magic Theatre, Soho Rep, and an Arty Award for her design of Eurydice (Sound Designer, Associate Artist) the Civilians, Campo Santo, Encore Theatre at Solano College Theatre. Ball is a company Previous Cal Shakes credits include: Titus Company, and San Francisco Shakespeare member of Shotgun Players and has a MFA Andronicus (2012), Much Ado About Nothing Festival. He is a graduate of Boston University. in scenic design from San Francisco State and Macbeth (2010), A Midsummer Night’s University. Her upcoming shows include Twelfth Dream (2009), Romeo and Juliet (2009), CREATIVE TEAM Night and Our Town at Shotgun Players, Into and Twelfth Night (2008). Based in Chicago, the Woods at SF Playhouse, and A Midsummer additional credits include numerous productions AARON POSNER Night’s Dream here at Cal Shakes. Learn more for Lookingglass Theatre (Artistic Associate), (Director) about Nina’s work at NinaBall.com. Court Theatre, Victory Gardens Theater, About Aaron is a freelance Face Theatre, Goodman Theatre, Steppenwolf director and playwright. BEAVER BAUER Theatre, Northlight Theatre, and many other He was the founding (Costume Designer) Chicago and regional theaters. Broadway credits Artistic Director of Beaver M. Bauer is excited to be returning to include Metamorphoses, I Am My Own Wife, Philadelphia’s Arden Cal Shakes after many years, having last worked 33 Variations and The Clean House (Lincoln Theatre Company and on Henry IV (2004) . Other Cal Shakes credits Center). Mr. Pluess has received 11 Joseph is an Associate Artist as costume designer include Macbeth, The Jefferson Awards and citations, an L.A. Ovation at Folger Theatre and Tempest, and Arms and the Man. She has Award, Barrymore Award, a Drama Critics Milwaukee Repertory Theatre. Aaron has worked at many other Bay Area companies Circle Award, and Lortel and Drama Desk won numerous awards as both a director and including A.C.T., Berkeley Rep, San Jose Rep, nominations for composition and sound design. playwright including three Barrymore Awards, Eureka, Magic Theatre, Shakespeare Santa Recent projects include: White Snake (Oregon an Outer Circle Critics Award, the John Gassner Cruz, and SF Shakes. In the dance world, Shakespeare Festival, Berkeley Rep, McCarter Award, and Helen Hayes Awards as director she designed for Margaret Jenkins at the SF Theatre and Goodman Theatre); The Scarecrow or playwright four of the last ten years. His Ballet and also for Jenkins’ self-produced work. and his Servant (Children’s Theatre Co.); An published and produced plays include My Name Beaver was the Resident Designer for San Iliad (Court Theatre); Endgame (Steppenwolf Is Asher Lev, The Chosen, Stupid Fucking Francisco’s Teatro Zinzanni for seven years, and Theatre); Metamorphoses (Lookingglass Bird, Who Am I This Time? (And Other also designed for Palazzo Tent in Amsterdam, Conundrums of Love), Sometimes A Great Brenda Wong Aoki at Firstword Company, and Notion, Mark Twain’s A Murder, A Mystery & A Yuriko Doi at Theatre of Yugen. She has also Marriage (with James Sugg), and many others. worked as a designer for Brian Boitano Skating
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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WHO’S WHO
Theater/Arena Stage); and King Lear and The Grace, both at Grace Cathedral; the national administration and operations. She previously Tempest (Oregon Shakespeare Festival). tour of Spamalot in San Francisco; A Christmas worked at Berkeley Rep, American Conservatory Carol (2006-13), Armistead Maupin’s Tales Theater, Seattle Rep, and Berkshire Theatre Fes- LYNNE SOFFER* of the City, 1776, Stuck Elevator, Blackbird, tival. She served for seven years on the board (Text and Vocal Coach) Curse of the Starving Class, and The Tosca (four as vice president) of Theatre Bay Area, the Ms. Soffer has been the dialect/text coach on Project at American Conservatory Theater; Wild local service organization for theater companies over 200 productions for theaters including With Happy, Striking 12, and Wheelhouse and theater workers. She is a graduate of Vassar A.C.T., Berkeley Rep, Seattle Rep, San Jose at TheatreWorks; Ragtime and She Loves Me College and completed course work in organi- Rep, Old Globe (San Diego), Dallas Theater at Foothill Music Theatre; The 25th Annual zational psychology at JFK University. She lives Center, Arizona Theater Co., Magic Theatre, Putnam County Spelling Bee at San Jose in Berkeley with her husband, lighting designer Marin Theatre Company, TheatreWorks, Aurora Repertory Theatre; Salomé at Aurora Theatre York Kennedy, and their daughter Pippa. Theatre, Word for Word, and PCPA Theaterfest; Company; and Urinetown: The Musical at San the world premiere of Moisés Kaufman’s The Jose Stage Company. Karen is the production REBECCA NOVICK Laramie Project at the Denver Center, New coordinator at TheatreWorks. (Director of Artistic Engagement) York, and Berkeley; and for several films. She Ms. Novick was the founder of Crowded Fire has both acted with and coached dialects CAL SHAKES PROFILES Theater Company and served as its artistic and text for Cal Shaes in the past including director for 10 years, growing the company Titus Andronicus, Macbeth, Mrs. Warren’s from an all-volunteer group to one of San Profession, Private Lives, Pericles, An Ideal JONATHAN Francisco’s most respected small theaters. Husband, Nicholas Nickleby, Restoration MOSCONE She has developed and directed new plays for Comedy, and Man and Superman. She (Artistic Director) many theaters in the Bay Area and elsewhere. currently teaches at A.C.T., and works as an Jonathan Moscone Her directing work has been recognized with a actor at many Bay Area theaters. is in his 15th season Goldie Award for outstanding local artist, among as artistic director of other awards. Ms. Novick has held a number DAVE MAIER California Shakespeare of arts management and consulting positions (Resident Fight Director) Theater, where he including serving as interim arts program officer Mr. Maier is an award-winning fight director most recently directed for the San Francisco Foundation, project who has composed violence for many Cal American Night: The Ballad of Juan José coordinator for the Wallace Foundation Cultural Shakes productions including A Raisin in and where he will direct Shaw’s Pygmalion Participation Initiative in the Bay Area, and the Sun, Hamlet, Spunk, Titus Andronicus, for the 2014 season. His other credits include director of development and strategic initiatives Macbeth, Romeo & Juliet, King Lear, Richard Tribes at Berkeley Rep, and the world premiere for Theatre Bay Area. She regularly writes and III, A Midsummer Night’s Dream, and As You of Ghost Light, which he co-created and speaks on issues relating to the arts sector; Like It. His recent credits include Showboat developed with playwright Tony Taccone for recent publications include contributions to (San Francisco Opera); Pericles (Berkeley Oregon Shakespeare Festival and Berkeley 20under40, GIA Reader, Counting New Rep); Tales of Hoffmann and The Gospel of Rep. In addition, he directed Bruce Norris’ Beans, and Theatre Bay Area Magazine. Mary Magdalene (SF Opera); and Reasons Clybourne Park for American Conservatory Ms. Novick has a BA from the University of to Be Pretty (SF Playhouse). His efforts Theater. For Cal Shakes, Jonathan has directed Michigan in drama and anthropology. have been seen on many Bay Area stages the world premiere of John Steinbeck’s The including American Conservatory Theater, Pastures of Heaven by Octavio