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KING CHARLES III

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CLIENT ESC / San Francisco Towers PUB Encore Sept ACT AD NAME Judy Hoetling REF NO EPSF723-06xb TYPE 2/3 page vertical, 4C SIZE 4.75 x 9.875 ISSUE SEPT DUE 8.5.16 VERSION 01 AGENCY RESIN CONTACT Tim Paschke 415.987.4274 SAN FRANCISCO'S THEATER COMPANY

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is at winning nonprofit theater, nurtures the art of live theater the center of our work. Our three-year, fully accredited Master through dynamic productions, intensive actor training, of Fine Arts Program is at the forefront of America’s actor and ongoing engagement with our community. Under the training programs. Meanwhile, our intensive Summer Training leadership of Artistic Director Carey Perloff, we embrace Congress attracts students from around the world, and the San our responsibility to conserve, renew, and reinvent our rich Francisco Semester offers a unique study-abroad opportunity theatrical traditions and literatures, while exploring new for undergraduates. Other programs include the world-famous artistic forms and new communities. Founded by William Ball, Young Conservatory for students ages 8 to 19, led by 28-year a pioneer of the regional theater movement, A.C.T. opened its veteran Craig Slaight; Studio A.C.T., our expansive course of first San Francisco season in 1967. We have since performed theater study for adults; and the Professional Development more than 350 productions to a combined audience of more Training Program, which offers actor training for companies than seven million people. Every year we reach more than seeking to elevate their employees’ business performance skills. 250,000 people through our productions and programs. Our alumni often grace our mainstage and perform around the Bay Area, as well as on stages and screens across the country. Rising from the wreckage of the earthquake and fire of 1906 and hailed as the “perfect playhouse,” the beautiful, historic A.C.T. also brings the benefits of theater-based arts education Geary Theater has been our home since the beginning. When to more than 12,000 Bay Area students and educators each the 1989 Loma Prieta earthquake ripped the roof apart, San year. Central to our ACTsmart education programs, run by Franciscans rallied together to raise a record-breaking $30 Director of Education & Community Programs Elizabeth million to rebuild the theater. The Geary reopened in 1996 with Brodersen, is the longstanding Student Matinee (SMAT) a production of The Tempest directed by Perloff, who took over program, which has brought hundreds of thousands of young in 1992 after the retirement of A.C.T.’s second artistic director, people to A.C.T. performances since 1968. We also provide gentleman artist Ed Hastings. touring Will on Wheels Shakespeare productions, teaching- artist residencies, in-school workshops, and study materials to Perloff’s 24-season tenure has been marked by groundbreaking Bay Area schools and community-based organizations. productions of classical works and new translations creatively colliding with exceptional contemporary theater; cross- With our increased presence in the Central Market neighborhood disciplinary performances and international collaborations; marked by the renovation of The Strand Theater and the and theater made by, for, and about the Bay Area. Her fierce opening of The Costume Shop Theater, A.C.T. plays a leadership commitment to audience engagement ushered in a new era role in securing the future of theater for San Francisco and of InterACT events and dramaturgical publications, inviting the nation. everyone to explore what goes on behind the scenes.

American Conservatory Theater Board of Trustees (As of July 2016) The Board of Directors of the M.F.A. Program Nancy Livingston Ray Apple Robina Riccitiello William Draper III CHAIR Lesley Ann Clement Dan Rosenbaum John Goldman Abby Sadin Schnair Kirke M. Hasson Richard T. Davis-Lowell Sally Rosenblatt Kaatri Grigg CHAIR PRESIDENT Jerome L. Dodson Abby Sadin Schnair James Haire Michael G. Dovey Jeff Spears Kent Harvey Carlotta Dathe Celeste Ford VICE CHAIR Olympia Dukakis Robert Tandler Sue Yung Li Frannie Fleishhacker Sarah M. Earley Patrick S. Thompson Christine Mattison Arnie Glassberg Priscilla Geeslin Frannie Fleishhacker Joaquin Torres Joan McGrath Christopher Hollenbeck VICE CHAIR Ken Fulk Jeff Ubben Deedee McMurtry Luba Kipnis David Riemer Dianne Hoge Adriana Lopez Vermut Mary S. Metz Linda Kurtz VICE CHAIR Jo S. Hurley Nola Yee Toni Rembe Jennifer Lindsay Steven L. Swig Jeri Lynn Johnson Kay Yun Rusty Rueff Toni Miller VICE CHAIR Alan Jones Joan Sadler Toni Rembe Linda Jo Fitz James H. Levy EMERITUS Cheryl Sorokin Sally Rosenblatt TREASURER Heather Stallings Little ADVISORY BOARD Alan L. Stein Anne Shonk Janet V. Lustgarten Barbara Bass Bakar Barry Lawson Williams Melissa Smith Daniel E. Cohn SECRETARY Jeffrey S. Minick Rena Bransten Carlie Wilmans Alan L. Stein Michael P. Nguyen Jack Cortis Patrick S. Thompson Alan L. Stein Martim Oliveira Joan Danforth CHAIR EMERITUS Carey Perloff Dagmar Dolby

American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92

415.749.2228 5 TILSON THOMAS FABIANO IZOTOV An Italian Celebration

Michael Tilson Thomas conductor MTT and the SF Symphony showcase the many THU SEPT 22 8PM Michael Fabiano tenor facets of Italian music—from its sweeping drama FRI SEPT 23 7:30PM The Swingles vocal ensemble to moments of delicate beauty and lighthearted SAT SEPT 24 8PM Eugene Izotov oboe joy. Hear Verdi’s show-stopping Te Deum, San Francisco Symphony Chorus alongside Grammy Award-winning vocal ensemble Ragnar Bohlin director The Swingles, SF Symphony Principal Oboe Eugene San Francisco Symphony Izotov, and tenor Michael Fabiano singing works by Verdi and Donizetti. Marcello Oboe Concerto in C minor Berio Sinfonia for Eight Solo Voices and Orchestra Verdi Te Deum

THE SWINGLES

FLOOR SEATS sfsymphony.org 415-864-6000 START AT * SECOND CENTURY PARTNER SEASON PARTNERS $49 Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. *Subject to availability and only applies to the 9/22 and 9/23 dates Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin Inaugural Partner Official Airline

Untitled-1 1 8/22/16 9:57 AM DON’T JUST SIT THERE . . .

At A.C.T.’s free InterACT events, you can mingle with cast members, join interactive workshops with theater artists, and meet fellow theatergoers at hosted celebrations in our lounges. Join us for our upcoming production of The Hard Problem and InterACT with us!

THE HARD PROBLEM AT THE GEARY THEATER

BIKE TO THE THEATER NIGHT OCT 19, 7 PM Ride your bike to A.C.T. and take advantage of secure bike parking, PHOTO BY SAMUEL ZELLER BY PHOTO low-priced tickets, and happy-hour prices at our preshow mixer, presented in partnership with the San Francisco Bicycle Coalition.

PROLOGUE OCT 25, 5:30 PM WHAT’S INSIDE Go deeper with a fascinating preshow discussion and Q&A with a member ABOUT THE PLAY INSIDE A.C.T. of the Hard Problem artistic team. 13 LETTER FROM THE 33 PETER PASTREICH THEATER ON THE COUCH* ARTISTIC DIRECTOR JOINS A.C.T. AS INTERIM OCT 28, 8 PM By Carey Perloff EXECUTIVE DIRECTOR Take part in a lively discussion in our By Simon Hodgson lower-level lounge with Dr. Mason Turner, chief of psychiatry at Kaiser Permanente 16 GAME OF THRONES San Francisco Medical Center. An Interview with 34 TALES FROM A.C.T. HISTORY Playwright Mike Bartlett The Loma Prieta Earthquake of 1989 AUDIENCE EXCHANGE* NOV 1, 7 PM; By Simon Hodgson By Michael Paller NOV 6 & 9, 2 PM Join us for an exciting Q&A 18 ONE THOUSAND YEARS 36 LEAVING HER MARK with the cast following the show. OF WHIMS AND WARS Prospero Member Rosemary Cozzo A History of Royal Power Helps Freshen Up The Geary OUT WITH A.C.T.* NOV 2, 8 PM in the By Elspeth Sweatman Mix and mingle at this By Shannon Stockwell hosted postshow LGBT party. 37 SUPPORT THE ARTS 20 THE WILD WINDSORS AND HOMELESS FAMILIES WENTE VINEYARDS WINE SERIES NOV 8, 7 PM The Royal Family through the Years Vote Yes on the Allocation of Hotel Tax Funds Meet fellow theatergoers By Shannon Stockwell and Allie Moss at this hosted wine-tasting event. By Shannon Stockwell PLAYTIME NOV 12, 12:45 PM Get hands-on with theater at this EDITOR CONTRIBUTORS SIMON HODGSON ALLIE MOSS interactive preshow workshop. MICHAEL PALLER ASSOCIATE EDITOR CAREY PERLOFF To learn more and order tickets SHANNON STOCKWELL ELSPETH SWEATMAN for InterACT events, visit act-sf.org/interact. *Events take place immediately CONNECT! VOLUNTEER! following the performance. A.C.T. volunteers provide an invaluable service with their time, enthusiasm, and love of theater. Opportunities include helping out in our performing-arts library and ushering in our theaters. FOR MORE INFORMATION: ACT-SF.ORG/VOLUNTEER COVER PHOTO BY DAN MARSH

415.749.2228 7 UP NEXT

THE HARD PROBLEM

BEGINS OCT 19 | THE GEARY THEATER

8 | AMERICAN CONSERVATORY THEATER ACT-SF.ORG PHOTOS BY ALEXANDRU ZDROBAU AND KAUSHIK PANCHAL AND KAUSHIK ZDROBAU ALEXANDRU BY PHOTOS

BY DIRECTED BY CAREY PERLOFF

Given Tom Stoppard’s rich history with A.C.T., it is only fitting audiences. On Thursday, September 29, the Exploratorium will that he appears in our historic 50th-anniversary season. The host a Q&A with Perloff about the Prisoner’s Dilemma—which great playwright returns to The Geary to continue his long-term ties in not only with the Exploratorium’s current exhibition on collaboration with A.C.T. Artistic Director Carey Perloff on his first the science behind human behavior, but also the opening scene new play in a decade—The Hard Problem. This production will be of Stoppard’s The Hard Problem. the seventeenth time A.C.T. has produced one of his plays, and the tenth time Perloff will direct one of his shows at A.C.T. For Stoppard, behavioral science is just one of the subjects he mines over the course of this tour de force. Exploring Over the last year the playwright and the director have worked philosophy, psychology, economics, and evolutionary biology, together closely on refining the play and adding some finishing he cuts to the heart of our greatest questions about existence, touches before it appears in front of Bay Area audiences. And consciousness, and the strange phenomenon of human in October, Stoppard will take up residence in San Francisco for kindness. From one of theater’s greatest voices, The Hard three weeks to participate in the rehearsal process. Problem shows Stoppard at his best as he dives deep into this compelling conflict of mind versus matter. The themes of the play—ranging from altruism to consciousness to game theory—are already resonating with San Francisco

GROUPS OF 15+ BEGINS OCT 19 | THE GEARY THEATER ACT-SF.ORG | 415.749.2228 | CALL 415.439.2309

415.749.2228 KING CHARLES III | 9 CELEBRATE A.C.T.’S 50TH SEASON! TICKETS START AT $20.

THE HARD PROBLEM Secrets, Science, and Sex Collide in Tom Stoppard’s Provocative New Classic The Holiday Tradition OCT 19–NOV 13, 2016 | THE GEARY THEATER NOV 25–DEC 24, 2016 | THE GEARY THEATER

JOHN The World-Premiere Adaptation of The Latest Hit by Pulitzer Prize–Winning Khaled Hosseini’s Best-Selling Novel Playwright Annie Baker

FEB 1–26, 2017 | THE GEARY THEATER FEB 22–APR 23, 2017 | THE STRAND THEATER 10 ACT-SF.ORG HERE LIES LOVE Miles Davis and Jean Cocteau Cross Paths The Musical Theater Revolution from in Robert Lepage’s Visionary Event Pop Icons David Byrne and Fatboy Slim

MAR 30–APR 23, 2017 | THE GEARY THEATER BEGINS JUNE 2017 | THE GEARY THEATER

act-sf.org/join 415.749.2228

PHOTO CREDITS: Top Row: Photos by Kevin Berne and Alessandra Mello. A Christmas Carol: James Carpenter and Carmen Steele in A Christmas Carol. Photo by Kevin Berne. A Thousand Splendid Suns: Photography ©Shaul Schwarz/Getty Images News/Getty Images. Design by David Mann Calligraphy/Stephen Raw. Needles and Opium: Wellesley Robertson III in Needles and Opium. Photo courtesy Ex Machina. Battlefield: Photo by Simon Annand. Legendary Director Peter Brook Returns to A.C.T. APR 26–MAY 21, 2017 | THE GEARY THEATER

415.749.2228 11 A.C.T.’S TOUR FROM WEST COAST TO WEST END

THE EXCITING CITY OF LONDON DEC 28, 2016–JAN 3, 2017

ALL THEATER TOURS ARE LED BY A.C.T. ARTISTIC STAFF AND INCLUDE:

• Tickets to world-class productions • Lunches and cocktail hours • Luxury accommodation at centrally located hotels • Complimentary breakfast each morning in our hotel • Discussions with guest artists led by A.C.T. staff • Sightseeing excursions and/or walking tours • Welcome and farewell dinners • Travel companions who love theater

FOR MORE INFORMATION ABOUT TRAVELING WITH A.C.T., visit act-sf.org/theatertours or contact Helen Rigby at 415.439.2469 or [email protected]. 12 ACT-SF.ORG FROM THE ARTISTIC DIRECTOR

Dear Friends, American visionary Annie Baker (John, playing at The Strand), and culminates with David Byrne’s landmark Imelda Marcos Welcome to A.C.T.’s 50th-anniversary season! This is a perfect musical, Here Lies Love. opportunity to remember the vision Bill Ball first brought to San Francisco in 1967: a rigorous repertory theater—linking training In addition, we will host special events throughout the year for and performance—in a highly engaged community. Fifty years subscribers and Bay Area patrons to celebrate the 50th, including later, our Conservatory has graduated thousands of talented readings of Jerome Kilty’s Dear Liar (a play based on the actors, our engagement with the Bay Area community is deep letters of George Bernard Shaw to his actress muse Mrs. Patrick and broad, and our productions strive to be as ambitious as Ball Campbell) featuring A.C.T. favorites Annette Bening and Mark envisioned. Our 2016–17 season features a world premiere, two Harelik. So stay tuned, and come share your favorite A.C.T. stories international geniuses, vivid new writing, and gorgeous music. with us—we’re keen to remember! And keep your eyes out for It is as much about imagining our future as celebrating our past, the April 2017 publication of A Five-Act Play: 50 Years of A.C.T., and we hope you will participate in as many ways as possible. a beautiful new book written by A.C.T. dramaturg Michael Paller about the dramatic history of this beloved institution. Bill Ball founded A.C.T. on the principles that the theater deserved sustained commitment from communities across This summer saw an explosion of Young Conservatory work America, that artists’ careers should not always be subject to at The Strand, including the world premiere of Nikkole Salter’s the commercial marketplace, and that it was worth fighting for play, Top of the Pyramid (written for our Collaborative Youth theater that was truly theatrical. We have shaped our 2016–17 Arts Project and directed by A.C.T. Community Artistic Director season along those lines. Tyrone Davis), and Fields of Gold: The Music of Sting, created by Craig Slaight and directed by Slaight and Domenique Lozano. We decided to open this season with Mike Bartlett’s audacious The Strand has also proved a perfect home for our M.F.A. King Charles III even before the Brexit vote upended British Program, which celebrates A.C.T.’s 50th this fall with The Taming politics. Using Elizabethan stage conventions and Shakespearean of the Shrew, directed by Stephen Buescher, a tribute to Bill Ball’s verse, Bartlett imagines a future in which Prince Charles ascends landmark production from A.C.T.’s first season in San Francisco. to the throne and refuses to rubber-stamp parliamentary bills. One of the gifts of The Strand has been the ability to introduce Much of the play resonates with what we’re living through on new audiences to the talent coming out of our training and our home turf, and it’s particularly exciting that we’re producing education programs, and the chance to celebrate new theater this epic piece with two other major regional theaters, Seattle work aimed at young Bay Area audiences. Look out for Yes on S, Repertory Theatre and Shakespeare Theatre Company in a November ballot measure that offers a chance to ensure arts Washington, DC—where this production of King Charles III will funding so we can keep providing for these new audiences. open shortly after the inauguration in January. The summer also witnessed a major convening to discuss the King Charles III is followed by Tom Stoppard’s fascinating new findings of the Women’s Leadership Project, a two-year research play, The Hard Problem, in which a young woman wrestles with project by the Wellesley Centers for Women in collaboration issues of consciousness, faith, and the 2008 financial meltdown. with A.C.T. examining the gender disparity in the leadership of Stoppard will be in residence with us for rehearsals, and we’re the American theater. The study’s findings can be found on our looking forward to welcoming him back to A.C.T. A highlight of website and are truly worth exploring, as we all strive to make the season will be the world premiere of A.C.T.’s commissioned our field more inclusive and to reimagine leadership for the adaptation of Khaled Hosseini’s stunning novel A Thousand twenty-first century. Splendid Suns, about three generations of Afghan women striving to find hope in an unpredictable world. The season To all of you who have been part of A.C.T.’s journey over the also welcomes international masters Peter Brook (Battlefield) years, we thank you from the bottom of our hearts. To those and Robert Lepage (Needles and Opium), as well as the young who are new to us this year, we welcome you and look forward to sharing an exciting theatrical future together. And now, enjoy King Charles III!

Yours,

Carey Perloff Artistic Director 13 LAST YEAR’S PRODUCTION OF THE BAY AREA’S HOLIDAY CLASSIC SOLD OUT—ORDER EARLY FOR THE BEST SEATS AND PRICES!

by Charles Dickens Adapted by Carey Perloff and Paul Walsh Music by Karl Lundeberg Choreography by Val Caniparoli Directed by Domenique Lozano Based on the original direction by Carey Perloff

LIMITED-TIME OFFER! SAVE 50% WITH FAMILY 4-PACKS

ENJOY 4 TICKETS FOR THE PRICE OF 2 AT SELECT PERFORMANCES USE CODE SCROOGE WHEN ORDERING

LEAD EDUCATION SEASON NOV 25–DEC 24 PARTNER PARTNER

ACT-SF.ORG | 415.749.2228 COMPANY SPONSORS Ray and Dagmar Dolby Family Fund; Frannie Fleishhacker; Priscilla and Keith Geeslin; Jeri Lynn and Jeffrey W. Johnson; Fred M. Levin and Nancy Livingston, 14 The Shenson Foundation; Burt and Deedee McMurtry; Barbara RavizzaACT-SF.ORG and John S. Osterweis; A.C.T.’S GEARY THEATER Arthur Rock and Toni Rembe; Mary and Steven Swig; Hilary Valentine and Don Listwin CAREY PERLOFF, Artistic Director PETER PASTREICH, Interim Executive Director

PRESENTS KING CHARLES III BY MIKE BARTLETT DIRECTED BY DAVID MUSE

SCENIC DESIGN BY DANIEL OSTLING CAST COSTUME DESIGN BY JENNIFER MOELLER (IN ORDER OF APPEARANCE) LIGHTING DESIGN BY LAP CHI CHU KING CHARLES III ROBERT JOY* ORIGINAL MUSIC AND SOUND DESIGN BY MARK BENNETT CAMILLA JEANNE PAULSEN* MOVEMENT DIRECTOR LISA TOWNSEND PRINCE WILLIAM CHRISTOPHER MCLINDEN* DRAMATURG MICHAEL PALLER KATE ALLISON JEAN WHITE* CASTING DIRECTOR JANET FOSTER, CSA PRINCE HARRY HARRY SMITH* ASSOCIATE DIRECTOR SIVAN BATTAT JAMES REISS DAN HIATT* ASSOCIATE SOUND DESIGNER CHARLES COES PRIME MINISTER EVANS IAN MERRILL PEAKES* SPENCER, KEBAB SELLER, AND OTHERS RAFAEL JORDAN* COOTSY, SIR MICHAEL, AND OTHERS JEFFERSON FARBER* THIS PRODUCTION JESSICA MICHELLE BECK* IS MADE POSSIBLE BY MR. STEVENS BRADFORD FARWELL* EXECUTIVE PRODUCERS GHOST, NEWSPAPER WOMAN, AND OTHERS

LESLEY ANN CLEMENT CHIARA MOTLEY* FRANNIE FLEISHHACKER SPEAKER OF THE HOUSE, SIR GORDON, AND OTHERS WARREN DAVID KEITH* FRED M. LEVIN AND NANCY LIVINGSTON, THE SHENSON FOUNDATION ENSEMBLE LAUREN SPENCER*, PATRICK RUSSELL*

PRODUCERS UNDERSTUDIES CARLOTTA AND ROBERT DATHE KING CHARLES III DAN HIATT* DONALD J. AND TONI RATNER MILLER CAMILLA, GHOST, NEWSPAPER WOMAN, AND OTHERS

RUTH AND ALAN L. STEIN CARRIE PAFF*

KAY YUN AND ANDRE NEUMANN-LORECK PRINCE WILLIAM JEFFERSON FARBER* KATE CHIARA MOTLEY* ASSOCIATE PRODUCERS PRINCE HARRY, COOTSY, SIR MICHAEL, SPEAKER

KATHLEEN BENNETT AND TOM MALLOY OF THE HOUSE, AND OTHERS PATRICK RUSSELL*

TOM AND MYRNA FRANKEL JAMES REISS, MR. STEVENS WARREN DAVID KEITH* ARNIE AND SHELLY GLASSBERG PRIME MINISTER EVANS, SPENCER, KEBAB SELLER,

ALAN AND CRICKET JONES AND OTHERS JASON KAPOOR*

PAULA AND JOHN MURPHY JESSICA LAUREN SPENCER* SIR GORDON RAFAEL JORDAN* SPONSORED BY ADDITIONAL SUPPORT BY ENSEMBLE EMILY BROWN**, ALAN LITTLEHALES**

STAGE MANAGEMENT STAGE MANAGER ELISA GUTHERTZ* ASSISTANT STAGE MANAGER MEGAN MCCLINTOCK* SPECIAL THANKS STAGE MANAGEMENT FELLOW ZACHARY COX

8DIO King Charles III is presented by special arrangement TROELS FOLMANN with Dramatists Play Service, Inc., New York. TAWNIA KNOX *Member of Actors’ Equity Association, the union of professional actors and stage managers in the YAMAHA PIANOS **Member of the A.C.T. M.F.A. Program class of 2017

415.749.2228 15 ABOUT THE PLAY

GAME OF THRONES AN INTERVIEW WITH PLAYWRIGHT MIKE BARTLETT BY SIMON HODGSON

Last summer, Mike Bartlett’s neo-Shakespearean drama, King Charles III, was nominated for five Tony Awards. This fall, the second series of his television drama, Doctor Foster, will be broadcast on BBC television. The spotlight is becoming familiar for the fast-rising Bartlett. In 2010, his play Cock won an Olivier Award for Outstanding Achievement in an Affiliate Theatre. The following year, Love, Love, Love won Best New Play in the United Kingdom’s Theatre Awards. In addition to his seven plays for BBC Radio, he has written more than a dozen plays performed in New York, London, and regional British theaters. He has been playwright-in-residence at the Royal Court Theatre and writer- in-residence at the National Theatre. And he’s only 35 years old. We caught up with Bartlett to talk politics, pentameter, and King Charles III.

16 ACT-SF.ORG What makes the British royal family so ripe for storytelling? Reviewers have compared the characters in King Charles III First, they are the country embodied—which is a very to Shakespearean roles like Lady Macbeth, Prince Hal, and Shakespearean idea. When you write about these specific . Was this organic or intended from the start? people, you are then writing about the entire country. The It was pretty organic. The only conscious comparison was endless metaphors and parallels you can draw between the Harry and Prince Hal. When I was writing Kate, there was personal and the national are brilliant. Shakespeare draws no Lady Macbeth in my head. All I did was write her as an those metaphors, and I can’t tell you how useful doing that is intelligent woman exerting power. It’s fascinating that if you in this play. have an intelligent woman who exerts power, you immediately compare her to Lady Macbeth. Is Charles King Lear because of themselves have an interesting narrative. They his age, or is he Hamlet thinking, “Should I do it or not?” Those went from being really popular after World War II to drifting Shakespearean characters are all mixed into the characters in out of popularity through the ’70s and ’80s. The depths of the play, but they’re not tributes to those roles. that unpopularity were in the mid-’90s, with Windsor Castle burning down and the divorce of Diana and Charles. With After Britain’s vote to exit the European Union, does it William, Harry, and Kate, a new generation has fallen in love seem like there are parallels with the constitutional crisis with this family. You see a dramatic rise and fall with the in your play? Windsors. Those peaks and troughs are a gift for a storyteller. I was reminded of the play the morning after Brexit happened, when we woke up to find that something we had taken for Much of King Charles III is written in iambic pentameter. granted as part of our identity had gone. You could feel the How does the verse affect the storytelling? disorientation. I even overheard someone saying, “You know It’s a way of writing kings and queens that feels appropriate. what’s going to happen now? Chances are the queen will die!” If you write them speaking as we speak, it would sound as They were linking these two ideas as events that shock the though you were mocking them. But if they speak in verse, population and mean we’re not quite sure who we are their language has a more formal rhythm and a heightened anymore. vocabulary. Also, verse compresses meaning down. You can get more meaning into three words of verse than you can in What do you want audiences to take away from three lines of prose. King Charles III? I like the idea that the play becomes a frame to which people Why did you choose press freedom as the bill on which can relate their own experiences. I love experiencing plays Charles takes his stand? and stories and television in terms of something that There is a lot of discussion about this issue in Britain. It felt like happens in my life. You use art to understand emotions and a subject about which half the audience might think one thing predicaments and politics and society and economics. You and half might think the opposite, and that’s always good. enjoy it on the night and you feel buzzing when you come out, Also, the issue of press freedom and privacy matters to but something of it stays with you and becomes part of your life. Charles very personally, so the idea that he might end up That’s what I’m after. defending the press is fascinating. You can feel it oozing Shakespearean complications.

What are the challenges for an American audience in watching this play? We made small changes from the UK version to clarify to the US audience that the constitutional framework really exists, that I didn’t just make up the fact that the king or queen has to sign the bill into law and technically they could refuse to do that.

Before King Charles III opened in New York, people warned me that sometimes Broadway audiences were not great at listening. We didn’t have that experience at all. People were smart and attentive. They’re very Shakespeare savvy. And they enjoyed learning about the strange intricacies of the United Kingdom’s nonexistent constitution and comparing that with America’s situation, where the constitution is written down and very important.

Playwright Mike Bartlett.

415.749.2228 17 ABOUT THE PLAY In the United Kingdom, Parliament is responsible for making laws. There are two houses of Parliament:

HOUSE OF LORDS A body of officials assigned to their office by the queen or by inheritance.

HOUSE OF COMMONS A body of officials elected to their office by popular vote.

ONE THOUSAND YEARS OF WHIMS AND WARS A HISTORY OF ROYAL POWER IN THE UNITED KINGDOM BY SHANNON STOCKWELL

With Britain’s recent vote to leave the European Union, expected that the monarch will only use that power on constitutional crisis is on the agenda in London. The politicians the advice of his or her ministers. talk, the market falls, and the people don’t know what to believe. While Brexit is different from the predicament in Mike The British monarch was once an all-powerful force. Whatever Bartlett’s King Charles III, the play is extremely timely, because he or she said was the law of the land. What happened to it explores what would happen if a problem arose to which the bring it to where it is today? It all began with the Magna Carta, British constitution had no answer. which was signed by King John in 1215. This established certain rights of man that limited the strength of the sovereign, like Bartlett began the process of writing King Charles III by the right to a fair trial and the right to be consulted before researching what would happen if a monarch refused to sign a taxes were levied. This was the first major blow to the power bill. “I tried to look into the constitution and all that,” he says. of the monarchy. “The research that came back was that it’s all sort of made up, which is fascinating in itself. What you see as a rigid institution The next major setback came five hundred years later, when is actually totally flexible and subject to whims and changes.” King James II abandoned the throne due to the impending threat of William of Orange’s army. William of Orange was The United Kingdom has a constitutional monarchy, which a Dutch Protestant who had been heir to the throne before means that the country has a monarch at all times who abides James II was born. After a group of prominent Englishmen by the rules of the constitution. But, as Bartlett discovered, persuaded William to act against James II’s overt Catholic the UK’s constitution isn’t codified. Instead, it’s made up of a sympathies, William marched on London with an army. When collection of laws, treaties, and charters. Some things aren’t James II fled, Parliament offered the crown to William and written down at all. This uncodified constitution says that the his wife, Mary. Together, they signed the Bill of Rights, which monarch has quite a bit of power, but there’s a catch: it is further limited the strength of the monarchy.

18 ACT-SF.ORG HOW A BILL BECOMES A LAW IN THE UNITED KINGDOM A proposed law is called a bill. A bill can be proposed by either the House of Commons or the .

IF BILL IS IF BILL IS PROPOSED PROPOSED BY This is the BY HOUSE HOUSE OF issue over which OF LORDS COMMONS the characters Five rounds of Five rounds of clash in Mike debate, review, debate, review, Bartlett’s play. and editing and editing

HOUSE OF HOUSE COMMONS OF LORDS Five rounds of Five rounds of debate, review, debate, review, ROYAL ASSENT and editing and editing The monarch signs the bill, and it becomes law.

BOTH HOUSES

Back-and-forth debate between the houses until bill is approved by both.

For the next few hundred years, the monarchy lost more and It’s possible that, when Charles becomes king, he will become more power in small steps. But is the British monarchy truly politically neutral and refrain from expressing his opinions in powerless? Elizabeth II, the reigning British monarch, has the way he does now. But some commentators believe that weekly private meetings with the prime minister, which no one he may carry his political extroversion to the throne. If he else is permitted to attend. The meetings are unrecorded and does, he is in danger of being accused of unconstitutional extremely confidential. British constitutional expert Vernon behavior. And what happens then? No one knows for sure— Bogdanor says, “It is . . . because relations between sovereign given Elizabeth II’s style, it’s not something Britain has had to and a prime minister must remain confidential that it is impossible deal with recently—but considering a thousand years of power ever to form an accurate estimate of the influence of the struggles between men and monarchs, it might not look good current sovereign.” for King Charles III. “History suggests that Britain may be a slavishly monarchical country,” says Guardian journalist It is definitely considered unconstitutional for the British Nick Cohen, “but if the monarch goes too far then the monarch to publicly express a political opinion. But there’s monarch goes.” no constitutional convention that prescribes how the heir to the throne should behave. Elizabeth II’s son Charles, who is For now, the royal merry-go-round and political plots of King next in line for the crown, is much more openly political than Charles III remain strictly fictional. But given the recent turmoil his mother. Because he’s not the monarch, this behavior isn’t and upheaval of Brexit, it’s becoming clear that the strange necessarily considered unconstitutional, but to some political events of Mike Bartlett’s work of future history are not so far- commentators, it is worrisome. fetched after all.

415.749.2228 19 ABOUT THE PLAY THE WILD WINDSORS

THE BLACK SPIDER

CHARLES, , CAMILLAGATE! DIANA IS DEAD (born November 14, 1948), sent hundreds of private letters to government ministers between 2004 and 2009. These letters were dubbed the “” (due to Charles’s CAMILLA, DUCHESS LADY DIANA SPENCER distinctive, spidery handwriting), and pushed OF CORNWALL (formally (formerly Princess of Wales; for their publication. Attorney General Dominic Grieve, on the Camilla Parker Bowles, née born July 1, 1961; died August other hand, said that revealing the prince’s letters would be Camilla Shand; born July 17, 31, 1997) got engaged to “seriously damaging to his role as future monarch because, if he 1947), met Prince Charles Prince Charles in 1981 and forfeits his position of political neutrality as heir to the throne, on a polo field in 1972. They they married later that year, he cannot easily recover it when he is king.” In the end, the were attracted to each other, but both parties quickly Black Spider Memos were published. “The importance of these but Camilla married another involved themselves in papers is not whether they reveal the prince’s controversial man in 1973, and Charles extramarital affairs. Despite (or not) views on the European Union directive on herbal married Diana Spencer her troubled marriage, medicines,” says the Guardian. “The importance is what they in 1981. Yet the two never charming Diana became say about his judgment and its constitutional implications.” really stopped seeing each one of the public’s favorite other. In 1993, the tabloids members of the royal family. published transcripts of an She was so well-liked that intimate phone conversation she was seen as the wronged Camilla had with Charles, party in the hearts and leading to the breakups of minds of Britons when the Want to know more about King Charles their respective marriages. Camillagate scandal broke.

30 Grant Avenue AMERICAN CONSERVATORY THEATER 16/17 SEASON KING CHARLES III | VOL. XXIII, NO. 1 III? Words on Plays, A.C.T.’s renowned San Francisco, CA 94108-5834 NONPROFIT ORG. U.S. POSTAGE The British people saw Tragically, about a year after PAID

SAN FRANCISCO, CA PERMIT NO. 8894 performance guide series, offers Camilla as the “other woman” she and Charles officially insight into the plays, playwrights, and who had ruined Diana’s life. finalized their divorce, Diana productions of the subscription season In spite of the negative press, was killed in a car accident.

Words on Plays, American Conservatory Theater’s in-depth performance guide with revealing interviews and in-depth series, has offered insight into the plays, playwrights, and productions of the A.C.T. subscription season for more than 20 years. Each entertaining and informative she and Charles continued The driver of the car lost issue contains artist interviews and dramaturgical articles about the historical and cultural context of the play. Proceeds from Words on Plays directly support A.C.T.’s growing ACTsmart theater arts education programs, which serve more than 10,000 articles. Each purchase of Words students every year. To subscribe to the full season or to order individual issues of Words on Plays, call 415.749.2250 or visit act-sf.org/wordsonplays. their relationship, and they control while speeding away

“Words on Plays is a terrific resource for the theatergoer who wants some context or background of the production. The original essays are usually as entertaining and on Plays directly supports A.C.T.’s well written as they are informative. The selection of topics and source materials is creative and thought provoking. . . . I almost always find some new information or were married at a modest from paparazzi. intriguing point of view.” Robert Hurwitt, San Francisco Chronicle Theater Critic educational programs. wedding in 2004. PURCHASE YOUR COPY AT THE THEATER OR BY VISITING ACT-SF.ORG/WORDSONPLAYS.