Solis, The CLIVE WORSLEY San Jose Rep, Shakespeare Santa Cruz, and Life and Adventures of Nicholas Nickleby, (Director of Artistic Learning) Shotgun Players, among others. He is a Full Candida, Twelfth Night, Happy Days, Much Clive Worsley assumed the reins as Director of Instructor of Theatrical Combat with Dueling Ado About Nothing, The Tempest, and the Cal Shakes Artistic Learning Department Arts International and a founding member of The Seagull. He is the first recipient of the in August of 2013, and has been one of Cal Dueling Arts San Francisco. He is currently Zelda Fichandler Award, given by the Stage Shakes’ premiere Teaching Artists since 2002. teaching combat-related classes at Berkeley Rep Directors and Choreographers Foundation for He was instrumental in developing some of School of Theatre and Saint Mary’s College of “transforming the American theatre through his the first integrated arts public school residency California. unique and creative work.” His regional credits programs, and is the moderator of our popular include Intersection for the Arts, the Huntington Student Discovery Matinee program. Clive is KAREN SZPALLER* Theatre, Alley Theatre, Milwaukee Repertory familiar to all age groups at our popular Summer (Stage Manager) Theater, Goodspeed Musicals, Dallas Theater Shakespeare Conservatories as both a Master Karen Szpaller is pleased to be working at Cal Center, San Jose Repertory Theatre, Intiman Class Instructor and Director. From 2008–2013, Shakes for the first time! Most recently, she Theatre, and Magic Theatre, among others. Mr. Worsley also served as Artistic Director Tribes stage-managed at Berkeley Repertory Jonathan currently serves as a board member of of Town Hall Theatre in Lafayette, where he Theatre, directed by Jonathan Moscone. Theatre Communications Group. brought about both artistic and fiscal success. Favorite Berkeley Rep shows on which she’s As an award-winning actor he has appeared on The Lieutenant of Inishmore, worked include SUSIE FALK many Bay Area stages including Cal Shakes, Eurydice, Concerning Strange Devices from (Managing Director) Berkeley Rep, TheatreWorks, Marin Theatre the Distant West, Fêtes de la Nuit, Comedy Ms. Falk came to Cal Company, Magic Theatre, Center REP, Shotgun, on the Bridge / Brundibar, Compulsion, and Shakes as Marketing and others. Mr. Worsley brings to the company Let Me Down Easy. Her favorites elsewhere Director in 2004, and a holistic philosophy and longstanding passion include Anne Patterson’s art and theatrical was appointed Managing for arts education. He believes strongly in the Seeing the Voice: State of Grace installation Director in 2009, over- power of theater to educate and enrich people On and Anna Deavere Smith’s newest work, seeing the company’s regardless of age or background and looks forward to building upon the great success of
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
encoreartsprograms.com 21 WHO’S WHO Be the Artistic Learning programs. OUR CORPORATE PARTNERS PHILIPPA KELLY BART (Resident Dramaturg) (Presenting Partner) Dr. Kelly’s work has been supported by many The Bay Area Rapid Transit District (BART) is Flexible. foundations and organizations, including the a 104-mile, automated rapid transit system Fulbright, Rockefeller, and Walter and Eliza serving over three million people. Forty-four Hall Foundations. She publishes widely, from BART stations are located in Alameda, Contra books on Shakespeare (her latest being The Costa, San Francisco, and San Mateo counties, King and I, Arden Press, 2010, a meditation and serve to truly connect the Bay Area. on Australian identity through the lens of King BART’s mission is to provide a safe, reliable, Lear), to papers on dramaturgy and topics of economical, and energy-efficient means of cultural engagement (her most recent discussion transportation. of dramaturgy can be found in the Cambridge With gas prices climbing ever higher and Journal of Postcolonial Inquiry, Spring 2014). everyone looking to green their commute, BART Besides her work for Cal Shakes, Dr. Kelly has expects a lot more people will be looking to also served as production dramaturg for the BART, as riders get the equivalent of 250 miles Oregon Shakespeare Festival and Word for to the gallon. Don’t forget that you can BART Word Theater Company. For the 2013–2014 to Bard—Cal Shakes offers a free BART shuttle academic year she has been practicing and from the Orinda BART station. BART... and teaching dramaturgy at the University of you’re there! California, Berkeley. She also teaches regularly for the Osher Lifelong Learning Institute in MEYER SOUND LABORATORIES Berkeley. For most of the summer she can be (Presenting Partner) found here at Cal Shakes, where she is a regular Family-owned and operated since 1979, pre-show Grove Talk speaker. She is married to Meyer Sound Laboratories, Inc. designs and composer Paul Dresher and mother to Cole. manufactures high-quality, self-powered sound reinforcement loudspeakers, digital audio systems, active acoustic systems, and sound Flex Subs PRODUCERS measurement tools for the professional audio industry. Founded by John and Helen Meyer, start as low ELLEN & JOFFA DALE the company has grown to become a leading (Executive Producers) worldwide supplier of systems for theaters, Long-time subscribers and donors, Ellen and arenas, stadiums, theme parks, convention as $80. Joffa Dale live in Orinda. Ellen is serving her centers, houses of worship, and touring concert second stint on Cal Shakes’ Board of Directors; sound-rental operations. Meyer Sound systems she was also on the board in 1991 when are installed in many of the great venues of the the Bruns Amphitheater first opened. While world, including the Berlin Philharmonie and Ellen and Joffa thoroughly enjoy picnics and Estonia’s Nokia Concert Hall; and in several AFFORDABLY-PRICED performances at the Bruns, the primary focus well-loved Bay Area venues, such as The FLEX SUBSCRIPTIONS of their donations is Artistic Learning. They Fillmore, Yoshi’s, Berkeley Rep, and Freight & believe that the lives of children reached by Cal Salvage Coffeehouse. Celine Dion, Metallica, GIVE YOU FOUR VOUCHERS Shakes’ education programs are enormously and countless other artists use Meyer Sound’s TO USE AT ANY TIME, enriched and that these children are the artists equipment on tour. Meyer Sound’s main office and audiences of the future. Ellen and Joffa and manufacturing facility are located in FOR ANY SHOW. also helped establish the Moscone Permanent Berkeley, California, with additional satellite Endowment and are charter members of the Cal offices located around the world. Shakes Legacy Circle. SAN FRANCISCO MAGAZINE See all four plays yourself, (Presenting Partner) San Francisco magazine is proud to celebrate pick two and bring a guest, 40 years of award-winning coverage of the Bay or bring a group to the Area lifestyle—from food, fashion, and culture to politics, trends, and trendsetters. Through its performance of your choice. history, San Francisco has been honored with more than 50 awards for editorial and design excellence. In 2010, it won the most coveted To purchase for yourself award in the magazine industry, the General Excellence award given by the American Society or as a gift, call our box of Magazine Editors—and has been nominated again this year. This recognition substantiates office at 510.548.9666 San Francisco’s passion and commitment to publish the Bay Area’s best magazine—as well or visit calshakes.org. as one of the nation’s best.