20 ACT-SF.ORG THE ROYAL FAMILY THROUGH THE YEARS BY SHANNON STOCKWELL AND ALLIE MOSS

ANNUS HORRIBILIS THE HAPPY COUPLE KATE THE COMMONER THE WASTED WASTREL

QUEEN ELIZABETH II PRINCE WILLIAM, CATHERINE, DUCHESS OF PRINCE HARRY (born April 21, 1926) is DUKE OF CAMBRIDGE CAMBRIDGE (née Catherine (born September 15, 1984) Britain’s longest reigning (born June 21, 1982), is Middleton; born January 9, has been seen by the queen; she has been ruling the first child of Charles 1982), also known as Kate, media as something of an steadily for 64 years. and Diana. At his mother’s met Prince William while at embarrassment to the royal Her popularity among the insistence, he and his university. In the beginning family. As a young adult, he British people, however, has younger brother, Harry, had of their relationship, William was photographed smoking not been so steady. a “normal” upbringing—they did his best to shield Kate marijuana, and in 2005 a It hit rock bottom in 1992, went to Disneyland and from nosy reporters. After picture was snapped of which she has called her ate at McDonald’s. William their engagement, however, him dressed as a Nazi for a annus horribilis (Latin for studied for his degree at the there was little he could costume party. In addition “horrible year”): three of her University of St. Andrews, do to protect her from the to these PR gaffes, the four children went through where he met his future media, which initially labeled media has cast him as a breakups; eggs were thrown wife, Kate Middleton. The her a “commoner.” But playboy due to his proclivity at her when she visited two were married in 2011 eventually, Kate’s beauty and for raucous parties, heavy Germany; and Windsor in an extravagant wedding charm won over the public. drinking with his mates, and Castle suffered a terrible ceremony. William’s Their 2011 wedding was one rich, leggy, blonde girlfriends. fire. But public opinion of popularity rating is much for the ages, and as soon As he has matured, however, the royal family began to higher than his father’s, and as she was in the public eye, his focus has shifted from climb after the marriage according to the Daily Beast, Kate became a style icon. partying to emulating the of her grandson William to 40 percent of Brits think that, But she’s not just known for humanitarianism of his Kate Middleton in 2011. With when Queen Elizabeth dies, her fashion sense; people mother, Diana. In 2014, the public image of the Charles should abdicate and also love her for her charity he founded the Invictus royal family improved at last, let William become king. work and her grounded Games—a major sporting the queen’s 2012 Diamond personality. competition for military Jubilee, celebrating 60 personnel who have suffered years on the throne, was an life-changing injuries.

PHOTOS COURTESY OF WIKIMEDIA COMMONS WIKIMEDIA OF COURTESY PHOTOS enormous success.

415.749.2228 21 WHO’S WHO IN KING CHARLES III MICHELLE Company and Vanya and Sonia and include the ensemble of Love and BECK* (Jessica) Masha and Spike at Sierra Repertory Information, Stephen Hopkins in 1776, returns to the Bay Theatre. He also spent three seasons Tom in Round and Round the Garden, Area after her San with the Colorado Festival of World the Magistrate in The Government Francisco Bay Area Theatre, where he worked with such Inspector, Bob Acres in The Rivals, Theatre Critics award winners as , Guildenstern in Rosencrantz and Circle Award– Peter Shaffer, Patti LuPone, and Zoe Guildenstern Are Dead, and Cornelius nominated Caldwell. Farber received his BFA Hackl in The Matchmaker. His Bay Area performance in Proof at TheatreWorks from Millikin University in Illinois and credits include Joe Turner’s Come and in Silicon Valley. In New York, she his MFA at Shakespeare Theatre Gone and Dinner with Friends at worked on the Tony Award–winning Company’s Academy for Classical Berkeley Repertory Theatre; The Life Broadway revival of A Raisin in the Sun, Acting at The George Washington and Adventures of Nicholas Nickleby starring Denzel Washington, and she University. His television credits include and many others at California was a part of The Bridge Project (As You House of Cards and Killing Kennedy. Shakespeare Theater; The 39 Steps at Like It and The Tempest), which ran at TheatreWorks; Picasso at the Lapin Brooklyn Academy of Music, The Old BRADFORD Agile at Theatre on the Square; Vic, and various theaters around the FARWELL* Breakfast with Mugabe at Aurora world. Other New York performances (Mr. Stevens) Theatre Company; and Anne Boleyn at include A Kid Like Jake at LCT3; Richard makes his A.C.T. Marin Theatre Company. Regional III and Love’s Labour’s Lost at The Public debut with King theater credits include work with Theater; Much Ado about Nothing at Charles III. Farwell Seattle Repertory Theatre, Arizona Theatre for a New Audience; Measure lives in Seattle, Theatre Company, the Huntington for Measure at Epic Theatre Ensemble; where he has Theatre Company, The Pasadena and Uncle Vanya at The Pearl Theatre worked at New Century Theatre Playhouse, Theatre Calgary, and Ford’s Company. Regional performances Company (of which he is a core acting Theatre in Washington, DC. include Twelfth Night at member), Seattle Repertory Theatre, Shakespeare Theater; Hamlet at Intiman Theatre, Strawberry Theatre RAFAEL Shakespeare Theatre Company; Tartuffe Workshop, Seattle Children’s Theatre, JORDAN* at McCarter Theatre Center/Yale The 5th Avenue Theatre, Village Theatre, (Spencer/Kebab Repertory Theatre; and The Winter’s Seattle Shakespeare Company, and A Seller/Others) Tale at the Oregon Shakespeare Festival. Contemporary Theatre (ACT). Farwell returns to A.C.T. Her television/film credits include was a company member at the Stratford after appearing in Homeland, Madam Secretary, Sam & Festival in Canada for three years. In the the productions of Julia, The Death of a Prince, and others. United States, Farwell has been seen Love and regionally at Nebraska Shakespeare, Information and A Christmas Carol. Bay JEFFERSON American Players Theatre, and many Area credits include the award-winning FARBER* others. His television credits include American Buffalo at Aurora Theatre (Cootsy/Sir Leverage and Grimm. Farwell received Company; The Liar at Livermore Michael/Others) his theater training from the Webber Shakespeare Festival; King Lear and The makes his A.C.T. Douglas Academy of Dramatic Art in Tempest at California Shakespeare debut with King London. He is a proud member of the Theater; and Dogeaters and the world Charles III. Farber unions of Actors’ Equity Association and premiere of runboyrun at Magic Theatre. has appeared in SAG-AFTRA. New York credits include Caesar and Vanya and Sonia and Masha and Spike at Cleopatra (off Broadway); Uncle Tom’s Arena Stage in Washington, DC. Other DAN HIATT* Cabin during Metropolitan Playhouse’s Washington-area credits include (James Reiss) OBIE Award–winning season; I Feel Your Shakespeare’s R&J at Signature Theatre, was seen at A.C.T. Pain with multiple OBIE Award winner All’s Well That Ends Well at Shakespeare last fall as Sid Davis Kathryn Grody; and the world premiere Theatre Company, and Metamorphoses in Ah, Wilderness! of Thunder Above, Deeps Below by A. at Constellation Theatre Company. and as Fezziwig in Rey Pamatmat, recipient of a Playwright Regionally, Farber has appeared in A Christmas Carol. of New York fellowship from The Lark. Breaking the Code at Barrington Stage Other roles at A.C.T. Regional credits include 365 Days/365

*Member of Actors' Equity Association, the union of professional actors and stage managers in the United States

22 ACT-SF.ORG Plays and The Open Road Anthology at Actors Theatre of Louisville. Film credits RHODA include Me, You, & the Road (C&I Studios), The Best Laid Plans (MessyHouse Moving GOLDMAN Pictures), and Othello (a web series by PLAZA Ready Set Go Theatre Company). Jordan is a graduate of the A.C.T. Master of Fine Arts Program.

ROBERT JOY* (King Charles III) studied at the University of Oxford as a Rhodes Scholar, and then spent three years with the Newfoundland comedy group CODCO as an actor, writer, musician, and composer. This, surprisingly, led to his playing Peter in The Diary of Anne Frank (with Eli Wallach and Anne Jackson), which brought him to New York and, eventually, Broadway, where he has played principal roles in Side Show, The Nerd, Shimada, Hay Fever, and Abe Lincoln in Illinois. His theater work includes several world premieres, among them Big River, The Nether, Lydie Breeze, Life and Limb, Hyde in Hollywood, and Found a Peanut. Shakespearean roles include Malvolio at The Old Globe, Prospero at Theatre by the Bay, and Mercutio at La Jolla Playhouse (which won him a Drama- Logue Award). On film, he played opposite Burt Lancaster (in Atlantic City), James Cagney (in Ragtime), Madonna (in Desperately Seeking Susan), Rosie O’Donnell (in Harriet the Spy), and Denzel Washington (in Fallen). In the horror genre, Joy played a sympathetic assassin in George A. Romero’s Land of the Dead and the mutant Lizard in The Hills Have Eyes. More than 200 episodes of television SM include guest-star appearances on The Living Well With Assistance Good Wife, The Mentalist, Everybody Loves Raymond, and eight seasons as Discover why older adults and their families prefer San medical examiner Sid Hammerback on Francisco’s unsurpassed assisted living and memory CSI: NY. care community. For your personal visit, call Candiece at 415.345.5072 or email [email protected].

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415.749.2228 23 EAP 2_3 V template.indd 1 8/2/16 8:59 AM

CLIENT RGP PUB Encore REF NO RGP745-01cg - Bianca & Warren AD TYPE 2/3 page vertical, 4C SPECS 4.75” x 9.875” ISSUE 9.1.16 MAT’LS DUE 8.2.16 VERSION 1 AGENCY RESIN CONTACT Tim Paschke – 415 987 4274 WARREN and The Duchess of Malfi at Writers DAVID KEITH* Theatre; The Taming of the Shrew at (Speaker of the Chicago Shakespeare Theater; Twelfth House/Sir Gordon/ Night and Cymbeline at the Notre Dame TOP Others) has Shakespeare Festival; Speak American previously at City Theatre in Pittsburgh; Celebrity BILLING performed at A.C.T. Row at American Theater Company; AT THE MORTIMER in , Machinal, at Apple Tree Theatre; ’Tis Pity She’s a Whore, Mary Stuart, and A Midsummer Night’s Dream at First Come before or after your War Music. He was seen at San Folio Theatre; and The Lady from the A.C.T. show and enjoy Francisco Playhouse as Sims in Jennifer Sea at Greasy Joan & Co. His film and hand crafted cocktails and Haley’s The Nether; at Magic Theatre in television credits include Boardwalk delicious bites! A Common Vision, The Rules of Charity, Empire (HBO), Muhammad Ali’s Greatest Mauritius, and What We’re Up Against; Fight (HBO), and Alpha House (Amazon at Aurora Theatre Company in Death Studios). He is a member of Actors’ Show your Defying Acts, A Life in the Theatre, Equity Association and The Actors Show ticket and receive a Hysteria, The Devil’s Disciple, and The Center in . complimentary First Grade; at Berkeley Repertory Theatre in Rhinoceros and Heartbreak CHIARA CHEF’S House; at Marin Theatre Company in MOTLEY* APPETIZER Indiscretions, Life x 3, The Good German, (Ghost/Newspaper and God of Carnage; with Word for Woman/Others) with the purchase Word Performing Arts Company in Olive makes her of one beverage. Kitteridge; and at TheatreFIRST in The A.C.T. debut with Drawer Boy and ; as King Charles III. She well as productions at TheatreWorks, was last seen at San Jose Stage Company, and California Virginia Stage Company as Ann Deever Shakespeare Theater. In a solo show by in All My Sons. Recent credits include Lynne Kaufman, Acid Test: The Many the title role in the world premiere of Incarnations of Ram Dass, he had Gwydion Suilebhan’s new play The extended runs at The Marsh in Berkeley Butcher (Gulfshore Playhouse) and Mary at Hotel Adagio and The Marsh in San Francisco, as well Hatch in It’s a Wonderful Life (Center 550 Geary Street, SF 94102 as two runs in with Vantage Stage in Baltimore). Other regional 415-775-5000 Theatre. His film credits include roles in credits include King Lear at the Hudson hoteladagiosf.com Raising Arizona, Fargo, The Big Valley Shakespeare Festival; The Three Lebowski, A Serious Man, Haiku Tunnel, Musketeers at the Denver Center for ONE BLOCK FROM A.C.T. THEATER Love & Taxes, and Moonlight Sonata. the Performing Arts; Othello and The Comedy of Errors at Seattle CHRISTOPHER Shakespeare Company’s Wooden O; MCLINDEN* and the one-woman show The Syringa (Prince William) Tree, which she performed in Denver, makes his A.C.T. Colorado. Motley received her BA debut with King from Stanford University and her MFA Charles III. His New from the National Theatre Conservatory. York credits include Her voice can be heard on the Nancy Tempest (La MaMa Drew video games (Her Interactive). Experimental Theatre Club), Everything She coproduced and starred in a short That Rises Must Converge (Compagnia film, And, Apart, which will make its de’ Colombari), and Nicholas Maeve festival debut this fall. Marianne (New York International Fringe Festival). McLinden’s regional credits include Last of the Boys and The Diary of Anne Frank at Steppenwolf Theatre Company; The Lion in Winter, Seagull,

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States

24 ACT-SF.ORG JEANNE at Shakespeare Theatre Company; PAULSEN* Rosencrantz and Guildenstern Are Dead (Camilla) was (Helen Hayes Award), Othello, Henry VIII nominated for a (Helen Hayes Award nomination), Macbeth Tony Award for her (Helen Hayes Award nomination), and work in Robert The Game of Love and Chance (Helen Schenkkan’s The Hayes Award nomination) at Folger Kentucky Cycle, Theatre; The Catch, Glengarry Glen Ross, directed by Warner Shook, starring Stacy and When Tang Met Laika at the Denver Keach. Also on Broadway, she performed Center for the Performing Arts; The the role of Ann Putnam in The Crucible, Crucible and Twelfth Night at Actors directed by Richard Eyre, starring Liam Theatre of Louisville; Much Ado about Neeson and Laura Linney. Paulsen has Nothing at Shakespeare Santa Cruz; and performed in theaters nationwide, The False Servant at PICT Classic Theatre. including McCarter Theatre Center Television credits include Still Standing, (Marceline in The Figaro Plays, directed Hack, and Homicide: Life on the Street. by Stephen Wadsworth), the Denver Film credits include Lebanon, Pa. and Center for the Performing Arts (Margaret A Gentleman’s Game. in Richard III, the Nurse in Romeo and Juliet, Sister Aloysius in Doubt, Kate PATRICK Keller in All My Sons, Mrs. Warren in Mrs. RUSSELL* Warren’s Profession, Penny Sycamore in (Ensemble) most You Can’t Take It with You, Terry in Side recently appeared in Man, and Molly in Molly Sweeney), A Red Velvet at San Contemporary Theatre (Josie in A Moon Francisco Playhouse. for the Misbegotten), Intiman Theatre Russell has appeared (Mrs. Webb in Our Town, directed by at A.C.T. in Once in a Bartlett Sher; Birdie in The Little Foxes; Lifetime, A Christmas Carol, and Monstress Grace in Faith Healer), South Coast (understudy). His other regional credits Repertory (Rosie in Holy Days, for which include Trouble Cometh (world premiere), she received a Los Angeles Drama Critics 77% (world premiere), Seminar, and Circle Award for Lead Performance), and reasons to be pretty (San Francisco Proud to many, many more. Playhouse); A Bright New Boise, Wilder Times, Body Awareness, Trouble in Mind, IAN MERRILL and Awake and Sing! (Aurora Theatre Support PEAKES* Company); Old Wicked Songs (Center (Prime Minister REPertory Company); The Other Place A.C.T. Evans) is an (Magic Theatre); Othello (Marin Theatre actor based in Company); The Comedy of Errors (Marin Philadelphia. Shakespeare Company); and Care of Trees Credits in (Shotgun Players). Russell’s film credits Philadelphia include the feature film Being Us, the Personal attention include Equivocation, Something animated short Rapunzel’s Etymology of thoughtful litigation Intangible (Barrymore Award), All My Zero, the short films We Were Awesome final resolution Sons (Barrymore Award), and Three Days and The Secret Life of a Hotel Room, and of Rain at Arden Theatre Company; The the web series SanFranLand. His voice- Our goal is to preserve our LAW FAMILY Body of an American and The Invention over work can be heard in numerous radio client’s dignity and humanity. of Love at The Wilma Theater; Side Man and internet advertisements. Russell holds (Barrymore Award) at Philadelphia a BFA in acting from UC Santa Barbara Theatre Company; The Invisible Hand and and an MFA in acting from A.C.T., where FA M I LYLAW G R OUP, P. C . Red Light Winter (Barrymore Award he teaches in the Summer Training nomination) at Theatre Exile; Peter and Congress, Studio A.C.T., Professional 575 Market Street, Suite 4000 the Starcatcher at Walnut Street Theatre; Development Training, the Young San Francisco, CA 94105 and work at Pennsylvania Shakespeare Conservatory, and at universities across 415.834.1120 Festival and People’s Light. Regional the country as the lead recruiter for www.sflg.com credits include The Taming of the Shrew A.C.T.’s actor training programs.

415.749.2228 25 HARRY SMITH* An Ideal Husband at Walnut Street Money at Cambridge Arts Theatre; and (Prince Harry) Theatre; The Explorers Club at Gorboduc at Shakespeare’s Globe. makes his A.C.T. Delaware Theatre Company; Pumpgirl, On-screen appearances include The (and West Coast) The Walworth Farce, and The Hand of Good Wife, Crossbones, and the feature debut in King Gaul at Inis Nua Theatre Company; film Freedom. Smith lives in Charles III. US Photograph 51 and Emma at Lantern Philadelphia, and trained at the credits include King Theater Company; and Pride & University of Cambridge and the Bristol Charles III on Prejudice at People’s Light. UK credits Old Vic Theatre School. Broadway; The Body of an American, include The Merchant of Venice at the , and Rapture, Blister, Royal Lyceum Theatre in Edinburgh; LAUREN Burn at The Wilma Theater; And Then Twelfth Night and Les Liaisons SPENCER* There Were None, The Mousetrap, and Dangereuses at Bristol Old Vic; Serious (Ensemble) makes her A.C.T. debut with King Charles III. Spencer has collaborated with Campo Santo (H.O.M.E.: Hookers on Mars Eventually); Marin Theatre Company (Anne Boleyn); Crowded Fire Theater (Good Goods, The Late Wedding, Blackademics, Mechanics of Love); the New Strands Festival at A.C.T. (How To Catch Creation); San Francisco Shakespeare Festival (Romeo and Juliet); Shotgun Players (The Rover); and Just Theater (A Maze), among others.