22 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG WHO’S WHO Extraordinary CITY NATIONAL BANK (Season Partner) Entertainment. Founded in California 60 years ago, City Exceptional National Bank supports organizations that Setting. contribute to the economic and cultural vitality of the communities it serves. City National has grown to nearly $30 billion in assets, providing banking, investment, and trust services Shakespeare’s Enchanting Romantic Comedy through 77 offices, including 16 full-service regional centers in the San Francisco Bay Area, Southern California, Nevada, New York City, Nashville, Tennessee, and Atlanta, Georgia. The corporation and its wealth management affiliates oversee more than $64 billion in client investment assets, and has been listed by Barron’s as one of the nation’s top 40 wealth management firms for the past 13 years. City National Bank provides entrepreneurs, By William Shakespeare professionals, their businesses, and their Directed by Edward Morgan families with complete financial solutions on The way up®. July 11 - August 24 LAFAYETTE PARK HOTEL & SPA Sand Harbor State Park (Season Partner) The Lafayette Park Hotel & Spa is pleased to LakeTahoeShakespeare.com | 800.74.SHOWS support Cal Shakes and serve as “home away from home” for Cal Shakes artists. With its Support Provided By: French Chateau architecture, legendary service, plush accommodations, award-winning cuisine, and full-service spa, the Lafayette Park Hotel & Spa provides one of the only Four Diamond experiences in the East Bay. Enjoy amazing cuisine at the Park Bistro Restaurant before Lake Tahoe Shakes 2014 - California Shakespeare Ad.indd 1 4/10/2014 10:50:02 PM the show, or stop by the Bar at the Park for a drink afterwards. The Hotel features more than 10,000 square feet of indoor and outdoor meeting space and is the ideal location for social LOCAL BANKERS events and corporate meetings. To be sure, the LTSF 041114 CST024 1_3s.pdf most elegant and memorable events are held at this “Crown Jewel of the East Bay.” LOCAL DECISIONS
PEET’S COFFEE & TEA (Season Partner) Peet’s Coffee & Tea is proud to be the exclusive coffee sponsor of California Shakespeare Theater’s 2014 season. Peet’s Coffee & Tea has earned an international reputation for quality since its founding in Berkeley in 1966. Peet’s has also been a valued supporter of California Shakespeare Theater since 2001. Peet’s salutes Cal Shakes on another wonderful season of reimagining the classics and bringing new works to the stage. Jim Wim-Kees Colleen Doug Kevin Tom Griffin van Hout Benatar Maggi Louie Rodriguez
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encoreartsprograms.com 23
SVB 041114 local 1_3s.pdf
ad proofs.indd 1 4/11/14 4:37 PM In 1991 the theater at the Bruns—named WHO’S WHO OUR STORY: PART TWO in recognition of the George and Sue Bruns family, who made a lead gift in memory of SeaRChiNG FOR a NeW hOMe CHEVRON their deceased eldest son, George—cele- (Production Partner) brated its inauguration with a production Chevron is one of the world’s leading integrated of A Midsummer Night’s Dream. It had energy companies, with subsidiaries that Continued from page 7. rained all day, clearing just in time for the conduct business worldwide. The company is performance. Sam Wanamaker, American involved in virtually every facet of the energy for educational outreach that would replace actor, director, and émigré to England (after industry. Chevron explores for, produces, and the weathered trunk from which Lura Dolas having been blacklisted in America by transports crude oil and natural gas; refines, had, for years, managed to successfully run McCarthyists in the 1950s), was present at markets, and distributes transportation fuels and her multiple educational programs (includ- the opening. One of the people responsible lubricants; manufactures and sells petrochemi- ing one that was accredited with UC Berke- for recreating Shakespeare’s Globe in Lon- cal products; generates power and produces ley). Septic toilets would be available— don, Sam was fascinated by our very similar geothermal energy; provides energy efficiency admittedly, temporary ones, which never project. “There is a miracle here tonight,” solutions; and develops the energy resources of turned out to be 100 percent reliable—in he said. “The Brits have been trying to rec- the future, including biofuels. Chevron is based place of the Hinkel Park porta-potties. reate Shakespeare’s Globe for twenty-one in San Ramon, California, and is a proud sup- porter of Cal Shakes. More information about years, and Orinda has done it in four.” In 1989, ground was finally broken in Chevron is available at www.chevron.com. Orinda. Meanwhile, the stage at Hinkel Park prepared to close by the end of 1990. In all PHiLiPPA KELLY’S HiSTORY AFFILIATIONS the years that the Shakespeare Festival had SERiES CONTiNUES iN OUR NExT produced theater there, a show had never been rained out... until the last night of the SHOW ’S PROgRAm, Pygmalion. last season. Many of the actors and the PaRT ONe aPPeaReD iN The 400-strong audience believed that the park A RAisin in The sun PROGRaM. was crying. After several years, two of the iF yOu MiSSeD iT, iT CaN Be This Theater operates under an agreement oak trees that had canopied the audience FOuND ON The RAisin PaGe ON between the League of Resident Theatres and stage toppled over. Cal ShaKeS’ WeBSiTe. and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The scenic, costume, and lighting designers are represented by United Scenic Artists, Local USA-829 of the IATSE. California Shakespeare Theater is an Equal Opportunity Employer. ASHLAND 2014
The Tempest Directed by Tony Taccone
“…a delicious melange of sights, sounds and colors… a mesmerizing theater experience” — Lee Juillerat, Klamath Falls Herald and News
Eleven Plays in Three Theatres February 14–November 2 1-800-219-8161 • www.osfashland.org Denis Arndt is Prospero in The Tempest
24 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG THANKS TO OUR DONORS
INDIVIDUALS These contributors made gifts between May 1, 2013 and April 30, 2014. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a cross (†) donated at the Benefactor level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Renée Gholikely at 510.899.4834 or [email protected] so that we may correct our records.
$25,000 and above Sondra & Milton Schlesinger† Erin Bydalek & Patrick Bengtsson* Mary & Howard Matis Ellen & Joffa Dale† Alan Schnur & Julie Landres Pamela & Christopher Cain June & Andy Monach Erin Jaeb & Kevin Kelly† Julie Simpson Joe & Nicole Carberry Linda & Chris Moscone Maureen & Calvin Knight† M.J. Stephens & Bernard Tagholm in Steven & Karin Chase Patricia & David Munro Helen & John Meyer memory of Juniper Marley Allen Debbie Chinn in honor of the Staff of Lizzie & John Murray Nicola Miner & Robert Mailer Charles & Heidi Triay the Carmel Bach Festival, Susie Lee Neely & Chelle Clements Anderson† David & Maria Waitrovich Falk, and Megan Barton Carol & Richard Nitz* Michael & Sandra Cleland Deborah O’Grady & John Adams Peter & Delanie Read† $2,500–$4,999 Michael & Virginia Ross† Frank Clifford Candace & Dick Olsen Anonymous Jean Simpson† Alice Collins & Len Weiler Eleanor Parker Ann & Clifford Adams Sharon & Barclay Simpson† Tony Cone & Wendy Rader Dr. & Mrs. Irving Pike Ann & Peter Appert The Estate of Grace Williams Craig Congdon* Pauline Proffett & Matthew Fabela Stephanie & David Beach in honor of Jay Yamada† Debra Crow Rachel Rendel Amanda Starr Mercer Diana & Ralph Davisson Velma & Hugh Richmond $10,000–$24,999 Mr. & Mrs. Richard Bertero Lois De Domenico Maria & Danny Roden Anonymous (3) Jeff Bharkhda Pam & Wayne Dewald Lesah & Jeffrey Ross James N. Cost Foundation† Nina & David Bond Maria Dichov Claire Roth Henry & Vera Eberle† Darryl Carbonaro & Jonathan Moscone Ellen Dietschy & Alan Cunningham in Rob & Eileen Ruby Philanthropic Ann & Gordon Getty Wai & Glenda Chang honor of Philippa Kelly Fund of the Jewish Community Harvey & Gail Glasser† Josh & Janet Cohen† Linda Drucker Prazon in honor of Foundation of the East Bay David & Diane Goldsmith† Ron & Gayle Conway Maureen & Cal Knight Patricia & Glenn Rudebusch Craig & Kathy Moody† Jan Deming & Jeff Goodby Barbara Duff in memory of George Duff Barbara & Jerry Schauffler Nancy Olson† Andrew Ferguson & Kay Wu Lori & Gary Durbin Martha G. Schimbor Shelly Osborne & Steve Tirrell Patrick W. Golden & Susan Overhauser Donald Engle & Karen Beernink Jo Schuman Silver Arthur & Toni Rembe Rock Ardice Hartry & Paul Covey Susie Falk & York Kennedy Margie & Jim Shaughnessy Monica Salusky & John Sutherland in Randy & Bev Hawks Mimi & Jeff Felson Cathleen Sheehan & Kenneth Sumner memory of Riley Goodness Craig & Margaret Isaacs Shelley & Elliott Fineman Carrie & Jason Smith Miriam & Stanley Schiffman Nancy Kaible & David Anderson† Kevin Fitzgerald Jennifer & Will Sousae William & Nathalie Schmicker Jean & Jack Knox Sally & Michael Fitzhugh Sue & Terry Stiffler Frank & Carey Starn*† Lisa & Scott Kovalik Dale & Jerry Fleming Paul & Susan Sugarman Teresa & Patrick Sullivan Gina & David Larue Jessica & James Fleming Mr. & Mrs. Richard Thieriot Buddy & Jodi Warner† Bill & Carol Leimbach Vincent Fogle & Emily Sparks Nancy Thomas George & Kathleen Wolf Debby & Bruce Lieberman† in honor of Stanlee Gatti Barbara & Rich Thompson Sharon & Barc Simpson $5,000–$9,999 Kathleen & Karl Geier Drs. Oldrich & Silva Vasicek Walter Moos & Susan Miller† William & Vanessa Getty Beth Ann & Michael Ward in honor of Anonymous Mary Prchal Carol & Richard Gilpin Sharon & Barclay Simpson Simon Baker Paul A. Renard & John A. Blytt Judith & Alexander Glass Anne & Paul Wattis Valerie Barth & Peter Wiley* Noralee & Tom Rockwell Robert J. Gleeson Prentiss & Janice Willson Barbara & Richard Bennett Patti & Rusty Rueff Werner Goertz & Elizabeth Harvey Muriel Fitzgerald Wilson Michael & Phyllis Cedars† Tiffany Schauer Pamela & John Goode Drs. Bonnie Zell & Manuel Torres Phil & Chris Chernin† Judy & John Sears† Janie & Jeff Green Midge & Peter Zischke Mary Curran & John Quigley Debbie Sedberry & Jeff Klingman Charles & Katherine Greenberg Joe Di Prisco & Patti James† $750–$999 Laura & Robert Sehr† Garrett Gruener & Amy Slater Bob Epstein & Amy Roth† Anonymous (3) Mary Jo & Arthur Shartsis Tish & Steve Harwood Nancy & Jerry Falk† William Anderson Maureen Shea & Allen Ergo Remy Hathaway Elise & Tully Friedman Jacqueline Carson & Alan Cox† Steven Sterns & Barry Klezmer Joyce Hawkins & John W. Sweitzer Rena & Spencer Fulweiler Frank & Margaret Dietrich Virginia & Thomas Steuber Chris & Marcia Hendricks Dr. & Mrs. Jeffrey Hays† Sharon & Leif Erickson Christine & Curtis Swanson Dan Henkle & Steve Kawa*† Ken Hitz Gita & Louis C. Fisher Carol Jackson Upshaw† in honor of Paul Hennessey & Susan Dague* Mark Horowitz & Jody Buckley Laura & William Gorjance Jonathan Moscone Elizabeth & Thomas G. Henry Barbara E. Jones in memory of William Xanthe & James Hopp Beverly & Loring Wyllie Jeanne Herbert† E. Jones Michael Huston & Marcia Cho Michael H. Zischke & Nadin Bonnie & Tom Herman John Kemp & Mary Brutocao Eleanor & Richard Johns Sponamore Mary Anna & Martin H. Jansen, M.D. Fred Levin & Nancy Livingston, The Bill & Joey Judge Malcolm Jones & Karen Roche Shenson Foundation† $1,000–$2,499 Arline Klatte & Jon Ennis Timothy Kahn & Anne Adams Antonio & Ashley Lucio Anonymous Joy Lienau-Armstrong Bruce Kerns & Candis Cousins Richard Norris & David Madsen Keren & Robert Abra Connie & John Linneman Sheryl & Anthony Klein Janet & Norman Pease† in honor of Frank & Loren Acuña Randall & Rebecca Litteneker Kim & Max Krummel Patti James, Dayna Taylor, and Stephanie & N. Thomas Ahlberg Kheay Loke & Martha McGrady Jennifer Kuenster & George Miers Midge Zischke Melissa Allen & Elisabeth Andreason Elizabeth Lowe Jerry Kurtz Ms. Janee Pennington-Watson & Mr. Pat Angell in memory of Gene Angell Eileen & Peter Michael Dr. Todd & Pamela Lane Colin Watson Susan M. Avila & Stephen Gong Ronald Morrison Adair & William Langston Jim & Nita Roethe† Robin Azevedo Nancy & Gene Parker Michael & Samantha Leo Michele & John Ruskin Eugene & Neil Barth Mark & Claire Roberts Eileen & Richard Love Barbara Sahm & Steven Winkel† in Megan Barton & Brian Huse Jirayr Roubinian Natalie Lucchese in memory of Sam memory of Gene Angell Laura & Paul Bennett Diana Sanson & Ben Compton in honor Lucchese Yvonne & Angelo Sangiacomo Liz & Richard Bordow in honor of of Jean Simpson Dr. Michael Cedars Robert Lynch