ALLISON JEAN WHITE* (Kate) returns to A.C.T., where she has been seen in The Realistic Joneses, The Imaginary Invalid, The Circle, , The Real Thing, and A Christmas Carol. She worked on Broadway in Man and Boy (Roundabout Theatre Company), off Broadway in The Shaughraun (Irish Repertory Theatre), and was in the national tour of The 39 Steps. Other theater credits include Disgraced (Arizona Theatre Company); Orwell in America (world premiere, Northern Stage); Uncle Vanya (Living Room Theatre); Abigail’s Party (San Francisco Playhouse); The Odd Couple (Virginia Stage Company); Heartbreak ISCHIKO House (Berkeley Repertory Theatre); 2130 FILLMORE STREET, CA 94115 The Crowd You’re In With and Tir na nÓg 415 563 1717 ISCHIKO.COM *Member of Actors’ Equity Association, the union of professional actors and stage ALSO AVAILABLE IN: managers in the United States OSKA, MILL VALLEY/HEALDSBURG **Member of the A.C.T. M.F.A. Program class of 2017

26 ACT-SF.ORG (world premieres, Magic Theatre); and and in California Shakespeare Theater’s ALAN Red Light Winter (Wellfleet Harbor production of Life Is a Dream. Earlier this LITTLEHALES** Actors Theater). Television and film spring Kapoor reprised his role in the (Understudy) is a credits include The Blacklist, The Slap, world premiere of Ideation in the show’s third-year student in High Maintenance, I Love You . . . But I off-Broadway run at 59E59 Theaters. His the A.C.T. Master of Lied, As the World Turns, The Family other Bay Area credits include several Fine Arts Program Fang, and We’re All Gonna Die. White is staged readings with previously and will graduate in a graduate of Brown University and the mentioned companies as well as San the spring. Recent A.C.T. Master of Fine Arts Program. Francisco Playhouse and Z Space. credits in the Conservatory include Brad Kapoor received his BA from San Jose Majors in The Rocky Horror Show at The EMILY State University and his MA from London Strand Theater, as well as Evan in The BROWN** Academy of Music & Dramatic Art. Aliens and Henry in The Skin of Our (Understudy) is an actor, singer, and theater-maker in her third year in the A.C.T. Master of Fine Arts Program. After earning her BA in theater from Smith A RECIPE WITH A LEGACY College, Brown spent two years with The Bats, the award-winning resident A REPUTATION FORGED BY FIRE company at The Flea Theater in New York. During her time at A.C.T., Brown has appeared in readings with the Bay Area Playwrights Festival and Symmetry Theatre Company. She performed her original show, Girlhood, with FaultLine Theater in San Francisco, where she also directed BedPlay in its West Coast premiere. Roles at A.C.T. include Columbia in The Rocky Horror Show, Lady Macbeth in Macbeth, and Giacinta in Crazy for the Country. Most recently, Brown joined an ensemble of graduate actors from around the country for A Guthrie Experience for Actors in Training, a selective summer training program at the in Minneapolis. Other theaters at which she has performed include Berkshire Theatre Group, the Forestburgh Playhouse, the American Shakespeare Center, and the Texas Shakespeare Festival.

JASON KAPOOR* (Understudy) was born and raised in San Jose. He was last seen at A.C.T. in and later this season will return to the Geary stage in the world SAN MATEO | SAN FRANCISCO premiere of A Thousand Splendid Suns. ESPETUS.COM He was most recently seen in The Invisible Hand at Marin Theatre Company

415.749.2228 27 Teeth. Littlehales also played and Tony Award nomination for Best and Shakespeare Theatre Company’s Touchstone, the clown in As You Like It, Play); An Intervention (Paines Plough Academy for Classical Acting. A seven- at Livermore Shakespeare Festival last and Watford Palace Theatre); Bull time Helen Hayes Award nominee for summer. Most recently, Littlehales (Sheffield Theatres and off Broadway; outstanding direction, he is a recent taught acting classes for the A.C.T. TMA Award for Best New Play and recipient of the DC Mayor’s Arts Young Conservatory and appeared in Award for Outstanding Award. Muse is a graduate of Yale several readings in San Francisco with Achievement in an Affiliate Theatre); University and Yale School of Drama. Theater Rhinoceros. He received his Medea (Citizens Theatre and Headlong); BFA in acting from Santa Fe University a stage adaptation of Chariots of Fire DANIEL OSTLING (Scenic of Art and Design in and (Hampstead Theatre and the West Designer) has designed many shows was born and raised in Salem, Oregon. End); 13 (National Theatre); Love, at A.C.T., including Let There Be Love, Love, Love (Paines Plough, The Drum The Orphan of Zhao, Major Barbara, CARRIE PAFF* at Theatre Royal Plymouth, and Royal Stuck Elevator, Endgame and Play, (Understudy) was Court Theatre; TMA Award for Best Once in a Lifetime, , last seen at A.C.T. in New Play); Earthquakes in London and Brainpeople. Recent designs After the War. (Headlong and National Theatre); Cock include Blood Wedding (directing Earlier this year she (Royal Court Theatre and off Broadway; and set design, Lookingglass Theatre played Hannah in Laurence Olivier Award for Outstanding Company), All the Days (McCarter the off-Broadway Achievement in an Affiliate Theatre); Theatre Center), Timon of Athens and production of Artefacts (Nabokov and Bush Theatre); Guys and Dolls (Oregon Shakespeare Ideation (New York Times Critics’ Pick). Contractions; and My Child (Royal Festival), and Carmen (K-Ballet Regional credits include Ideation, Stage Court Theatre). Bartlett has also written Company in Tokyo). On Broadway, his Kiss, and Stupid Fucking Bird at San award-winning works for radio, received credits include designs for Clybourne Francisco Playhouse; Double Indemnity BAFTA nominations for two television Park (Walter Kerr Theatre, 2012 Tony at A Contemporary Theatre in Seattle; series, and recently won Outstanding Award nomination) and Metamorphoses Dr. Jekyll and Mr. Hyde at Arizona Newcomer for British Television Writing (Circle in the Square Theatre, 2003 Tony Theatre Company; Every Five Minutes at the 2016 British Screenwriters Awards Award nomination). Regional credits and The Other Place at Magic Theatre; for his TV series Doctor Foster. include work at Brooklyn Academy The Big Meal and A Picasso at San Jose of Music, the New York Shakespeare Repertory Theatre; A Streetcar Named DAVID MUSE (Director) just began Festival, Theater, The Desire and Tiny Alice at Marin Theatre his seventh season as artistic director Public Theater, Playwrights Horizons, Company; and , A Delicate of Studio Theatre, Washington, DC’s Long Wharf Theatre, Steppenwolf Balance, This Is How it Goes, and, this premier venue for contemporary plays. Theatre Company, La Jolla Playhouse, coming January, The Real Thing at He has directed seventeen plays at Seattle Repertory Theatre, Berkeley Aurora Theatre Company. She appeared Studio Theatre, including , Repertory Theatre, and Goodman in Joan Rivers: A Work in Progress by a Tribes, The Real Thing, The Habit of Art, Theatre, among others. Opera designs Life in Progress at the Edinburgh Frozen, , and Mike Bartlett’s include Lucia di Lammermoor (Teatro Festival Fringe and in London. In Pixar’s Cock. Previously, Muse was the associate alla Scala, Milan/Metropolitan Opera, The Good Dinosaur, she plays Lurleane. artistic director at Shakespeare Theatre New York/Tokyo), La sonnambula She can also be heard in Pixar’s latest Company, where he directed six plays (Metropolitan Opera), The Merry movie, Finding Dory. She holds a by Shakespeare, including Coriolanus, Widow (Lyric Opera of Chicago), and master’s degree in educational theater Julius Caesar, and Romeo and Juliet. Philip Glass’s Galileo Galilei (New from New York University and is Other recent directing projects include York/London/Chicago). Ostling is cofounder of StageWrite: Building Frankie and Johnny at Arena Stage, Toni a Lookingglass Theatre Company Literacy through Theatre. Morrison’s The Bluest Eye at Theatre ensemble member and teaches at Alliance, and Patrick Page’s Swansong Northwestern University in Chicago. MIKE BARTLETT (Playwright) is for the New York Summer Play Festival. a multi-award-winning playwright and He has helped to develop new works JENNIFER MOELLER (Costume screenwriter whose most recent plays at numerous theaters including New Designer) has many regional costume include Wild (Hampstead Theatre); York Theatre Workshop, the John F. design credits, including The Tempest, Game (); King Charles Kennedy Center for the Performing A Midsummer Night’s Dream, Julius III (Almeida Theatre, the West End, Arts, Ford’s Theatre, Arena Stage, Caesar, The Merchant of Venice, and Broadway; Critics’ Circle Theatre and Geva Theatre Center. Muse has Romeo and Juliet, Antony and Award for Best New Play, Laurence also taught acting and directing at Cleopatra, Tamburlaine, and Richard Olivier Award for Best New Play, Georgetown University, Yale University, III at Shakespeare Theatre Company;

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States

28 ACT-SF.ORG Sweat at the Oregon Shakespeare Outstanding Music in a Play); Henry IV; in the Park productions for The Public Festival and Arena Stage; Love’s Golda’s Balcony; The Goat, or Who Is Theater. Regional productions include Labour’s Lost at Shakespeare in the Sylvia?; and Lily Tomlin’s The Search for Our Town, An Iliad, and Mad Forest at Park; at The Glimmerglass Signs of Intelligent Life in the Universe. Berkeley Repertory Theatre; JUNK, His Festival; La bohème at Washington Bennett composed the five Brooklyn Girl Friday, Most Wanted, Dogeaters National Opera; The Last Goodbye Academy of Music/The Old Vic Bridge (world premiere), and A Midsummer at The Old Globe; The Dance and the Project productions from 2009 to 2012 Night’s Dream (Craig Noel Award for Railroad at Signature Theatre; Happy (Sam Mendes, director). Off-Broadway Outstanding Sound Design) at La Jolla Now? at Primary Stages; Bachelorette credits include An Iliad (OBIE Award), Playhouse; and Arms and the Man, and Venus in Fur at Studio Theatre; The Mad Forest, My Children! My Africa! Pygmalion, and Twelfth Night at The Old How and the Why at McCarter Theatre (New York Theatre Workshop), and Globe. Bennett has received the 1998 Center; Six Degrees of Separation at original scores for eight Shakespeare OBIE Award for Sustained Excellence of the Williamstown Theatre Festival; and The Winter’s Tale and dance of the holy ghosts at Yale Repertory Theatre.

music dance theater LAP CHI CHU (Lighting Designer) 2016/17 SEASON has many regional theater credits, Cal Perform ances including designs for the Mark UNIVERSITY OF CALIFORNIA, BERKELEY Taper Forum, the Geffen Playhouse, South Coast Repertory, the Oregon Shakespeare Festival, La Jolla Robert Wilson Playhouse, The Old Globe, Berkeley Repertory Theatre, Goodman Theatre, Letter to a Man Shakespeare Theatre Company, Arena Stage, Hartford Stage, and Dallas The haunting diaries of ballet icon Vaslav Nijinsky are brought Theater Center. New York credits to life by Robert Wilson and include designs for The Public Theater, Mikhail Baryshnikov in this New York Theatre Workshop, Signature inspired collaboration. Theatre, Second Stage Theatre, Performance Space 122, and Kitchen Theatre Company. He is the lighting/ Nov 10–13 video designer for chameckilerner ZELLERBACH HALL Dance Company (Costumes by God, Visible Content, Hidden Forms, I mutantes seras, Por favor, and Não me deixe), which has performed in the United States and Brazil. Honors include recognition from the Los Angeles Drama Critics Circle, the Angstrom Award for Career Achievement in Lighting Design, multiple San Francisco Bay “This is not about Nijinsky, Area Theatre Critics Circle Awards, a per se…It is about a Drammy Award for Best Lighting, and troubled man and his a Lucille Lortel Award nomination for relationship with his art, with God, with family, The Good Negro at The Public Theater. with moral issues.” Chu is on the lighting design faculty —Mikhail Baryshnikov at California Institute of the Arts.

A Baryshnikov Productions and Change Performing Arts Project MARK BENNETT (Composer Commissioned by Spoleto Festival dei 2Mondi; BAM; Cal Performances, UC Berkeley; Center for the Art of Performance and Sound Designer) is an award- at UCLA in collaboration with Teatros del Canal Madrid; winning sound designer and composer. Les Ballets de Monte- Carlo/Monaco Dance Forum Broadway credits include Vanya and Sonia and Masha and Spike; Driving Miss Daisy; A Steady Rain; The Coast of calperformances.org Utopia (2007 Drama Desk Award for

415.749.2228 29 Sound Design, the 1998 Bessie Award, premiere of Tennessee Williams’s Small Crazy, Moment, and Hedda Gabler an Ovation Award, two Garland Awards, Craft Warnings at the Sovremennik at Studio Theatre; Hkeelee (Talk to and 14 Drama Desk Award nominations. Theater in Moscow. Paller is the author Me) at Mosaic Theater Company; and of Gentlemen Callers: Tennessee numerous readings at the Cape Cod LISA TOWNSEND (Movement Williams, Homosexuality, and Mid- Theatre Project. Battat worked with Director) is a performer, choreographer, Twentieth Century Drama (Palgrave the Doris Duke Charitable Foundation director, and educator whose work Macmillan) and Williams in an Hour Building Bridges Grant alongside artist has been presented in New York, (Smith & Kraus). He has also written Leila Buck to develop a commission Los Angeles, and San Francisco. theater and book reviews for the for the Muslim Women’s Voices series With her company, Lisa Townsend Washington Post, Village Voice, at Wesleyan University. She has dancefracas, Townsend weaves dance, Newsday, and Mirabella magazine. He developed work at Integrated Refugee music, and theater to create original recently adapted the text for the San & Immigrant Services and Corrigan- performance works. She has been a Francisco Symphony’s multimedia Radgowski Correctional Center, both resident artist with The Joyce Theater presentation of Peer Gynt. Before in Connecticut. Battat has worked at in SoHo, Los Angeles Contemporary his arrival at A.C.T., he taught at the Arab-Hebrew Theatre of Jaffa, Exhibitions, the CounterPulse Artist Columbia University and the State Jerusalem Stories Project, and the Residency Commissioning Program, University of New York at Purchase. Elm Shakespeare Company. Her Choreographers in Mentorship academic directing credits include Exchange, The Garage (San Francisco), JANET FOSTER, CSA (Casting The Serpent, Eurydice, Über and Over, and ODC, and supported by Director) joined A.C.T. as the casting and developing a feminist medieval organizations such as Creative Capital, director in the 2011–12 season. On ska-popera called Tragikingdom. She Headlands Center for the Arts, the Broadway she cast The Light in the studied at Wesleyan University and Zellerbach Family Foundation, Theater Piazza (Artios Award nomination), the Moscow Art Theatre School. Bay Area (CA$H), and YBCAway. Lennon, Ma Rainey’s Black Bottom, and Townsend has worked with The Wooster Taking Sides (co-cast). Off-Broadway ELISA GUTHERTZ* (Stage Group on Early Shaker Spirituals at The credits include Lucy, Brundibar, True Manager) most recently worked on Performing Garage (New York City) Love, Endpapers, The Dying Gaul, The Chester Bailey, The Realistic Joneses, and within the A.C.T. Master of Fine Maiden’s Prayer, The Trojan Women: Monstress, Love and Information, and Arts Program with Stephen Buescher A Love Story, Floyd Collins, The Testament at A.C.T. Her numerous other on Crazy for the Country and with Monogamist, A Cheever Evening, Later productions for A.C.T. include Major John Carrafa on The Rocky Horror Life, and many more at Playwrights Barbara, Underneath the Lintel, Arcadia, Show. Townsend makes dance films in Horizons. Regionally, she has worked The Normal Heart, The Scottsboro collaboration with photographer/bassist at Intiman Theatre, Seattle Repertory Boys, Endgame and Play, Scorched, Piro Patton and is currently creating a Theatre, California Shakespeare Theater, , The Caucasian Chalk new film, FitsAndStarts. Townsend also Berkeley Repertory Theatre, Dallas Circle, November, Boleros for the directs a theater program for youth ages Theater Center, Yale Repertory Theatre, Disenchanted, The Rainmaker, A 8 through 14 and is an adjunct faculty Goodman Theatre, Steppenwolf Theatre Number, and Eve Ensler’s The Good member for the A.C.T. M.F.A. Program. Company, The Old Globe, Center Body, among others. She has also stage- Stage in Baltimore, Westport Country managed The Mystery of Irma Vep; MICHAEL PALLER (Dramaturg) Playhouse, and the American Repertory Suddenly, Last Summer; Rhinoceros; Big joined A.C.T. as resident dramaturg and Theater. Film, television, and radio Love; Civil Sex; Collected Stories; and director of humanities in August 2005, credits include Cosby (CBS), Tracey Cloud Tectonics at Berkeley Repertory and since then he has dramaturged Takes On New York (HBO), Lewis Black’s Theatre. Other productions include more than 50 productions and The Deal, Advice from a Caterpillar, The The Good Body at the Booth Theatre workshops. He began his professional Day That Lehman Died (BBC World on Broadway, Big Love at Brooklyn career as literary manager at Center Service and Blackhawk Productions; Academy of Music, and The Vagina Repertory Theatre (Cleveland), then Peabody, SONY, and Wincott awards), Monologues at the Alcazar Theatre. worked as a play reader and script and “T” Is for Tom (Tom Stoppard consultant for Manhattan Theatre radio plays, WNYC and WQXR). MEGAN MCCLINTOCK* (Assistant Club, and has since been a dramaturg Stage Manager) returns to The Geary for George Street Playhouse, the SIVAN BATTAT (Associate Director) Theater with King Charles III. Past Berkshire Theatre Festival, Barrington is a theater director based on the A.C.T. credits include assistant stage– Stage Company, Long Wharf Theatre, East Coast. Her regional assisting managing Between Riverside and Crazy, Roundabout Theatre Company, and credits include Chimerica, The Apple , and Indian Ink. She others. He dramaturged the Russian Family Cycle, Between Riverside and often works across the bay at Berkeley

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States

30 ACT-SF.ORG Repertory Theatre, where her credits FRED M. LEVIN AND NANCY SHAKESPEARE THEATRE include ’s Treasure LIVINGSTON (Executive Producer) COMPANY, recipient of the 2012 Island, The Intelligent Homosexual’s are stewards of the Shenson Foundation Regional Theatre Tony Award, is the Guide to Capitalism and Socialism with and lifelong theatergoers who have nation’s leading premier classical theatre a Key to the Scriptures, Girlfriend, The subscribed to A.C.T. together for 28 company. Today, Shakespeare Theatre Arabian Nights, The White Snake, No years. A San Francisco native, Levin Company (STC) is synonymous with Man’s Land, Dear Elizabeth, and How attended A.C.T. performances as a artistic excellence and making classical to Write a New Book for the Bible. student while Livingston developed her theater more accessible to audiences in Other local credits include productions passion for theater at her hometown and around the nation’s capital. Under at California Shakespeare Theater, Cleveland Play House. A former the leadership of Artistic Director Aurora Theatre Company, Marin advertising copywriter, Livingston is Michael Kahn and Executive Director Theatre Company, Center REPertory chair of the A.C.T. Board of Trustees and Chris Jennings, STC’s innovative Company, and San Francisco Opera. serves on the Dean’s Advisory Board productions inspire dialogue that McClintock has a BA in theater and at the College of Fine Arts at Boston connects classic works to the modern history from Willamette University. University. In addition, she serves on the human experience. The company board of the National Council for the focuses on works with profound LESLEY ANN CLEMENT (Executive American Theatre. A former importer themes, complex characters, and poetic Producer) has supported A.C.T. since from the Pacific Rim, Levin serves on the language written by Shakespeare, his 1989. Clement joined the A.C.T. Board governing boards of the San Francisco contemporaries, and the playwrights of Trustees in 2004. She co-chaired the Symphony, the Asian Art Museum, and he influenced in order to preserve and 2010 Crystal Ball season gala and has the San Francisco Film Society (which promote classic theater—ambitious, served as secretary of the Executive his father founded). He is a past chair of enduring plays with universal themes— Committee, chair of the Development the San Francisco Performances board. for all audiences. A leader in arts Committee, and co-chair of the Both Livingston and Levin serve on the education, STC has a stable of initiatives Producers Circle. She was an executive Council of Advocates of Boston Arts that teach and excite learners of all producer on A.C.T.’s productions of The Academy and on the Advisory Board of ages, from school programs and adult Realistic Joneses, Love and Information, the National Museum of Women in the acting classes to accessible community The Scottsboro Boys, Armistead Arts in Washington, DC. And this year, programming like play-relevant Maupin’s Tales of the City, The Tosca Livingston and Levin have been selected discussion series and the annual Free Project, and many more. Her last role to receive the Outstanding Fundraising For All, two weeks of free performances on the A.C.T. stage was a walk-on in Volunteer Award by the Association of a Shakespearean classic. the finale of A Christmas Carol. By day, of Fundraising Professionals at their Clement prosecutes elder-abuse cases. National Philanthropy Day celebration.

FRANNIE FLEISHHACKER SEATTLE REPERTORY (Executive Producer) has been actively THEATRE was founded in 1963 and involved with A.C.T. for more than 21 is currently led by Artistic Director years. She has chaired several season Braden Abraham and Managing Director galas and currently serves on the A.C.T. Jeffrey Herrmann. One of America’s Board of Trustees and on the Board premier not-for-profit resident theaters, of Directors of the M.F.A. Program. Seattle Repertory Theatre has achieved She is also co-chair of the Producers international renown for its consistently Circle and an active member on the high production and artistic standards, Development Committee. She has been and was awarded the 1990 Tony Award a major financial supporter of A.C.T., for Outstanding Regional Theatre. funding an M.F.A. Program scholarship With an emphasis on entertaining in Mort Fleishhacker’s name and making plays of true dramatic and literary additional contributions to support the worth, Seattle Repertory Theatre refurbishment of The Garret at The Geary produces a season of plays along Theater, as well as A.C.T.’s new Strand with educational programs, new play Theater. She was the treasurer of the workshops, and special presentations. Junior League of San Francisco for two years; the treasurer, first vice president, and president of The Francisca Club; and the co-chair of the KQED auction.

415.749.2228 31 ONLY@THE STRAND

MARTIN MORAN “Emotion-stirring territory What happens when a mild-mannered that you don’t often visit Manhattanite shows up at his dad’s Vegas at the theater” funeral and ends up in a fight with his fuming New York Times stepmom? OBIE Award–winning Broadway actor and writer Martin Moran digs deep into “Always entertaining and his own story of abuse, forgiveness, and love often affecting” in two different autobiographical shows: All New York Daily News the Rage and The Tricky Part. NOV 29–DEC 11, 2016

Photo by Joan Marcus

THE SKIVVIES “Undie rock, with a soupçon The Skivvies, Broadway’s Lauren Molina and Nick Cearley, are the hottest act in NYC, of Broadway” and anything but typical. Literally stripping New York Times to their skivvies, performing hilarious mashups of pop songs and classics such “The Skivvies leave it all as “Blue Christmas” on an array of quirky on the floor” instruments, The Skivvies take on holiday Wall Street Journal music with such creativity and originality that you’ll feel like you’re hearing old standards for the first time.

DEC 22–23, 2016 Jacqueline Patton Photography

ON BECKETT “Irwin knows his Beckett Master clown Bill Irwin returns to The . . . and Beckett’s affinity Strand after his sold-out run last December for clowns is famous” to present a limited-engagement run of San Francisco Chronicle evenings dedicated to the Irish playwright: poems, prose, and plays; his own reflections on Beckett after 50 years of performing the great playwright’s work; and of course a little soft-shoe shuffle. JAN 10–22, 2017

Photo courtesy of Bill Irwin GET YOUR TICKETS TODAY AT ACT-SF.ORG/STRAND OR CALL 415.749.2228 INSIDE A.C.T. PHOTO BY SHANNON STOCKWELL

PETER PASTREICH “I HAVE ALWAYS BEEN INSPIRED JOINS A.C.T. AS INTERIM EXECUTIVE DIRECTOR BY HIS LEADERSHIP, HIS BY SIMON HODGSON KINDNESS, AND HIS IMMENSE

As the curtain rises on A.C.T.’s 50th-anniversary season, WISDOM ABOUT ARTISTS AND we’d like to welcome our new interim executive director, Peter Pastreich. ARTS MANAGEMENT.”

“I have known Peter since I arrived in San Francisco more than CAREY PERLOFF 20 years ago,” says A.C.T. Artistic Director Carey Perloff. “I have always been inspired by his leadership, his kindness, and his Pastreich brings with him 50 years’ experience of managing immense wisdom about artists and arts management. It is with arts organizations, notably the San Francisco Symphony, where enormous pleasure and gratitude that we join forces with him he was executive director for 21 years. “I am honored that at this moment in A.C.T.’s history, to help us celebrate our A.C.T. has entrusted me with the responsibility of being their 50th-anniversary year, to guide us forward in all our aspirations, interim executive director,” says Pastreich. “I very much look and ultimately to help us complete a successful hire of a forward to working with Carey Perloff and A.C.T.’s effective and permanent executive director.” committed board of trustees and staff.”

“The board of trustees is extremely fortunate to have Across orchestras and symphonies from Louisville to London, hired someone with Peter’s wisdom and expertise,” says Pastreich has taken the lead on management consultancy, the A.C.T. Board of Trustees Chair Nancy Livingston. “His theater renovation, endowment founding, mediation for union accomplishments, distinguished reputation, and deep negotiations, and training the next generation of arts leaders. understanding of the arts community will propel us into our During his tenure at SF Symphony, the organization raised 50th-anniversary season.” its budget from $6 million to $40 million and expanded its endowment from $12 million to $120 million. We are fortunate to have his passion and wisdom as we look forward to our own historic season.

415.749.2228 33 INSIDE A.C.T. PHOTO BY JOHN SUTTON BY PHOTO

TALES FROM A.C.T. HISTORY THE LOMA PRIETA EARTHQUAKE OF 1989 BY MICHAEL PALLER

On the afternoon of Tuesday, October 17, 1989, the cast of the season’s second show, an adaptation of Dickens’s A Tale of Two Cities, was nearing the end of rehearsal in the basement of 450 Geary Street, A.C.T.’s studios and offices across the street from the theater. A few actors had left early to make game three of the World Series between the San Francisco Giants and the Oakland A’s at Candlestick Park. At 5:04, the cast heard a roar. Then the building shook. And the lights went out. On the fifth floor, acting student Lisa Anne Porter (now co-head of voice and dialect in the Master of Fine Arts Program) was in Frank Ottiwell’s Alexander Technique class when the earthquake hit. She recalls that she felt the floor move and then saw it roll. The rolling seemed to last forever.

34 ACT-SF.ORG In her fifth-floor office, Associate Artistic Director Joy Carlin felt the building shake. She looked out of her window facing Geary Street and saw the water tower on the roof of the Curran Theatre sway, and water began to pour out.

On most days, wig master Rick Echols would have been backstage in the theater doing his presets. As it happened, he was at Presbyterian Hospital tending to his sick roommate, A.C.T. company member Marrian Walters. Had Echols been in The Geary Theater, he would have seen a large fan casing crash through the roof of the theater into the auditorium, taking with it the proscenium, the ceiling, the light bridge over the stage, and all the lighting instruments. Tons of rubble crashed to the ground and pancaked the first six rows of seats into the concrete floor.

“THE ONLY THOUGHT WAS THAT I WAS GOING TO DIE —IN THE BASEMENT OF THE GEARY.”

MARK PETERS

Mark Peters had left the box office with colleague Red Lee to take their dinner break in Fred’s Columbia Room when the earthquake hit. “The walls of the bar were undulating forward and backward. The sound was like a train plowing through the building. We started toward the stairs to get out of the building, but we couldn’t get up the steps because plaster from the ceiling was coming down. We moved into the doorway of the men’s restroom and hung on to each other for dear life. The only thought was that I was going to die—in the basement of The Geary.”

When the all-clear was given at 450 Geary, A.C.T. employees were able to leave the building. On Geary Street, people were bleeding, cut by the glass of blown-out windows. Smoke and dust were pouring out of the theater doors. Young Conservatory Director Craig Slaight made sure that all the students who had arrived for class earlier were accounted for. The students were safe. None of the staff had been killed. But in less than 60 seconds, the Loma Prieta earthquake had virtually destroyed The Geary.

Artistic Director Ed Hastings called a meeting that evening at his house in Sea Cliff. As pasta and red wine were passed around, the members of the board and the staff discussed what to do. Chair of the A.C.T. Board of Trustees Alan Stein spoke the words on everyone’s lips: “The show must go on.”

415.749.2228 35 INSIDE A.C.T. PHOTO BY DREW ALTIZER

Anna’s Danish Cookies). Rosemary was also involved in many LEAVING HER MARK other organizations, including Hospice by the Bay and Little PROSPERO SOCIETY MEMBER ROSEMARY Sisters of the Poor, that help disenfranchised and vulnerable COZZO HELPS FRESHEN UP THE GEARY members of the San Francisco and Marin communities. Rosemary was a member of A.C.T.’s Prospero Society, a group BY ELSPETH SWEATMAN of patrons who have provided for A.C.T. in their estate plans. Lifetime membership is extended to individuals who support Notice anything different as you walked up to The Geary A.C.T. through a bequest by will or living trust, or through other today? When you head out, look up and down. Over the planned gifts that provide the donor with tax benefits and summer, the ground level of the theater has received a face-lift. provide A.C.T. with income for life. For years, moisture had been penetrating the concrete exterior of the building and sidewalk at the corner of Mason and Geary, We are grateful to Rosemary for being a part of the A.C.T. causing leaks and weakening the sidewalk. family and for providing the funds to not only make this renovation possible but also to help ensure the future of A.C.T. In May, Keith Goldstein—a longtime A.C.T. subscriber—and his crew from Everest Waterproofing and Restoration began to tackle these problems. They added new waterproofing to the building façade and laid a new concrete slab and steel joists to strengthen the sidewalk. They replaced the canvas awnings above the box office, as well as those above the Pinecrest Diner and Reliable Car Rentals, A.C.T.’s neighbors. They also painstakingly restored the terra-cotta ornamentation and copper canopy at the entrance to The Geary.

This multifaceted restoration project was made possible by PHOTO BY ELSPETH SWEATMAN the legacy gift of A.C.T.’s dear friend and supporter Rosemary Cozzo. Rosemary was a member of the Directors Circle and TOP BOTTOM an active volunteer on the Board of Directors of the M.F.A. Left to right: Linda Grimes, Judy The Geary Theater sidewalk Program. She loved to see A.C.T.’s productions with her Kaye, and Rosemary Cozzo. under construction. friend Dian Scott and get to know the company more deeply. Together, they attended opening night dinners, galas, and For more information about how you can support the future M.F.A. Awards Luncheons (for which Rosemary often provided of A.C.T. by joining the Prospero Society, contact Helen Rigby a box of cookies for each guest from her favorite bakery, at [email protected], or call 415.439.2469.

36 ACT-SF.ORG YES ON S

YES ON S 1 IN 25 STUDENTS in the San Francisco Unified SUPPORT THE ARTS School District is homeless. AND HOMELESS FAMILIES VOTE YES ON THE ALLOCATION OF HOTEL TAX FUNDS BY SHANNON STOCKWELL

IN 2015, THE SAN FRANCISCO ARTS COMMISSION When the Hotel Tax Fund was created in 1961, the intention was surveyed 600 local artists and found that 70% of them had to use the funds to provide more money for the arts. In 1974, a already been displaced or were in the process of being portion of the fund was also allocated to provide housing for displaced from their homes or workplaces. An additional 28% low-income families. said that they were at risk of being displaced soon. Meanwhile, 1 in 25 students in the San Francisco Unified School District Beginning in the early 2000s, however, City Hall began to is homeless. ignore the mandated Hotel Tax allocations, and in 2013, City Hall officially repealed them. This is not the San Francisco we know and love. We want San Francisco to be a city that is full to the brim with art and Without raising the tax, creating any new taxes, or cutting culture, a city that supports its families in need. Something other services, the Allocation of Hotel Tax Funds ballot has to change. That’s why A.C.T. wants you to vote yes on the measure will bring those allocations back. This means more Allocation of Hotel Tax Funds. funds for the arts, more funds for homeless families, and more funds to help San Francisco be the city it was meant to be. Currently, every time someone rents a hotel room in San Francisco, they pay a 14% tax. That money then goes into On November 8, VOTE YES ON S: the Hotel Tax Fund, which is used to pay for services around the Allocation of Hotel Tax Funds. the city.

415.749.2228 37 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR

Producers Circle members make annual contributions of $12,000 or more to A.C.T. We are privileged to recognize these members’ generosity during the July 1, 2015, to July 1, 2016, period. For information about Producers Circle membership, please contact Mariah Bozeman at 415.439.2363 or [email protected]

*Member of A.C.T. Next Stage Crew

COMPANY SPONSORS EXECUTIVE PRODUCERS Abby and Gene Schnair Kirke and Nancy Sawyer Hasson ($50,000+) ($25,000–$49,999) Kathleen Scutchfield Dianne and Ron Hoge Ray and Dagmar Dolby Family Fund Mr. and Mrs. Gerson Bakar Doug Tilden and Teresa Keller Don and Judy McCubbin Frannie Fleishhacker Lesley Ann Clement Susan A. Van Wagner Mr. and Mrs. Robert McGrath Priscilla and Keith Geeslin Mrs. Robyn Coles and Dr. Tony Coles Aaron Vermut and Mr. and Mrs. J. A. McQuown Jeri Lynn and Jeffrey W. Johnson Jerome L. and Thao N. Dodson Adriana Lopez Vermut Mary and Gene Metz Fred M. Levin and Nancy Livingston, Michael G. Dovey Barbara and Stephan Vermut Mr. Byron R. Meyer The Shenson Foundation Bill and Phyllis Draper Jack and Susy Wadsworth Clay Foundation - West Burt and Deedee McMurtry Sarah and Tony Earley Nola Yee Tim Mott and Pegan Brooke Barbara Ravizza and John S. Osterweis* Frannie Fleishhacker Kay Yun and Andre Neumann-Loreck* Paula and John Murphy Arthur Rock and Toni Rembe Kevin and Celeste Ford Ms. Carey Perloff and Mr. Anthony Giles Mary and Steven Swig Mr. and Mrs. Gordon P. Getty PRODUCERS Rich Rava and Elisa Neipp Hilary Valentine and Don Listwin Chris and Holly Hollenbeck ($12,000–$24,999) David and Carla Riemer Jo S. Hurley Anonymous Sally and Toby Rosenblatt Christopher and Leslie Johnson Paul Asente and Ron Jenks Dr. Caroline Emmett and John Little and Heather Stallings Little Lloyd and Janet Cluff* Dr. Russell Rydel Janet V. Lustgarten Daniel E. Cohn and Lynn Brinton Anne and Michelle Shonk Nion McEvoy and Leslie Berriman Carlotta and Robert Dathe Mrs. Cheryl Sorokin Donald J. and Toni Ratner Miller Richard Davis-Lowell and Bill Lowell Jeff and Maria Spears Kenneth and Gisele Miller Linda Jo Fitz Mr. David G. Steele Robina and John Riccitiello Rose Hagan and Mark Lemley Ruth and Alan L. Stein Bert and LeAnne Steinberg Barry Williams and Lalita Tademy