encoreartsprograms.com 25 CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT INDIVIDUAL DONORS, We are grateful for the generous investment of the following foundations, CONTINUED corporations, and government agencies, which support our 2014 artistic and educational programs. Multiyear grants are designated with a double asterisk (**). James Shankland & Leslie Landau* in honor of the Queen’s Own David A Shapiro, M.D. & Sharon L Wheatley PRESENTING PARTNERS $100,000 and above Mechanics Bank Jeff & Gretchen Shopoff The William and Flora Hewlett Muscardini Cellars Barbara Sklar† Foundation** Oakland Museum of California Gary Sloan & Barbara Komas The James Irvine Foundation** Oliver Ranch Foundation Robert St. John & M. Melanie Searle The Andrew W. Mellon Philharmonia Baroque Orchestra Gail & Rick Stephens Foundation** Pizzaiolo Anne Marie & Tom Taylor Meyer Sound PricewaterhouseCoopers LLP Jeff Wagner Prima Ristorante Meredith & Jeffrey Watts $50,000–$99,999 Ramen Shop $500–$749 BART Range Restaurant Anonymous (3) • Kay & David Aaker • Beth & Dale Family Fund Rotary Club of Orinda Phil Acomb • Ann & Russ Albano • Claire & The Dean and Margaret Lesher Safeway, Inc. Kendall Allphin • Jose & Carol Alonso • Barbara Foundation** Schramsberg Vineyards Aumer-Vail & Steve Vail • Mary Jo & Norm Baietti Otter Cove Foundation SFO Museum • Elizabeth Balderston • Joyce & Charles Batts Shotgun Players $25,000–$49,999 • L. Karin & Bob Benning • Sara Benson • Paula Sonoma Valley Museum of Art Chevron Corporation Blizzard & David Brown • Nancy & Roger Boas • St. George Spirirts KBLX Marilyn & George Bray • Jean & John Brennan • Swan’s Fine Books National Endowment for the Arts Germaine Brown • Bronwyn & Kevin Brunner • Anne Sylvain The Shubert Foundation Doree & Andrew Burstein • Judith Butler • Joan TWANDA Foundation Byrens • Jo Alice & Wayne Canterbury • Carmen $10,000–$24,999 UC Berkeley Art Museum and & Eric Castain* • Katherine & Henry Chesbrough City National Bank Pacific Film Archive • Matt Ching • Jane & Thomas Coulter • Chris & SEASON PARTNERS Sidney E. Frank Foundation UC Berkeley Library Lynn Crook • Jill & Chuck Crovitz • Theresa Cullen John Muir Health Walnut Creek Yacht Club • Eric Dittmar & Gayle Tupper • Corinne & Michael KCBS Waterbar Doyle • Karin Eames • Ilse & Jim Evans • Lynn & The Walter and Elise Haas Fund Westminster Kennel Club Bill Evans • Mary & Benedict Feinberg • Claudia The Thomas J. Long Foundation The Whittier Trust Company in Fenelon & Mark Schoenrock • Scott & Joan Fife MCJ Amelior Foundation honor of Jonathan Moscone McRoskey Mattress Company • Peter Fisher • Kerry Francis & John Jimerson • The Gordon and Betty Moore Nancy Francis • Maribel & Jack Fraser* • Doris Foundation TASTING PARTNERS Fukawa & Marjan Pevec • Charla Gabert & David Peet’s Coffee & Tea Caravel and Outcast Wines Frane • Gopnik & Lewinski Family • Matthew United Airlines Coco Tutti Goudeau† • Kathleen & David Graeven • Kristi & Crofter’s Organic Arthur Haigh • George Haley & Theresa Thomas $5,000 - $9,999 Mindy Jade Chocolates • Harriet Hamlin & James Finefrock • Patricia & Baker Avenue Asset Management Peet’s Coffee & Tea Brian Hanafee • Sonny & Bruce Hanson • Phil Lafayette Park Hotel & Spa Purity Organics Hunsucker & Kristi Helmecke • Lisa & Michael The Bernard Osher Foundation R&B Cellars Holmes • Ben & Sarah Holzemer • Lina Jane Theatre Development Fund Upper Crust Pies Howard-Cygan & Herbert Cygan • Leslie & George Up to $4,999 Urbano Cellars Hume • Carole & Philip Johnson • Ken Johnson • Karin & Patrick Johnston • Leslie & Murray Archer Norris Wedl Winery Kalish • Martin L. Kaufman • Mr. Marshall Kido Aurora Theatre • Thomas Koegel & Anne LaFollette • Joseph Berkeley Repertory Theatre MATCHING GIFTS Lee • Susan & Donald Lewis • Kate & Thomas F. Britex Fabrics Adobe Systems, Inc. Loughran • Jean & Lindsay MacDermid • Elena Cafe Rouge Apple Maslova • Marsha Maytum & William Leddy • Chihuly Studio AT&T Foundation Robert Mazalewski • Eugene McCabe • Jacquelyn Classic Catering Bank of America McCormick & Michael Salkin • Will McCoy • Nion Clif Family Winery Caterpillar Foundation T. McEvoy • Paul & Ellen McKaskle • Charlie & Di Rosa Art Alive PRODUCTION PARTNERS Chevron Humankind Casey McKibben • Kimberly & Jerry Medlin • Alex Dodge & Cox Google Miller & Leslie Louie • D. G. Mitchell • Pia & Chris East Bay Community Foundation John Wiley & Sons, Inc. Mittlestaedt • Terri Mockler • Jennifer & Brian Fine Arts Museums of San J.P. Morgan Chase Foundation Mosel • Marilyn & David Nasatir • Joseph Navarro Francisco McKesson Foundation & Billie Jones • Rebecca Novick • Ann & John Fort Ross Vineyard & Winery Sidley Austin Nutt • Marie & Jim O’Brient • William Ostrander & Four Seasons Hotel San Francisco Visa Janice L. Johnson • Sharon & Bill Owens • Cindy Frances Wells Fargo Padnos & Jim Redmond • Berniece & Charles The FruitGuys Patterson • Carol & Mark Penskar • Carey Perloff Ann & Gordon Getty Foundation & Anthony Giles • Craig Pratt • Pam Rafanelli Mimi & Peter Haas Fund ORGANIZATIONS PROVIDING • Hillary & Jonathan Reinis • Judith & William Helicon Collaborative DONOR-ADVISED FUNDS Roberts • Julie & Andrew Sauter • Patti & Paul Incredible Adventures Bank of America Charitable Gift Sax • Joyce & Kenneth Scheidig • Marcus Segal • Judd’s Hill Fund Lucille & John Serwa • Heidi Shale & Earl Cohen Kaur Photography East Bay Community Foundation • Anne Siglin • Neil Sitzman • Eric & Erica Sklar • Lamborn Family Vineyards Fidelity Charitable Gift Fund Betsy Smith • H. Marcia Smolens • Valerie Sopher Lamorinda Sunrise Rotary Foundation Source • Stephanie & Robert Sorenson • David Starke • Linden Street Brewery Jewish Community Federation Alexandra & Peter Starr • Tony Taccone & Morgan Marine Mammal Center Renaissance Charitable Foundation Forsey • Ragesh Tangri & Daralyn Durie • James Meadowood Napa Valley The San Francisco Foundation Schwab Charitable Fund Topic & Terry Powell • Dawson & Andrew Urban • Jamie & Gerry Valle • William Van Dyk & Margaret Sullivan • Jackie Wallace • Jennifer & Perry Wallerstein • Kelvin Wate • Doug Welsh • Martha Truett & David White • Wendy & Mason Willrich • Joe Wynne • Linda & Warren Zittel •
26 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG BOARD OF DIRECTORS
EXECUTIVE COMMITTEE Buddy Warner MISSION PRESIDENT Jean Simpson FIRST VICE PRESIDENT With Shakespeare's depth of humanity Susie Falk VICE PRESIDENT* AND MANAGING as our touchstone, we build character DIRECTOR and community through authentic, Jonathan Moscone inclusive, and joyful theater experiences. VICE PRESIDENT* AND ARTISTIC DIRECTOR Marshall Kido VICE PRESIDENT Alan Schnur VICE PRESIDENT Kate Stechschulte VICE PRESIDENT Ellen Dale SECRETARY Jay Yamada TREASURER *ex-officio
DIRECTORS Jeff Bharkhda Michael Cedars Phil Chernin Mike Cleland Joshua Cohen Ellen Dale Sonny Hanson Erin Jaeb Tony Kallingal IN MEMORY Maureen Knight Craig Moody The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late Richard Norris son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis, Nancy Olson NY, on December 14, 1942. He came to California with his family at the age Linda Clark Phillips Jim Roethe of seven, and attended Pleasant Hill High School, where he played football and John Ruskin took the North Coast Championship in Greco-Roman wrestling. At the Air Force Sharon Simpson Academy, he became the AAU wrestling champion. He earned a Master’s Degree Frank Starn in Mechanical Engineering from Ohio State University. George rode Brahma bulls and saddle broncs, and loved to ride horses through the Siesta Valley where the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile accident just before he was due to ship out for service in Vietnam. California OUR VISION California Shakespeare Theater is Shakespeare Theater honors the memory of Lt. George H. Bruns III. essential to the vitality of Bay Area’s diverse communities.
OUR VALUES Diversity and Inclusion. Everyone has a voice, and we are better artistically and financially for including their voices.
Artistic Risk. We are at our most creative when we go beyond our comfort zone.
Learning. We get better when we seek out new ideas and ABOUT THE BRUNS AMPHITHEATER methodologies to enact our mission.
Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the Environmental Responsibility. We strive to create, not to deplete or East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks destroy.
to serve the public with a community facility while preserving the watershed with minimal Joy. Everything we do should possess a palpable feeling of joy. disruption to the pastoral surroundings. This land may be open to the public for performances and private events, but remains restricted private property at all other times. Authenticity. If it isn’t real, it won’t connect.
Financial health. Without it, nothing PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS we do would be possible. (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).encore artsprograms.com 27 2014 COMPANY Jonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR
2014 ARTISTIC COMPANY Marissa Wolf, Clive Worsley, Elena ELECTRICS Renée Gholikely, CORPORATE PARTNER Rotimi Agbabiaka, ACTOR Wright, CLASSROOM RESIDENCIES Del Medoff, MASTER ELECTRICIAN RELATIONS COORDINATOR Dede M. Ayite, SET DESIGNER Sarina Renteria, Kevin Sweetser, Nina Ball, SET DESIGNER Molly Aaronson-Gelb, Heidi Abbott, ASSISTANT MASTER ELECTRICIANS PATRON SERVICES Ajani Barrows, ACTOR Elizabeth Carter, Allysa Evans, Brit Melina Cohen-Bramwell, SEASON Pam Webster, PATRON SERVICES MANAGER Beaver Bauer, COSTUME DESIGNER Frazier, Susan-Jane Harrison, Laura FOLLOWSPOT Molly Conway, PATRON SERVICES Maria Calderazzo, ASSISTANT DIRECTOR Marlin, Erin Merritt, Ryan O’Donnell, Hamilton Guillén, LIGHTING RUN ASSISTANT MANAGER L. Peter Callender, ACTOR Carla Pantoja, Patrick Russell, Michael SUPERVISOR Steven Bailey, Ashleigh Edelsohn, Nan Liam Callister, ACTOR Shipley, Clair Slattery, Anna Smith, Noonan, Rhoda Slanger, Sheila Yee, Ron Campbell, ACTOR Anika Solvieg, Tommy Statler, Jacinta SOUND PATRON SERVICES ASSOCIATES Nancy Carlin, VOCAL/TEXT COACH Sutphin, Trish Tillman, Elizabeth Vega, Will McCandless, AUDIO SYSTEMS BOX OFFICE Jim Carpenter, ACTOR Maryssa Wanlass, Laura Wayth, Alison CONSULTANT BOX OFFICE MANAGER Catherine Castellanos, ACTOR Whismore, Wendy Wisely, Marissa Brendan Aanes, Lawton Lovely, Xochitl Derik Cowan, ASSISTANT BOX OFFICE Nemuna Ceesay, ACTOR Wolf, Elena Wright, Kat Zdan, SUMMER Loza, MIXERS Kelvyn Mitchell, MANAGER Erika Chong Shuch, MOVEMENT DIRECTOR SHAKESPEARE CONSERVATORY DIRECTORS Christopher Lossius, SOUND BOARD OP Dan Clegg, ACTOR AND TEACHERS Molly Conway, Kimberlee Hicks, Shana Cooper, DIRECTOR COSTUMES & WARDROBE Jasmine Malone, Olivia Mertz, Mara Ligia BOX OFFICE ASSOCIATES Tristan Cunningham, ACTOR Derek Fischer, Anna Smith, Jacinta Jessa Dunlap, RENTALS MANAGER/ Morgantti, David Cuthbert, LIGHTING DESIGNER Sutphin, Trish Tillman, Elena Wright, CRAFTSPERSON FRONT OF HOUSE Adrian Danzig, ACTOR CLASSES & AFTER SCHOOL PROGRAMS Eva Herndon, DESIGN ASSISTANT Michael Ross, HOUSE MANAGER Julie Eccles, ACTOR Liesl M. Seitz Buchbinder, CUTTER/ Jordan Battle, LEAD ASSISTANT HOUSE Lauren English, ACTOR Katy Adcox, Brett Jones, SUMMER DRAPER MANAGER Caitlin Evenson, ACTOR SHAKESPEARE CONSERVATORY COORDINATORS Katherine Griffith, TAILOR Sarah Austin, Anna Boer, Heidi Hayame, Anthony Fusco, ACTOR JoAnne Martin, Karly Tufenkjian, FIRST Kathryn Kellogg, Adam Navarette, Patty Gallagher, ACTOR ARTISTIC & DRAMATURGY HANDS Charles RainingBird, Belgica Rodriquez, Ponder Goddard, ACTOR Rebecca Novick, DIRECTOR OF ARTISTIC Linda Ely, Franzesca Mayer, Coeli HOUSE ASSOCIATES Margo Hall, ACTOR ENGAGEMENT Polanski, STITCHERS Molly Conway, Pam Webster, WELCOME Marcus Henderson, ACTOR Sonya Taylor, COMMUNITY PARTICIPATION Meave Kelly, Suzanne Ryan, VOLUNTEER CENTER COORDINATORS Christina Hogan, ASSISTANT STAGE COORDINATOR STITCHERS Karla Barahona, Claire Patterson, MANAGER Clea Shapiro, ARTISTIC ASSOCIATE Marcy Frank, CRAFTS OVERHIRE TRIANGLE LAB COORDINATORS Cheryle Honerlah, PRODUCTION ASSISTANT Philippa Kelly, RESIDENT DRAMATURG Jessica Carter, WIG & MAKEUP DESIGNER Howard Johnson Jr., ACTOR Shannon Dunbar, WARDROBE LEAD ARTISTIC LEARNING 2014 PROFESSIONAL IMMERSION Laxmi Kumaran, STAGE MANAGER PROGRAM Clive Worsley, DIRECTOR OF ARTISTIC PROPERTIES Charles Lewis III, ACTOR ARTISTIC LEARNING Regina Fields, Olivia Mertz, Sharon Lockwood, ACTOR Seren Helday, PROPERTIES MASTER Beverly Sotelo, ARTISTIC LEARNING Sarah Spero, PROPERTIES ARTISAN Diego Briones, Emelyn Hicks, Beth