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR

Directors Circle members make annual contributions of $2,000 to $11,999 to A.C.T. We are privileged to recognize these members’ generosity during the July 1, 2015, to July 1, 2016, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*Member of A.C.T. Next Stage Crew

ASSOCIATE PRODUCERS Alan and Cricket Jones Katherine Welch Amanda and John Kirkwood ($6,000–$11,999) Mr. Joel Krauska and Ms. Patricia Fox Minott and Ashley Wessinger Paola and Richard Kulp Paul Angelo Ms. Linda Kurtz Beverly and Loring Wyllie Mr. and Mrs. John P. Levin Valerie Barth and Peter Booth Wiley Marcia and Jim Levy Melanie and Peter Maier— Kathleen Bennett and Tom Malloy Jennifer S. Lindsay PLAYWRIGHTS John Brockway Huntington Kenneth Berryman Drs. Michael and Jane Marmor ($4,000–$5,999) Foundation Dr. Barbara L. Bessey Rodman and Ann Marymor Anonymous Stephanie and Jim Marver Linda Joanne Brown Christine and Stan Mattison Ray and Jackie Apple Mr. Daniel Murphy Gayle and Steve Brugler Milton Mosk and Thomas Foutch* Roger and Helen Bohl Pennie Needham Drs. Devron Char and The New Ark Fund Ms. Donna Bohling and Barbara O’Connor Valerie Charlton-Char Terry and Jan Opdendyk Mr. Douglas Kalish LeRoy Ortopan Mr. and Mrs. David Crane Elsa and Neil Pering Christopher and Debora Booth* Denise Orwin James and Julia Davidson Marjorie Perloff Ben and Noel Bouck Norman and Janet Pease Joan Dea Ms. Saga Perry and Mr. Frederick Perry Leslie and Buzz Burlock Mr. and Mrs. William Pitcher Carol Dollinger Jon and Barbara Phillips Madeline and Myrkle Deaton Bill and Pamela Pshea Barb and Gary Erickson Merrill Randol Sherwin Richard DeNatale and Craig Latker Joseph E. Ratner Concepción and Irwin Federman Rick and Anne Riley Anne and Gerald Down Jeff and Karen Richardson* Mr. Rodney Ferguson and Dr. James Robinson and Jacqueline and Christian Erdman* Gary and Joyce Rifkind Ms. Kathleen Egan Ms. Kathy Kohrman Nancy and Jerry Falk Gary Rubenstein and Nancy Matthews Vicki and David Fleishhacker Matt and Yvonne Rogers Dr. and Mrs. Fred N. Fritsch* Sakana Foundation Myrna and Tom Frankel Susan Roos Mrs. Susan Fuller Dr. F. Seifried Mr. and Mrs. Thomas A. Gallagher Rick and Cindy Simons Sameer Gandhi and Monica Lopez The Somekh Family Foundation Dr. and Mrs. Richard E. Geist Mr. Laurence L. Spitters Marilee K. Gardner Mr. Richard Spaete Arnie and Shelly Glassberg Emmett and Marion Stanton Jason Goldman Pasha and Laney Thornton Dr. Allan P. Gold and Mr. Alan C. Ferrara Vera and Harold Stein Barbara Grasseschi and Tony Crabb The Tournesol Project Marcia and John Goldman Tara Sullivan and Jim Horan Mark and Renee Greenstein* Larry and Robyn Varellas Marcia and Geoffrey Green Dr. Martin and Elizabeth Terplan* Mr. and Mrs. Henry Paul Hensley* Joy and Ellis Wallenberg, Mr. Bill Gregory Patrick S. Thompson Bannus and Cecily Hudson Milton Meyer Foundation Betty Hoener John and Sandra Thompson Jamieson Foundation Barbara and Chris Westover James C. Hormel and Michael P. Nguyen Barbara Weiss Becky and Lorin Kaplan and Family Mr. and Mrs. Bruce White Joseph D. Keegan PhD Dr. and Mrs. Andrew Wiesenthal Mr. and Mrs. Roger Wu

38 ACT-SF.ORG DIRECTORS Philip and Judy Erdberg Dr. Lois Levine Mundie* Mr. and Mrs. John Shankel ($2,000–$3,999) Charles and Susan Fadley* Ms. Helen S. Lewis Mr. James Shay and Mr. Steven Correll Anonymous (2) Mr. Alexander L. Fetter and Sue Yung Li and Dale K. Ikeda Michelle Shonk Mr. Howard J. Adams Ms. Lynn Bunim Herbert and Claire Lindenberger Ms. Ruth A. Short Martha and Michael Adler Mr. Robert Feyer and Ron and Mary Loar Mr. Earl G. Singer Bruce and Betty Alberts Ms. Marsha Cohen* Mr. and Mrs. Alexander Long Richard and Jerry Smallwood Lynn Altshuler and Stanley D. Herzstein Mr. and Mrs. Richard J. Fineberg Ms. Gayla Lorthridge Ms. Judith O. Smith Mr. and Mrs. Harold P. Anderson Mr. and Mrs. Patrick F. Flannery* Patrick Machado Mr. and Mrs. Edward H. Snow Sharon L. Anderson Jacques Fortier Ms. Jill Matichak Handelsman Mr. and Mrs. Lee Snowberg Timothy Anderson and Ellen Kim Mr. and Mrs. Richard Fowler John B. McCallister Kristine Soorian and Bryce Ikeda Whitney and Phillip Arnautou Elizabeth and Paul Fraley John G. McGehee Mr. and Mrs. Robert S. Spears Dick Barker Lynda Fu Kathleen McIlwain Steven and Chris Spencer Jeanne and William Barulich Ms. Kathleen Gallivan Casey and Charlie McKibben Mr. Paul Spiegel Nancy and Joachim Bechtle Mr. Jon Garber and Ms. Bonnie Fought Elisabeth and Daniel McKinnon Diana L. Starcher David V. Beery and Norman Abramson William Garland and Michael Mooney Ms. Nancy Michel Rick Stern and Nancy Ginsburg Stern Valli Benesch and Bob Tandler Mr. Michael R. Genesereth Mr. and Mrs. Roger Miles Lillis and Max Stern Donna L. Beres and Terry Dahl Susan and Dennis Gilardi J. Sanford Miller and Vinie Zhang Miller Steve and Som Stone Barbara Berkeley and Wendy Storch Dr. A. Goldschlager Mr. and Mrs. Michael J. Mouat Vibeke Strand MD and Jack Loftis PhD Mr. Kenneth C. Berner Mrs. Kenneth Gottlieb Jeanne Newman Richard and Michele Stratton Fred and Nancy Bjork Ms. Ann M. Griffiths Mr. and Mrs. Merrill E. Newman J. Dietrich and Dawna Stroeh David and Rosalind Bloom Douglas W. and Kaatri Grigg Ms. Mary D. Niemiller Ms. Lucy Sun John Boland and James Carroll Raymond and Gale L. Grinsell Ms. Lisa Nolan Ms. Norah Terrault Mr. Mitchell Bolen and Nadine Guffanti and Ed Medford Mrs. Margaret O’Drain Susan Terris Mr. John Christner James Haire and Timothy Cole Ms. Mary Jo O’Drain Dr. Eric Test and Dr. Odelia Braun Carol and Shelby Bonnie Mr. and Mrs. Richard Halliday Emilie and Douglas Ogden Mr. and Mrs. William W. Thomas Brenda and Roger Borovoy Vera and David Hartford Margo and Roy Ogus Nancy Thompson and Andy Kerr Jamie Bowles Mr. Greg Hartman* Mr. Don O’Neal Ian and Olga Thomson Romana D. Bracco Ms. Kendra Hartnett Meredith Orthwein Ms. Patricia Tomlinson and Mr. Benjamin Bratt and Talisa Soto Mrs. Deirdre Henderson Janet and Clyde Ostler Mr. Bennet Weintraub Marilyn and George Bray Richard N. Hill and Nancy Lundeen Janine Paver and Eric Brown John Todd Buchanan Traina and Robert Brunner Mr. and Mrs. Jerre Hitz Mark Pigott Katherine Bundy Orr Traina Tom and Carol Burkhart Gregory Holland Ms. M. N. Plant Mr. and Mrs. John R. Upton Mrs. Libi Cape Ms. Marcia Hooper Victoria and Dan Prendergast Jane and Bernard von Bothmer Ms. Sally Carlson Rob Hulteng Steven Pressman Arnie and Gail Wagner Denis Carrade and Jeanne Fadelli Robert Humphrey and Diane Amend Kenneth Preston Mr. and Mrs. James Wagstaffe Mr. Todd Chaffee Judy and Bob Huret Gordon Radley Ms. Marla M. Walcott The Donald and Carole Chaiken Sarah and Jordan Hymowitz Mr. and Mrs. Jacob Ratinoff Mrs. Katherine G. Wallin and Foundation Harold and Lyn Isbell Shirley and Robert Raymer Mr. Homer Wallin Steven and Karin Chase Franklin Jackson and Maloos Anvarian Mr. and Mrs. John A. Reitan Ms. Margaret Warton and T. Z. and Irmgard Chu Stephanie and Owen Jensen Albert and Roxanne Richards Fund Mr. Steve Benting Mr. Byde Clawson and Russell and Mary Johnson Victoria and Daniel Rivas Ms. Carol Watts Dr. Patricia Conolly Kathy and Joe Jolson Mr. Orrin W. Robinson III* Ms. Allie Weissman Susan and Ralph G. Coan Jr. Mr. and Mrs. Michael Kamil Mrs. Marianne B. Robison Ms. Beth Weissman Rebecca Coleman Sy Kaufman James and Roberta Romeo Irv Weissman and Family Jean and Mike Couch Barbara and Ron Kaufman Deborah Romer and William Tucker Marie and Daniel Welch Mr. and Mrs. Ricky J. Curotto Ed and Peggy Kavounas Susan Rosin and Brian Bock Mr. Keith Wetmore Tiffanie DeBartolo Ms. Pamela L. Kershner Ms. Diane Rudden Helen M. Marcus and Robert and Judith DeFranco Miss Angèle Khachadour Ms. Dace Rutland David J. Williamson* Ingrid M. Deiwiks Ms. Nancy L. Kittle Scott and Janis Sachtjen Diane B. Wilsey Reid and Peggy Dennis Mr. R. Samuel Klatchko Ms. Monica Salusky and Mr. and Mrs. Kenneth Wilson Mr. William Dickey Mr. Brian Kliment Mr. John Sutherland Ms. Linda Ying Wong Mrs. Julie D. Dickson Dr. Thane Kreiner and Mr. Curtis Sanford Richard and Victoria Zitrin Bonnie Dlott Dr. Steven Lovejoy* Betty and Jack Schafer Art and JoAnne Dlott Stephanie Hencir Lamey and Frances Schendle Linda Dodwell Patrick Lamey Lori Schryer Mr. Joseph W. Donner III Jennifer Langan Ms. Jean Schulz Mrs. Delia Ehrlich Tom and Sheila Larsen Andrew and Marva Seidl Robert Eklund Mr. Richard Lee and Paul and Julie Seipp Ms. Patricia Taylor Lee Russ Selinger

415.749.2228 39 ALAN JONES, CHAIR Friends of A.C.T. make annual contributions of $125–$1,999 in support of A.C.T.’s operations and programs. We are privileged to recognize these members’ generosity during the July 1, 2015, to July 1, 2016, period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*Member of A.C.T. Next Stage Crew

PATRONS Michele Bear Ms. Hamila Kownacki Joe Tally and Dan Strauss ($1,200–$1,999) Mr. Daniel R. Bedford Hal and Leslie Kruth Marvin Tanigawa Anonymous (2) Mr. Ari Benbasat Eileen Landauer and Mark Michael Maggie Thompson Kat and Dave Anderson* Mr. and Mrs. Paul Berg Edward and Miriam Landesman Ms. Mary Topliff Ms. Kay Auciello Richard and Katherine Berman* Mrs. Judith T. Leahy Ms. Leslie Tyler Mr. David N. Barnard Jane Bernstein and Robert Ellis Mrs. Gary Letson Leon Van Steen Mr. Thomas Benet Stuart and Helen Bessler Barry and Ellen Levine Mr. and Mrs. Ronald G. VandenBerghe Lauren Berman Mr. John Blankenship and Adlinna Liang Mr. and Mrs. Ron Vitt* Mr. Nicholas Brathwaite Ms. Linda Carter Ms. Elise S. Liddle Mr. Douglass J. Warner Stan and Stephanie Casper Mr. Noel Blos Ms. Evelyn Lockton Joseph Watkins Ms. Cecily Cassel Jeff and Cecil Bodington Ms. Carol H. Lokke Melissa and Jonathan Weinberg Ms. Donna Crabb and Mr. Gustav Laub Ms. Patricia Bransten Alex Lyon Mr. William R. Weir Gregory Davis Katherine and Roy Bukstein Steve Malnight Mr. Richard West Ira and Jerry Dearing Jaime Caban and Rob Mitchell Mr. and Mrs. William Manheim Mr. Robert Weston William Dewey Zoe Catalano Mr. and Mrs. Kenneth Marks Tim M. Whalen Ms. Kathleen Dumas Martha Conte Robert McCleskey Mr. David S. Winkler Mr. Timothy C. Duran Ms. Shirley Cookston Mr. and Mrs. Jason McDonell Sally Woolsey Michael and Elizabeth Engle Ms. Karen T. Crommie Mark and Gene McGranahan Mr. and Mrs. Roy B. Woolsey Leif and Sharon Erickson Mr. Copley E. Crosby Karen and John McGuinn Marilyn and Irvin Yalom Cary and Helen FitzGerald James Cuthbertson Dr. Margaret R. McLean Elysa Yanowitz* Ms. Susan Free Niccolo De Masi Mr. and Mrs. Casey McManemin Jacqueline Young Kathleen and Paul Goldman Richard and Sheryl Donaldson Dr. and Mrs. Beryl D. Mell Ms. Nicole Zayac Mr. David C. Hale Michael Duncan Christie Michaels Mr. and Mrs. Philip Zimbardo Kathy Hart* Ms. Joanne Dunn Jeffrey and Elizabeth Minick Mr. John F. Heil Marilynne Elverson Dennis and Susan Mooradian CONTRIBUTOR LEVEL Julia and Gordon Held Ms. Susan English and Michael Kalkstein Thomas and Lydia Moran Next Stage Crew Adrienne Hirt and Jeffrey Rodman M. Daniel and Carla Flamm Dorotea C. Nathan ($500–$749) Darla and Patrick Flanagan Adam Neeley Fine Art Jewelry SF LLC Dr. and Mrs. Richard W. Horrigan David and Michele Benjamin* Mrs. Dorothy A. Flanagan Nancy and Bill Newmeyer Alex Ingersoll and Martin Tannenbaum Mr. Igor R. Blake* Mr. Ken Fulk Ms. Nancy F. Noe Louise Karr Mr. Edward Conger* Mr. Gregory Fung Alicia Nogales and Greg Little George and Janet King Dr. Marcus Feldman and Mr. John Garfinkle Jan O’Brien Tori and David Kistler Mrs. S. Shirley Feldman* Frederick and Leslie Gaylord Ms. Joanna Officier and Mr. Ralph Tiegel Thomas and Barbara Lasinski Karin and Gregory McClune* Matthew G. Gloss Mr. Lester Olmstead-Rose Harriet Lawrie Richard and Donna Perkins* Bruce Golden Mr. James O’Toole Ms. Catherine L. Less Meline and Jirayr Roubinian* Ms. Beverly Lipman Keith Goldstein Barbara Paschke and Julia Lobel Ms. Kristen Grannan David Volpendesta Mr. and Mrs. Robert W. Logan Marlys T. Green Mr. David J. Pasta Jeff and Susanne Lyons Prerna Gupta Ms. Nancy Perloff Mr. and Mrs. Malcolm MacNaughton Kelly and Mike Halper Ms. Judi Pogue Joseph C. Najpaver and Deana Logan Julia Hardin Hansen Ms. Danielle Rebischung Cindy Nicola Mr. Thomas Harkins Maryalice Reinmuller Robert and Marcia Popper Mr. Kim Harris and Bennet Marks Sheryl and Jim Reuben Mr. and Mrs. Eric Protiva William Heavlin Mr. Philip Rich Ms. Diane Raile Mr. and Mrs. R. S. Heinrichs Marguerite Romanello Sandi and Mark Randall The Brian and Patricia A. Herman Fund Dan Rosenbaum and Suzanne L. Klein Barbara and Saul Rockman at Community Foundation Santa Ms. Mary Ellen Rossi Peter and Janice Scattini Cruz County Patti and Rusty Rueff Ms. Nina M. Scheller Leni and Doug Herst Paul Sack Jason Seifer and Brian Ayer Dr. James and Suzette Hessler Bob and Kelly Scannell Dr. Gary Stein and Jana Stein Mr. and Mrs. Donald M. Hill Sonja Schmid Ms. Jacqueline Stewart James and Helen Hobbs Mr. Paul Schmidt Ian E. Stockdale and Ruth Leibig* Mr. Donald H. Holcomb Harriet and David Schnur Mr. Jay Streets Edward L. Howes MD Dr. and Mrs. Stephen M. Schoen Joseph Sturkey Leslie and George Hume Mr. James J. Scillian Richard and Cheryl Jacobs Mr. Jim Sciuto SUSTAINERS Dr. and Mrs. John E. Jansheski Mr. Jon Shantz ($750–$1,199) Ms. Carolyn Jayne Ms. Patricia Sims Allan and Rebecca Jergesen Raven Sisco Anonymous (4) Mr. and Mrs. Norman L. Johnson Christina Sonas Susan Adamson and George Westfall Mrs. Zeeva Kardos Mr. Herbert Steierman Deb Affonsa Jeffrey and Loretta Kaskey Jeffrey Stern MD Dr. and Mrs. Douglas Anderson Mr. Dennis Kaump Dr. and Mrs. G. Cook Story Ms. Patricia Wilde Anderson Ms. Josephine Kennedy Mr. and Mrs. Monroe Strickberger Mr. Paul Anderson Dr. and Mrs. David Kessler Mr. Jason Surles Dr. and Mrs. Stefan Arnon Michael Kim and Youngmee Baik Denis Sutro Mr. William Barnard Mr. and Mrs. Kevin Klotter Roselyne C. Swig Ms. Pamela Barnes Michael Kossman Marilyn E. Taghon Robert H. Beadle*

40 ACT-SF.ORG JO S. HURLEY, CHAIR A.C.T. gratefully acknowledges the Prospero Society members listed below, who have made an investment in the future of A.C.T. by providing for the theater in their estate plans.