Irene Lucio, ACTOR Hitchcock, Michelle Kazanowski, PROGRAMS MANAGER Brittany White, Sean Carroll, PROPERTIES Catherine Luedtke, ACTOR Mara Minchillo, Jenna Nilson, ARTISTIC Whitney Grace Krause, ARTISTIC OVERHIRES Dave Maier, FIGHT DIRECTOR LEARNING LEARNING COORDINATOR Craig Marker, ACTOR FACILITIES Monica Ammerman, CASTING Gabe Maxson, LIGHTING DESIGNER DIVERSITY & INCLUSION Manino Mendez, Brittany White, FACILITY Sabine Balden, Megan Finley, Morgen Will McCandless, SOUND DESIGNER Carmen Morgan, DIVERSITY & INCLUSION MANAGERS Warner, COSTUME DESIGN Patricia McGregor, DIRECTOR CONSULTANT Brian Giguere, MAINTENANCE TECHNICIAN Erica Frost, COSTUME DESIGN/WARDROBE Jonathan Moscone, DIRECTOR Megan Barton, Jamie Buschbaum, Derik Porscha Owens, Reva Owens, SHUTTLE Shreya Carey, COSTUME SHOP Katherine Nowacki, COSTUME DESIGNER Cowan, Susie Falk, Joyce Fleming, DRIVER Rachel Hart, DEVELOPMENT Anna Oliver, COSTUME DESIGNER Marilyn Langbehn, Jonathan Moscone, Esther Ho, MARKETING Katherine O’Neill, COSTUME Andrew Page, Clea Shapiro, Sonya FINANCE AND ADMINISTRATION Alex Liu, PRODUCTION MANAGEMENT Nick Pelczar, ACTOR Taylor, Tirzah Tyler, Pam Webster, Clive Noralee Rockwell, DIRECTOR OF FINANCE Grace Jeong, PROPERTIES Chien-Yu Peng, ASSISTANT SCENIC Worsley, TASK FORCE Joyce Fleming, DIRECTOR OF HUMAN James Rollins, SCENIC CONSTRUCTION/ DESIGNER RESOURCES TECHNICAL DIRECTION Ryan Nicole Peters, ACTOR PRODUCTION Jamie Buschbaum, OPERATIONS Randy Wong-Westbrooke, SCENIC Andre Pluess, SOUND DESIGNER Tirzah Tyler, PRODUCTION MANAGER MANAGER/EXECUTIVE ASSISTANT PAINTING Paul James Prendergast, SOUND Jamila Cobham, ASSISTANT PRODUCTION Maria Napoli, ACCOUNTING ASSISTANT Charles Trombadore, SOUND DESIGN DESIGNER MANAGER Marivie Koch, BUSINESS OFFICE ASSISTANT Sarah Lamb, SPECIAL EVENTS Elyse Price, ACTOR Chris Hammer, TECHNICAL DIRECTOR Tazwell Caputo, Lauren Frazier, Tianyi Zion Richardson, ACTOR Naomi Arnst, COSTUME DIRECTOR DEVELOPMENT Hao, Jessica Lucey, JinAh Lee, STAGE Jake Rodriguez, SOUND DESIGNER Megan Barton, DIRECTOR OF MANAGEMENT Travis Rowland, ACTOR STAGE MANAGEMENT DEVELOPMENT Amanda Widick, WIGS AND MAKEUP Danny Scheie, ACTOR Christina Hogan, Laxmi Kumaran, Karen Andrew Page, GRANTS MANAGER Stephanie Foster, TEACHING ARTIST Annie Smart, SET DESIGNER Szpaller, STAGE MANAGERS Ian Larue, ANNUAL FUND MANAGER FELLOW Krista Smith, ASSISTANT LIGHTING Cheryle Honerlah, Christina Larson, Shelly Jackson, SPECIAL EVENTS MANAGER Skye Gable, HOSPITALITY AND SPECIAL DESIGNER Cordelia Miller, PRODUCTION ASSISTANTS Renée Gholikely, DEVELOPMENT EVENTS Stephen Strawbridge, LIGHTING DESIGNER COORDINATOR Alex Higgins, DONOR ENGAGEMENT Daisuke Tsuji, ACTOR SCENERY Colin Suemnicht, ASSISTANT TECHNICAL Liam Vincent, ACTOR MARKETING & COMMUNICATIONS DIRECTOR York Walker, ACTOR Janet Magleby, DIRECTOR OF MARKETING & Patrick Fitzgerald, Erin Gibb, Megan Drew Watkins, ACTOR COMMUNICATIONS Lush, CARPENTERS Marilyn Langbehn, MARKETING & PR PRODUCTION PROGRAM TEACHING ARTISTS MANAGER Volume 23, No. 2 Elizabeth Carter, Scott Coopwood, SCENIC ART Keith Spencer, PUBLICATIONS MANAGER Keith Spencer, EDITOR-IN-CHIEF Allysa Evans, Brett Jones, ZZ Moor, Letty Samonte, SCENIC CHARGE ARTIST Callie Cullum, GRAPHIC DESIGNER/ Callie Cullum, ART DIRECTOR Dan Saski, Anna Schneiderman, Lauren Sophia Fong, Shannon Walsh, OVERHIRE WEBMASTER Janet Magleby, EXECUTIVE EDITOR Spencer, Jacinta Sutphin, Trish Tillman, PAINTERS
All listings current as of May 25, 2014. 28 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG SEEING DOUBLE Twi s have fasci ate hu a ki for ille ia, so uch so that we have u erous lege s associate with the for i sta ce, the story of the wolf raise twi s a fou ers of Ro e Ro ulus a Re us or the pervasive i ea, oft see TEACHING ARTIST CAL SHAKES FAN i horror ovies, of a goo a evil twi . ALEXA AMORE ELIZABETH CARTER hy o we a why i Shakespeare love twi s Earlier i the progra page , ra aturg Philippa elly wrote of “fi nding your other half”—the idea that your twin might hold the key to u raveli g your i e tity a purpose. It s a telli g i ea, a it ay be why we oki gly use the ter twi to refer to confi dants who share our tastes, mannerisms, or fashio se se.
e aske our fa s a staff to speculate about their ow twins—celebrity, real or fi ctional—and then send in their pictures. If you like to oi i o the fu , tweet a picture of you a your twi to calshakes, or participate i the FORMER FIRST KID Story Hub ext to the caf . The best twi s will be reposte MANAGING DIRECTOR CHELSEA CLINTON o our Twitter a Facebook. SUSIE FALK
SINGER-SONGWRITER CAL SHAKES FAN CORINNE BAILEY RAE DICK VAN DYKE ACTRESS NEMUNA CEESAY JOSHUA THOMAS (ADRIANA, ENSEMBLE) SEPARATED AT BIRTH?