**Deceased Providing a Legacy for A.C.T.

GIFTS DESIGNATED TO Alan and Susan Fritz John McGehee GIFTS RECEIVED BY AMERICAN CONSERVATORY Marilee K. Gardner Burt and Deedee McMurtry AMERICAN CONSERVATORY THEATER Michele Garside Dr. Mary S. and F. Eugene Metz THEATER Anonymous (8) Dr. Allan P. Gold and J. Sanford Miller and The Estate of Barbara Beard Anthony J. Alfidi Mr. Alan C. Ferrara Vinie Zhang Miller The Estate of John Bissinger Judith and David Anderson Arnold and Nina Goldschlager Milton Mosk and Tom Foutch The Estate of Ronald Casassa Kay Auciello Carol Goodman and Anthony Gane Bill** and Pennie Needham The Estate of Rosemary Cozzo Ms. Nancy Axelrod JeNeal Granieri and Walter A. Nelson-Rees and The Estate of Nancy Croley M. L. Baird, in memory of Alfred F. McDonnell James Coran The Estate of Leonie Darwin Travis and Marion Baird William Gregory Michael Peter Nguyen The Estate of Mary Jane Detwiler Therese L. Baker-Degler James Haire and Timothy Cole Dante Noto The Estate of Olga Diora Ms. Teveia Rose Barnes and Richard and Lois Halliday Gail Oakley** The Estate of Mortimer Fleishhacker Mr. Alan Sankin Terilyn Hanko Sheldeen Osborne The Estate of Mary Gamburg Eugene Barcone Mr. Richard H. Harding Marcia and Robert Popper The Estate of Phillip E. Goddard Robert H. Beadle Kent Harvey Kellie Yvonne Raines The Estate of Mrs. Lester G. Hamilton Susan B. Beer Betty Hoener Anne and Bertram Raphael The Estate of Sue Hamister David Beery and Norman Abramson Jo S. Hurley Jacob and Maria Elena Ratinoff The Estate of Howard R. Hollinger J. Michael and Leon Berry-Lawhorn Dr. and Mrs. Stewart Karlinsky Mary L. Renner The Estate of William S. Howe, Jr. Dr. Barbara L. Bessey and Nelda Kilguss Ellen Richard The Estate of Thomas H. Maryanski Dr. Kevin J. Gilmartin** Ms. Heather M. Kitchen Susan Roos The Estate of Michael L. Mellor Lucia Brandon Mr. Jonathan Kitchen and David Rovno, M.D. The Estate of Bruce Tyson Mitchell Mr. Arthur H. Bredenbeck and Ms. Nina Hatvany Paul and Renae Sandberg The Estate of Dennis Edward Parker Mr. Michael Kilpatrick John and Karen Kopac Reis Harold Segelstad The Estate of Rose Penn Linda K. Brewer Catherine Kuss and Danilo Purlia F. Stanley Seifried The Estate of Shepard P. Pollack Martin and Geraldine Brownstein Mr. Patrick Lamey Ruth Short The Estate of Margaret Purvine Gayle and Steve Brugler Philip C. Lang Andrew Smith and Brian Savard The Estate of Gerald B. Rosenstein Bruce Carlton and Richard McCall** Mindy Lechman Cheryl Sorokin The Estate of Charles Sassoon Florence Cepeda and Earl Frick Marcia Lowell Leonhardt Alan L. and Ruth Stein The Estate of Olivia Thebus Paula Champagne and David Watson Marcia and Jim Levy Mr. and Mrs. Bert Steinberg The Estate of Ayn and Brian Thorne Mr. and Mrs. Steven B. Chase Ines R. Lewandowitz Jane and Jay Taber The Estate of Sylvia Coe Tolk Lesley Ann Clement Jennifer Lindsay Mr. Marvin Tanigawa The Estate of Elizabeth Wallace Lloyd and Janet Cluff Nancy Livingston and Fred M. Levin Nancy Thompson and Andy Kerr The Estate of Frances Webb Patricia Corrigan Dot Lofstrom and Robin C. Johnson Michael E. Tully The Estate of William Zoller Susan and Jack Cortis Ms. Paulette Long Ms. Nadine Walas Ms. Joan Danforth Dr. Steve Lovejoy and Marla Meridoyne Walcott Richard T. Davis-Lowell Dr. Thane Kreiner Katherine G. Wallin Sharon Dickson Jim and Anne Magill David Weber and Ruth Goldstine Jerome L. and Thao N. Dodson Melanie and Peter Maier Paul D. Weintraub and Drs. Peter and Ludmila Eggleton Jasmine Stirling Malaga and Raymond J. Szczesny Linda Jo Fitz Michael William Malaga Beth Weissman Frannie Fleishhacker Mr. Jeffrey Malloy Tim M. Whalen Kevin and Celeste Ford Michael and Sharon Marron Mr. Barry Lawson Williams Mr. and Mrs. Richard L. Fowler Mr. John B. McCallister

FOR MORE INFORMATION ABOUT PROSPERO SOCIETY MEMBERSHIP

HELEN RIGBY, DIRECTOR OF LEGACY GIVING 415.439.2469 | [email protected]

415.749.2228 41 Memorial & Tribute Gifts

The following members of the A.C.T. community made gifts in memory and in honor of friends, colleagues, and family members during the July 1 , 2015, to July 1, 2016, period.

Michael Kim and Youngmee Baik in Memory of Youngmee Baik Romana D. Bracco in Memory of John Bracco Mr. David J. Pasta in Memory of Gloria Guth Mrs. Albert J. Moorman in Memory of Mrs. Albert J. Moorman Gregory Davis in Memory of Orlando Ms. Carey Perloff and Mr. Anthony Giles in Memory of Liz Perle Diane Brett in Memory of Eva Ramos Daniel Weinstein in Memory of Eva Ramos Mr. and Mrs. Frank Fischer in Honor of Marilee Gardner Lucie and Jerry Weissman in Honor of Prisca Geeslin Helen Hilton Raiser in Honor of Nancy Livingston and Fred Levin Priscilla and Keith Geeslin in Honor of Luz Perez and Amber Jo Manuel Fred M. Levin and Nancy Livingston, The Shenson Foundation, in Honor of Carey Perloff Janet Armour and Robert Farnam in Honor of Jason Seifer Michele Bear in Honor of Craig Slaight Lisa Conte in Honor of Craig Slaight Mr. and Mrs. Casey McManemin in Honor of Maria Spears Ms. Libby Tracy in Honor of Maria and Jeff Spears Ms. Eve Niquette in Honor of Kay Yun Ms. Carey Perloff and Mr. Anthony Giles in Honor of our awesome development team

Corporate Partners Circle

The Corporate Partners Circle is comprised of businesses that support the artistic mission of A.C.T., including A.C.T.’s investment in the next generation of theater artists and audiences, and its vibrant educational and community outreach programs. Corporate Partners Circle members receive extraordinary entertainment and networking opportunities, unique access to renowned actors and artists, premium complimentary tickets, and targeted brand recognition. For information about how to become a Corporate Partner, please contact Bethany Herron at 415.439.2434 or [email protected].

LEAD EDUCATION PRESENTING PARTNERS PERFORMANCE STAGE PARTNERS OFFICIAL HOTEL 50TH ANNIVERSARY SPONSOR ($25,000–$49,999) PARTNERS ($5,000–$9,999) SPONSOR AIRLINE SPONSOR Bank of America Foundation ($10,000–$24,999) Burr Pilger Mayer, Inc. Hotel G United Airlines Theatre Forward BNY Mellon Wealth McGraw Hill Financial U.S. Bank/Ascent Management Schoenberg Family Bank of the West Law Group Deloitte LLP Farella Braun + Martel SEASON SPONSOR Pillsbury Winthrop Shaw Pittman LLP

Foundations and Government Agencies

The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Bethany Herron at 415.439.2434 or [email protected].

$100,000 AND ABOVE $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Doris Duke Charitable Department of Children, Anonymous The Kenneth Rainin Leonard and Sophie Foundation Youth & Their Families Walter and Elise Haas Fund Foundation Davis Fund Grants for the Arts/San The Edgerton Foundation The Kimball Foundation Laird Norton Family Edna M. Reichmuth Francisco Hotel Tax Fund National Endowment for Koret Foundation Foundation Educational Fund of The William and Flora the Arts The Harold and Mimi San Francisco Neighborhood The San Francisco Hewlett Foundation The Bernard Osher Steinberg Trust Arts Collaborative Foundation Jewels of Charity, Inc. Foundation MAP Fund The Stanley S. Langendorf Saint Francis Foundation Foundation The Valentine Foundation Wallis Foundation The Zellerbach Family Foundation

42 ACT-SF.ORG Theatre Forward Current Funders List as of August 2016

Theatre Forward advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theaters. Theatre Forward and our theaters are most grateful to the following funders:

THEATRE EXECUTIVES PACESETTERS DONORS John R. Dutt*♦ Theatre Forward supporters are former ($50,000–$99,000) ($15,000–$24,999) ($10,000–$14,999) Bruce R. and Tracey Ewing*♦ supporters of National Corporate Theatre Fund and Impact Creativity. Jessica Farr* Bank of America* American Express* Dorsey & Whitney Foundation For a complete list of funders, visit The Schloss Family Bloomberg Epiq Systems* Mason & Kim Granger*♦ theatreforward.org. Foundation♦ Cisco Systems, Inc.* Karen A. & Kevin W. Kennedy Brian J. Harkins*♦ *Theatre Forward Fund for Wells Fargo*♦ The Estée Lauder Foundation Gregory S. Hurst*♦ New American Theatre Companies Inc. Lisa Orberg♦ Howard and Janet Kagan♦ †Includes In kind support EY* Presidio* Joseph F. Kirk*♦ ♦Educating through Theatre Support ($25,000–$49,999) Alan & Jennifer Freedman*♦ Thomas C. Quick* John R. Mathena*♦ Buford Alexander and Frank & Bonnie Orlowski*♦ RBC Wealth Management♦ Ogilvy & Mather† Pamela Farr*♦ Marsh & McLennan Daniel A. Simkowitz*♦ Jonathan Maurer and BNY Mellon Companies, Inc. S&P Global Gretchen Shugart*♦ Steven & Joy Bunson*♦ National Endowment for TD Charitable Foundation♦ Dina Merril & Ted Hartley* Citi the Arts♦ Isabelle Winkles*♦ Newmark Holdings* DeWitt Stern* Pfizer, Inc. Sills Cummis & Gross P.C.* Goldman, Sachs & Co. Southwest Airlines ♦† SUPPORTERS John Thomopoulos*♦ MetLife Theatermania/Gretchen ($2,500–$9,999) Evelyn Mack Truitt* Morgan Stanley Shugart*♦ Mitchell J. Auslander*♦ Leslie C. & Regina Quick James S. & Lynne Turley*♦ George S. Smith, Jr.*♦ Disney/ABC Television Group* Charitable Trust Willkie Farr & Gallagher LLP* UBS Paula A. Dominick*♦ Dorfman and Kaish Family Foundation, Inc.♦ Dramatists Play Service, Inc.* Kevin & Anne Driscoll

Gifts in Kind

A.C.T. thanks the following donors for their generous contributions of goods and services.

Emergency BBQ Company Ghirardelli Ice Cream and Chocolate Shop Grace Street Catering Premium Port Wines, Inc.

Corporations Matching Annual Fund Gifts

As A.C.T. is both a cultural and an educational institution, many employers will match individual employee contributions to the theater. The following corporate matching gift programs honor their employees’ support of A.C.T., multiplying the impact of those contributions.

Acxiom Corporation BlackRock GE Foundation Macy’s, Inc. The Clorox Company Adobe Systems Inc. Charles Schwab Google Merrill Lynch & Co. Foundation Apple, Inc. Chevron Hewlett-Packard Foundation, Inc. The James Irvine Foundation Applied Materials Chubb & Son IBM International Foundation Northwestern Mutual The Morrison & Foerster AT&T Foundation Dell Direct Giving Campaign JPMorgan Chase Foundation Foundation Bank of America Dodge & Cox Johnson & Johnson Family Pacific Gas and Electric TPG Capital, L.P. Bank of America Foundation Ericsson, Inc. of Companies Arthur Rock Verizon Bank of New York Mellon Federated Department Stores Levi Strauss Foundation State Farm Companies Visa International Community Partnership The Gap Lockheed Martin Corporation Foundation John Wiley and Sons, Inc.

415.749.2228 43 A.C.T. STAFF

CAREY PERLOFF PETER PASTREICH MELISSA SMITH DON-SCOTT COOPER Artistic Director Interim Executive Director Conservatory Director General Manager

JAMES HAIRE Wig Shop Scott Tignor, Stephanie Arora, Corrine Nagata, Dance Producing Director Emeritus Lindsay Saier, Wig Master Subscriptions Coordinators Caymichael Patten, Audition Melissa Kallstrom, Wig Supervisor Andy Alabran, Hillary Bray, Peter Davey, Jeanna Parham, Stage Makeup Gillian Eichenberger, Elizabeth Halperin, ARTISTIC Carey Perloff, Arts Leadership Johnny Moreno, Treasurers Andy Donald, Associate Artistic Director STAGE STAFF Kari Prindl, Alexander Technique Michael Paller, Dramaturg The Geary: Miguel Ongpin, Head Carpenter Front of House Stacey Printz, Dance Janet Foster, Director of Casting and Suzanna Bailey, Head Sound Randy Collins, Theater Manager Helen Rigby, Fundraising Artistic Associate Mark Pugh, Head Properties Cara Chrisman, Assistant House Manager Megan Q. Sada, Theater Professionalism Allie Moss, Artistic Administrator Daniel Swalec, Head Electrian Leontyne Mbele-Mbong, Associate House Ken Savage, Director Ken Savage, Assistant Producer Colin Wade, Flyman Manager Elyse Shafarman, Alexander Technique Jessica Katz, Artistic Fellow Mary Montijo, Wardrobe Supervisor Oliver Sutton, Security Lisa Townsend, Director, Choreographer Susan Allen, Rodney Anderson, Danica Resident Artists Diane Cornelius, Assistant Becca Wolff,Director Wardrobe Supervisor Burt, Margaret Cahill, Jose Camello, Anthony Fusco, Nick Gabriel, Domenique Joe Nelson, Stage Door Monitors Anthony Cantello, Barbara Casey, Kathy Studio A.C.T. Lozano, Craig Slaight Dere, Sarah Doherty, Larry Emms, Doris Liz Anderson, Filmmaking The Strand: Patsy McCormack, Strand Flamm, Robert French, Tyler Gonzalez, Associate Artists Master Technician Gabriella Gonzalez, Lee Jewel, Kristen Cristina Anselmo, On-Camera Acting Marco Barricelli, Olympia Dukakis, Sarah Jacquez, Strand Sound Engineer Jones, Blue Kesler, Ryszard Koprowski, Heidi Carlsen, Voice Giles Havergal, Bill Irwin, Steven John Abele, Strand Head Carpenter Sharon Lee, Leontyne Mbele-Mbong, Sam Matt Chapman, Movement Anthony Jones, Andrew Polk, Mesinger, Kathy Napoleone, Genevieve Julie Douglas, Improv and Mask Tom Stoppard, Gregory Wallace, Conservatory/Second Stage Pabon, Brandie Pilapil, Tuesday Ray, Lauren English, Acting and Timberlake Wertenbaker Danielle Colburn, Conservatory Associate Steven Salzman, Michael Sousa, Melissa Production Manager Stern, Lorraine Williams, Ushers Audition Technique Playwrights Forrest Choy, Jake Freeman, Anthony Francie Epsen-Devlin, Musical Theater Annie Baker; Mike Bartlett; David Byrne; ADMINISTRATION AND FINANCE Hernandez, Brooke Jensen, William Paul Finocchiaro, Acting Jean-Claude Carriére, Peter Brook, and McCall, Fiona McGovern, Susan Monson, Marie-Hélène Estienne; Robert Lepage; Denys Baker, Administrative Nick Gabriel, Acting Project Manager Kareema Richmond, Tracey Sylvester, Carey Perloff and Paul Walsh; Ursula Rani Leonard Thomas, Cevie Toure, Bartenders W. D. Keith, On-Camera Acting Sarma; Tom Stoppard Coralyn Bond, Executive Assistant and Drew Khalouf, Speech and Diction Board Liaison Strand Cafe Jessica Kitchens, Acting Directors Jennifer Zilberstein, Human Rafael Monge, Cafe Manager Trish Mulholland, Auditioning Peter Brook and Marie-Hélène Estienne; Resources Manager LaRina Hazel, Raj Paul Pannu, Baristas David Prete, Movement and Directing Robert Lepage; Domenique Lozano; Les Tift, Human Resources David Muse; Carey Perloff; Ken Rus Kari Prindl, Alexander Technique Project Coordinator EDUCATION & COMMUNITY Schmoll; Alex Timbers Mark Rafael, Acting Amy Hand, Associate General Manager PROGRAMS Choreographers Amy Dalba, Company Manager Patrick Russell, Acting, Movement, Elizabeth Brodersen, Director of Education and Clown Val Caniparoli, Annie-B Parson Joseph Reyes, General Management Fellow & Community Programs Rebecca Struch, Acting Tyrone Davis, Community Artistic Director Composers/Orchestrators Finance Laura Wayth, Acting Curriculum & Training Specialist Mark Bennett; David Byrne, Fatboy Slim, Jason Seifer, Director of Finance Jasmin Hoo, Tom Gandey, and J Pardo; David Coulter; and Operations Vincent Amelio, School & Community YOUNG CONSERVATORY Programs Coordinator Karl Lundeberg Sharon Boyce, Matt Jones, Linda Lauter, Craig Slaight, Young Conservatory Director Stephanie Wilborn, Education & Community Finance Associates Andy Alabran, Acting Music Directors Programs Fellow Cristina Anselmo, Acting Daniel Feyer Information Technology Elizabeth Halperin, Student Matinees Thomas Morgan, Director Pierce Brandt, Musical Theater Designers Joseph Givens, David McKneely, Raven Joone Pajar, Network Administrator Sisco, Apprentices Nancy Gold, Physical Character, Acting John Arnone, Andrew Boyce, Marsha W. D. Keith, Director Ginsberg, Ken MacDonald, Daniel Operations CONSERVATORY Domenique Lozano, Director, Acting Ostling, Scenic Jamie McGraw, Associate Manager, Facilities Nick Gabriel, Director of Studio A.C.T. Christine Mattison, Dance, Choreographer Jessie Amoroso, Beaver Bauer, Linda Cho, Operation and Security Alex Jaeger, Jennifer Moeller, Costumes Christopher Herold, Director of Summer Ken Savage, Acting Jeffrey Warren, Assistant Facilities Manager Lap Chi Chu, Russell Champa, Robert Training Congress Vivian Sam, Musical Theater, Dance Santiago Hutchins, Facilities Crew Hand, Nancy Schertler, Robert Wierzel, Jack Sharrar, PhD, Director of William Thomas Hodgson, Acting Curtis Carr, Jr., Victor Newman, Academic Affairs Lighting Trish Tillman, Acting Jesse Nightchase, Security Jerry Lopez, Director of Financial Aid Brendan Aanes, Mark Bennett, Jake Valerie Weak, Acting Rodriguez, Sound Jaime Morales, Geary Cleaning Foreman Dan Kolodny, Manager, Conservatory Krista Wigle, Musical Theater Jamal Alsaidi, Jeaneth Alvarado, Operations & Corporate Training Programs Coaches Lidia Godinez, Geary Cleaning Crew Lizz Elvira, Conservatory Associate, Conservatory Accompanists Nancy Benjamin, Lisa Anne Porter, Academic Programs Thaddeus Pinkston, Naomi Sanchez, Voice, Text & Dialect Development Emily Hanna, Conservatory Associate, Young Lynden James Bair Luz Perez, Director of Special Events Jeffrey Crockett, Voice & Text Conservatory & Studio A.C.T. Helen Rigby, Director of Legacy Giving Stephen Buescher, Movement Matt Jones, Bursar/Payroll Administrator LIBRARY STAFF Mariah Bozeman, Director of Major Gifts Jonathan Rider, Danielle O’Dea, Fights Lena Mier, Marcella Toronto, Joseph Tally, Head Librarian Bethany Herron, Associate Director of Daniel Feyer, Music Conservatory Fellows G. David Anderson, Laurie Bernstein, Development, Institutional Partnerships Helen Jean Bowie, Bruce Carlton, PRODUCTION Tiffany Redmon, Associate Director of M.F.A. Program Core Faculty Barbara Cohrssen, James Daniel, Development, Individual Giving Audrey Hoo, Production Manager Nancy Benjamin, Co-Head of Voice and William Goldstein, Pat Hunter, Connie Rose Oser, Grant Writer Dialects, Director Ikert, Martha Kessler, Nelda Kilguss, Robert Hand, Associate Production Barbara Kornstein, Analise Leiva, Ines Manager Renée Gholikely, Special Events Assistant Stephen Buescher, Head of Lewandowitz, Richard Maggi, Patricia Sarah Armstrong, Major Gifts and Corporate Movement, Director Chris Hammer, Interim Technical Director O’Connell, Roy Ortopan, Maida Paxton, Associate Jeffrey Crockett, Head of Voice Marlena Schwartz, Production Fellow Connie Pelkey, Christine Peterson, Dana Domenique Lozano, Acting, Director Peter Macfarlane, Development Associate Rees, Peter Schmid, Roger Silver, Jane Stage Management Stephanie Swide, Individual Giving Michael Paller, Director of Humanities Taber, Susan Torres, Jean Wilcox, Marie Elisa Guthertz, Head Stage Manager Associate Lisa Anne Porter, Co-Head of Voice Wood, Library Volunteers Elisa Guthertz, Megan Q. Sada, Karen Julia Ludwig, Special Events Fellow and Dialects Szpaller, Stage Managers Madelene Tetsch, Development Fellow Jack Sharrar, PhD, Theater History A.C.T. thanks the physicians and staff of Christina Larson, Megan McClintock, Melissa Smith, Head of Acting, Director the Centers for Sports Medicine, Saint Assistant Stage Managers Marketing & Public Relations Francis Memorial Hospital, for their care Hal Day, Production Assistant Christine Miller, Associate Director of M.F.A. Program Adjunct Faculty of the A.C.T. company: Dr. Victor Prieto, Dr. Hoylond Hong, Dr. Susan Lewis, Danielle Bae, Zachary Cox, Joelle Marketing Mary Carbonara, Dance Don Kemp, P.A., and Chris Corpus, Hagen, Charlotte Morrill, Stage Simon Hodgson, Publications Manager Milissa Carey, Singing, Director Clinic Supervisor. Management Fellows Brad Amorosino, Senior Graphic Designer Tyrone Davis, Citizen Artistry Kevin Kopjak/Charles Zukow Associates, Andy Donald, Arts Leadership Prop Shop ACCREDITATION Public Relations Counsel Julie Douglas, Improv Ryan L. Parham, Supervisor A.C.T. is accredited by the Accrediting Thomas Moore, Visual Designer Daniel Feyer, Music Director, Accompanist Abo Greenwald, Assistant Commission for Senior Colleges and Shannon Stockwell, Publications Associate Janet Foster, Audition, Showcase Universities of the Western Association of Costume Shop Sara Morales, Graphic Designer Anthony Fusco, Acting Schools and Colleges (WASC), 985 Atlantic Jessie Amoroso, Costume Director Ashley Gennarelli, Marketing Associate Nick Gabriel, Acting, Director Avenue, Suite 100, Alameda, CA 94501, 510.748.9001, an institutional accrediting Callie Floor, Rentals Manager Karen Loccisano, Graphic Design Fellow Giles Havergal, Director body recognized by the Council on Emilianne Lewis, Marketing Fellow Keely Weiman, Build Manager/Draper Gregory Hoffman, Combat Postsecondary Accreditation and the U.S. Jef Valentine, Inventory Manager Elspeth Sweatman, Publications Fellow Jasmin Hoo, Citizen Artistry Department of Education. Maria Montoya, Head Stitcher Ticket Services Mark Jackson, Devised Theater Kelly Koehn, Accessories & Crafts Artisan Cheyenne Postell, Box Office Manager W. D. Keith, On-Camera Acting Chanterelle Grover, First Hand Mark C. Peters, Subscriptions Manager Philip Charles MacKenzie, On-Camera Acting Megan LaFleur, Costume Administrator David Engelmann, Head Treasurer Victoria Mortimer, Alexandra Shier Perry, Heidi Marshall, On-Camera Acting Costume Fellows Seana McKenna, Acting

44 ACT-SF.ORG A.C.T. PROFILES

CAREY PERLOFF (Artistic Director) ‘Tis Pity She’s a Whore, The Tosca Café, The Voysey is celebrating her twenty-fifth season as Inheritance, Scorched, and Underneath the Lintel. artistic director of A.C.T., where she has Perloff is also an award-winning playwright. Her recent overseen a huge growth in the quality play Kinship premiered at the Théâtre de Paris in 2014; and scope of A.C.T.’s work, has helped to Higher won the 2011 Blanche and Irving Laurie Foundation rebuild the earthquake-damaged Geary Theatre Visions Fund Award; and Luminescence Dating Theater and the new Strand Theater in premiered in New York at The Ensemble Studio Theatre. Central Market, and has forged Perloff’s book, Beautiful Chaos: A Life in the Theater collaborations between A.C.T. and theaters across the (City Lights Press), has been selected as San Francisco country and in Canada. Known for innovative productions of Public Library’s One City One Book read for 2016. classics and championing new writing and new forms of Before joining A.C.T., Perloff was artistic director of theater, Perloff has directed classical plays from around the Classic Stage Company in New York, where she directed world, ten plays by Tom Stoppard (including the American the premiere of Ezra Pound’s Elektra, the American premieres of and Indian Ink, also at premiere of Pinter’s Mountain Language, and many classic Roundabout Theatre Company, and two productions of works. A recipient of France’s Chevalier de l’Ordre des Arcadia), and many productions by favorite contemporary Arts et des Lettres, Perloff received a BA Phi Beta Kappa writers such as Beckett, Pinter, Jose Rivera, and Philip Kan in classics and comparative literature from Stanford Gotanda. Favorite productions include Hecuba, Mary Stuart, University and was a Fulbright Fellow at Oxford.

PETER PASTREICH (Interim 6 years as managing director of the Mississippi River Festival. Executive Director) joins A.C.T. after a In addition, Pastreich has done management consulting for 50-year career in arts management. He the Berlin Philharmonic, the South Bank Centre in London, spent 21 years as executive director of the the Symphony, Louisville Orchestra, Milwaukee San Francisco Symphony, a period that Symphony, Philadelphia Orchestra, and the Sydney Symphony included the tenures of music directors Orchestra in Australia. He has also served as mediator in Edo De Waart, Herbert Blomstedt, and orchestra and opera union negotiations in Detroit, Louisville, , and during which Milwaukee, Phoenix, Sacramento, Seattle, and San Antonio. the orchestra increased its endowment from $12 million to $120 Born in Brooklyn, New York, in 1938, Pastreich received million. Pastreich was the chief administrator responsible for BA in English literature from Yale University in 1959. In the construction of Davies Symphony Hall in San Francisco, 1999, he was made a Chevalier de l’Ordre des Arts et des and for its acoustical renovation. Lettres by the French government and was named an Before coming to San Francisco, he spent 12 years as honorary member of the International Alliance of Theatrical executive director of the Saint Louis Symphony Orchestra and Stage Employees by Local 16 of the Stagehands Union.

MELISSA SMITH (Conservatory landscape of the Bay Area. Prior to assuming leadership of the Director, Head of Acting) has served as Conservatory, Smith was the director of the Program in Conservatory director and head of acting Theater and Dance at Princeton University, where she also in the Master of Fine Arts Program at taught introductory, intermediate, and advanced acting. She A.C.T. since 1995. During that time, she has taught acting classes to students of all ages in various has overseen the expansion of the M.F.A. colleges, high schools, and studios around the continental Program from a two- to a three-year United States, at the Mid-Pacific Institute in Hawaii, New York course of study and the further University’s La Pietra campus in Florence, and the Teatro di integration of the M.F.A. Program faculty and student body Pisa in San Miniato, Italy. She is featured in Acting Teachers of with A.C.T.’s artistic wing, while also teaching and directing in America: A Vital Tradition. Also a professional actor, she has the M.F.A. Program, Summer Training Congress, and Studio performed regionally at the Hangar Theatre, A.C.T., the A.C.T. She also successfully launched the San Francisco California Shakespeare Festival, Berkeley Repertory Theatre; Semester, a semester-long intensive crafted to deepen the in New York at Primary Stages and Soho Rep.; and in England students’ well of acting experience, broaden their knowledge at the Barbican Theater in London and Birmingham Repertory of dramatic literature, and sharpen their technical skills—all the Theatre. Smith holds a BA from Yale College and an MFA while further immersing them in the multifaceted cultural in acting from Yale School of Drama.

415.749.2228 45 F.Y.I.

ADMINISTRATIVE OFFICES REFRESHMENTS Full bar service, sweets, and savory items are AFFILIATIONS A.C.T.’s administrative and conservatory available one hour before the performance in offices are located at 30 Grant Avenue, San A.C.T. is a constituent of Theatre Fred’s Columbia Room on the lower level and Francisco, CA 94108, 415.834.3200. On the Communications Group, the national the Sky Bar on the third level. You can avoid web: act-sf.org. organization for the nonprofit professional the long lines at intermission by preordering theater. A.C.T. is a member of Theatre Bay food and beverages in the lower- and third- Area, the Union Square Association, the San BOX OFFICE INFORMATION level bars. Bar drinks are now permitted in the Francisco Chamber of Commerce, and the theater. San Francisco Convention & Visitors Bureau. A.C.T. BOX OFFICE Visit us at 405 Geary Street at Mason, next to CELL PHONES the theater, one block west of Union Square; If you carry a pager, beeper, cell phone, or A.C.T. operates under an agreement or at 1127 Market Street at 7th Street, watch with an alarm, please make sure that between the League of Resident Theatres across from the UN Plaza. Walk-up hours it is set to the “off” position while you are and Actors’ Equity Association, the union of are Tuesday–Sunday (noon–curtain) on in the theater. Text messaging during the professional actors and stage managers in performance days, and Monday–Friday performance is very disruptive and not allowed. the United States. (noon–6 p.m.) and Saturday–Sunday The Director is a member of the STAGE (noon–4 p.m.) on nonperformance days. PERFUMES DIRECTORS AND CHOREOGRAPHERS (For Strand Box Office walk-up hours, please The chemicals found in perfumes, colognes, SOCIETY, a national theatrical labor union. visit act-sf.org.) Phone hours are Tuesday– and scented aftershave lotions, even in Sunday (10 a.m.–curtain) on performance small amounts, can cause severe physical The scenic, costume, lighting, and days, and Monday–Friday (10 a.m.–6 p.m.) reactions in some individuals. As a courtesy to sound designers in LORT theaters are and Saturday–Sunday (10 a.m.–4 p.m.) on fellow patrons, please avoid the use of these represented by United Scenic Artists, Local nonperformance days. Call 415.749.2228 and products when you attend the theater. USA-829 of the IATSE. use American Express, Visa, or MasterCard; or fax your ticket request with credit card EMERGENCY TELEPHONE The scenic shop, prop shop, and stage information to 415.749.2291. Tickets are also Leave your seat location with those who crew are represented by Local 16 of the available 24 hours a day on our website at may need to reach you and have them call IATSE. act-sf.org. All sales are final, and there are no 415.439.2317 in an emergency. refunds. Only current ticket subscribers and A.C.T. is supported in part by a grant from LATECOMERS those who purchase ticket insurance enjoy the Grants for the Arts/San Francisco Performances begin promptly, and late ticket exchange privileges. Packages are Hotel Tax Fund. seating is at the house manager’s discretion. available by calling 415.749.2250. A.C.T. gift Latecomers may have to watch the certificates can be purchased in any amount performance on a video monitor in the lobby online, by phone or fax, or in person. until intermission. Latecomers and those who GEARY THEATER EXITS SPECIAL SUBSCRIPTION DISCOUNTS leave the theater during the performance may Full-time students, educators, and be seated in alternate seats (especially if they administrators save up to 50% off season were in the first few rows) and can take their subscriptions with valid ID. Visit act-sf.org/ assigned seats at intermission. educate for details. Seniors (65+) save $40 on LISTENING SYSTEMS 8 plays, $35 on 7 plays, $30 on 6 plays, $25 Headsets designed to provide clear, amplified ORCHESTRA on 5 plays, and $20 on 4 plays. sound anywhere in the auditorium are SINGLE TICKET DISCOUNTS available free of charge in the lobby before Joining our eClub is the best—and sometimes performances. Please turn off your hearing aid only—way to find out about special ticket when using an A.C.T. headset, as it will react to offers. Visit act-sf.org/eclub for details. Find the sound system and make a disruptive noise. us on Facebook and Twitter for other great PHOTOGRAPHS AND RECORDINGS of A.C.T. deals. Beginning two hours before curtain, performances are strictly forbidden. a limited number of discounted tickets are available to seniors (65+), educators, RESTROOMS are located in Fred’s Columbia administrators, and full-time students. For Room on the lower lobby level, the Balcony matinee performances, all seats are just $20 Lobby, and the Garret on the uppermost for seniors (65+). Valid ID required—limit lobby level. one ticket per ID. Not valid for Premiere Wheelchair Seating is located MEZZANINE Orchestra seating. All rush tickets are subject in Fred’s Columbia Room on the to availability. lower lobby level, the Balcony Lobby, and the Garret on the GROUP DISCOUNTS uppermost lobby level. Groups of 15 or more save up to 35%! For more information visit www.act-sf.org/groups. A.C.T. is pleased to announce that an Automatic External Defibrillator (AED) is now available AT THE THEATER in the house management closet in the lobby A.C.T.’s Geary Theater is located at 415 Geary of The Geary. Street. The lobby opens one hour before curtain. Bar service and refreshments are LOST AND FOUND available one hour before curtain. The theater If you’ve misplaced an item while you’re opens 30 minutes before curtain. still at the theater, please look for it at our merchandise stand in the lobby. Any items ABOUT OUR PLAYS found by ushers or other patrons will be taken Copies of Words on Plays, A.C.T.’s in-depth there. If you’ve already left the theater, please BALCONY performance guide, are on sale in the main call 415.439.2471 and we’ll be happy to check lobby, at the theater bars, at the box office, our lost and found for you. Please be prepared and online at act-sf.org/wordsonplays. with the date you attended the performance and your seat location.

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