CAL SHAKES GRANT BREAKING BAD ACTOR ACTOR LIAM VINCENT MANAGER ANDREW PAGE THE COUNT BRIAN CRANSTON (DUKE OF EPHESUS, (THE MUPPETS) BALTHASAR, ENSEMBLE) Tarell Alvin Get to McCraney “McCraney writes the richest dialogue of any scribe of his generation.” —ChICago TrIBune know... PhoTo C ourTeSy oF M aCFound.org “kJ is an amazing theatre- maker. her play will be a Kathleen Turner theatrical event that will reveal something about the heart of american society.” —Tony TaCCone “devilishly funny bones, heavenly vocal chords!” —The london evenIng STandard Meow Meow KJ Sanchez PhoTo B y MagnuShaSTIngS.CoM PhoTo B y Sa Meerah luqM aan-harrIS
“a dark, intense, and vastly “Ingenious… unlike many entertaining version of farces, this one is also Molière’s work…Three- verbally funny. Bean’s hundred years after its first script is full of good opening night, Tartuffestill gags… Combines a acts as a potent warning.” tightly-written text with the gaiety of popular —Skyway newS “Turner is a marvel to watch as she takes on entertainment.” the character of the sharp-tongued political —london guardIan journalist Molly Ivins … This is a production that needs to be seen!” Tartuffe —Broadway world Richard Bean
STeven ePP In T arTuffe. PhoTo B y MIChal danIel PhoTo B y Mark g arvIn PhoTo By J ohan P erSSon universes
“high-energy, vibrant, roller coaster ride—via dialogue, monologue, poetry, music and dance—of the rise and fall of the Black Panther Party and the young lords.” —aShland daIly TIdIngS
ParT y PeoPle (oSF, 2012). PhoTo B y Jenny g rahaM
intRoDUCinG the 2014–15 sUbsCRiption season · see 3 plays for only $84 · see all 7 for as little as $25 each An Audience with Party People Red Hot Patriot: X’s and O’s Tartuffe Head of Passes One Man, Meow Meow By universes The Kick-Ass Wit (A Gridiron By Molière By Tarell Alvin McCraney Two Guvnors By Meow Meow (Steven Sapp, Mildred of Molly Ivins Love Story) Adapted by David Ball Directed by Tina Landau By Richard Bean Ruiz-Sapp, and William Directed by Directed by Emma Rice By Margaret Engel and By KJ Sanchez with Directed by David Ivers Ruiz, aka Ninja) Dominique Serrand Allison Engel Jenny Mercein Developed and Directed by Directed by directed by Liesl Tommy David Esbjornson Tony Taccone Starring Kathleen Turner season sponsors
Call 510 647-2949 · Click berkeleyrep.org
Untitled-15 1 5/14/14 10:19 AM FYI IMPORTANT INFORMATION FOR OUR PATRONS CONTACT US We can also book seats, adjacent to yours, for up to three companions. Box Office: 510.548.9666 or [email protected] (Make sure to request this seating at time of purchase.) (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm) Assistive Listening Devices: Available at no charge from the blanket kiosk on Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710 a first-come, first-served basis. Website: calshakes.org Open-captioned Performances: Cal Shakes is proud to provide open caption- Social Media: Facebook.com/calshakes Twitter.com/calshakes ing for patrons who are deaf or hard-of-hearing on the following dates: July Pinterest.com/calshakes 2 (The Comedy of Errors), August 6 (Pygmalion), and September 10 (A Group Sales (10+): 510.809.3290 Midsummer Night’s Dream). Open captioning utilizes an unobtrusive screen General: 510.548.3422 or [email protected] at the front of the theater to display dialogue spoken during a performance. Program Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 No special equipment is required by patrons; one can simply glance at the x105 or [email protected] screen to read the text while watching the action on stage. Facilities Rental: 510.548.3422 x123 AMPHITHEATER ETIQUETTE Costume Rental: 510.548.3422 x111 Be respectful: Part of Cal Shakes' mission is to inspire and cultivate diverse TICKETS AND SEATING and inclusive theater experiences. We reserve the right to ask patrons to Ticket Exchange & Replacement: Subscribers and Flex Subscriber may ex- leave. change tickets at no cost up to 24 hours in advance of the time and date of Arrive on time: Latecomers will be seated at an appropriate interval at the their scheduled performance; single ticket holders may do so for a $10 fee. House Manager’s discretion. If you lose or misplace your tickets, the Box Office can arrange for replace- Silence all electronic devices before the performance begins. ments at no extra charge. Recording: The video and/or audio recording of this performance by any Discounts: For information on discounted tickets for military, age 30 and means whatsoever are strictly prohibited. younger, and student/senior rush, visit calshakes.org/discounts. Keep the aisles clear during the performance. 20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance Do not take photos of the performance. The use of any type of camera, video this season, making it easier for more people to enjoy theater. Simply call the or audio recorder in the amphitheater is strictly prohibited. Such devices may Box Office between noon and 2pm the day of the show and ask to purchase be confiscated at the House Manager’s discretion. “20 for $20” tickets. (Subject to availability.) Observe all signage including directional signage on the grounds. It is posted Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections, for your safety. you will need to bring your own chair or rent one from us. If you choose to Smoking is restricted to area designated: Look for the bench and ashtray bring your own, it must be a low-backed beach chair with a seat no more on the plaza across from the café. Electronic cigarettes are allowed in the than six inches off the ground and a backrest no taller than shoulder height. groves, plaza, and anywhere on the grounds with the exception of the Amphi- If you need to rent a chair from us, you’ll find them at the upper entrance to theater. the Terrace for just $3. Be scentsitive: Perfumes or scented lotions may cause discomfort to other patrons and may attract yellow jackets. Please keep use to a minimum. BRUNS AMPHITHEATER Picnicking: You’re welcome to enjoy food and beverages during the perfor- 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing mance, but please be courteous to others. Unwrap all items before the per- address) formance begins or at intermission so as not to disturb your fellow patrons. Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of the ENVIRONMENTAL STEWARDSHIP main Amphitheater entrance for a suggested $2 donation; please dress Recycling: Please use the labeled recycling bins to discard glass, aluminum, warmly for cold nights and bring sunscreen and a hat for matinees. To keep plastic, and paper; a portion of the proceeds from the value of our recycled yellow jackets at bay, keep food covered whenever possible and promptly materials is donated to area schools. dispose of trash and recyclables. We’ve also found fabric softener dryer Solar: Cal Shakes is one of largest solar-powered outdoor professional the- sheets work well to keep repel yellow jackets. aters in the country. The 144 260-watt panels and four 9000-watt inverters Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift- of our Turn Key 37.4 kilowatt DC solar electric system are designed to supply equipped shuttle service between the Orinda BART station and the Theater up to 98% of the power needs to the Bruns Amphitheater. beginning 2 hours prior to and at the end of each performance. The shuttle Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon runs approximately every 20 minutes; the final shuttle leaves the Orinda Simpson Center’s living roof boasts native, drought-resistant plants. BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza. EVACUATION PLAN SHARON SIMPSON CENTER AMENITIES Café by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two STAG E hours before the performance and at intermission. Catering is available for EXIT groups (10+) and special events; call 925.939.9224. Restrooms: Located to the left of the Café. (Additional restrooms are located THE SHARON SIMPSON EXIT CENTER in the Upper Grove.) EXIT First Aid: For assistance, please go to the House Management Office, P located inside to the left of the restrooms. EXIT Emergency Phone: Since we ask all patrons to silence cell phones during performances, you may leave the House Office phone number EXIT ROUTE (925.254.2395) as your contact number during a performance. PRIMARY AREA OF REFUGE (MEETING PLACE FOR ALL AUDIENCE MEMBERS)
ACCESSIBILITY SECONDARY AREA OF REFUGE UPPER Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and GROVE FIRE HYDRANTS our free shuttle.” Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes.
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Granting of loan is subject to our credit requirements. © 2014 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. Materials expire on 08/01/2014. (1194364_12085)
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