Seascape at Encore Arts San Francisco

Home , Both Your Houses, Seascape (play)

SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY

JAN–FEB 2019 SEASON 52, ISSUE 5 Compass proudly welcomes Team Hatvany and Pacific Union Real Estate.

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Team Hatvany is a team of real estate licenses affiliated with Compass, a licensed real estate broker and abides by equal housing opportunity laws. Untitled-1 1 12/3/18 1:47 PM January 2019 Volume 17, No. 5 music dance theater 2018/19 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY Quote Unquote Collective Mouthpiece Paul Heppner Created and performed by President Amy Nostbakken and Norah Sadava Directed by Amy Nostbakken Mike Hathaway Senior Vice President A two-woman show acclaimed Kajsa Puckett for its raw honesty and insightful Vice President, Sales & Marketing portrayal of womanhood. Genay Genereux “A smart show, beautifully put Accounting & Office Manager together and performed, and one that speaks up for all the women Production Susan Peterson who daily bite their tongues.” Vice President, Production —The Guardian, London Jennifer Sugden Assistant Production Manager Mar 22–24 ZELLERBACH PLAYHOUSE Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers

Sales Amelia Heppner, Marilyn Kallins, Terri Reed Shakespeare’s Julius Caesar San Francisco/Bay Area Account Executives

Théâtre National de Bretagne Devin Bannon, Brieanna Hansen, Ann Manning by William Shakespeare Seattle Area Account Executives Directed by Arthur Nauzyciel Carol Yip French director Arthur Nauzyciel revives his Sales Coordinator production of Julius Caesar, highlighting the continuing relevance of Shakespeare’s Marketing great political tragedy—with costumes and Shaun Swick design that evoke the era of JFK, a live jazz Senior Designer & Digital Lead trio, and provocative staging. Ciara Caya Marketing Coordinator “Visually stunning, musically moody, and unceasingly stylish.” Encore Media Group —The Boston Globe 425 North 85th Street Seattle, WA 98103 April 26–28 ZELLERBACH HALL p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] Song of the Goat Theatre www.encoremediagroup.com Songs of Lear Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events Directed by Grzegorz Bral in the Puget Sound and San Francisco Bay Areas. All rights Music by Jean-Claude Acquaviva and Maciej Rychly reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. This award-winning production retells the tragic king’s story as a dramatic oratorio blending Corsican folk music and Gregorian chant— a production the New York Times called “viscerally awe inspiring.”

May 11 & 12 ZELLERBACH PLAYHOUSE

Season calperformances.org/tickets Sponsor:

4 ACT-SF.ORG SAN FRANCISCO'S THEATER COMPANY American Conservatory Theater, San Francisco’s Tony attracts students from around the world, while the San Award–winning nonprofit theater, nurtures the art of live Francisco Semester offers a unique study-abroad opportunity theater through dynamic productions, intensive actor for undergraduates. Other programs include Studio A.C.T.— training, and ongoing community engagement. We embrace our expansive course of theater study for adults—and the our responsibility to conserve, renew, and reinvent our rich Professional Development Training Program, which offers theatrical traditions, while exploring new artistic forms actor training for companies seeking to elevate employees’ and communities. Founded by William Ball, a pioneer of the business performance skills. Our alumni often grace our regional theater movement, A.C.T. opened in San Francisco in mainstage and perform around the Bay Area, as well as on 1967. We have since performed more than 400 productions to stages and screens nationwide. more than seven million people. A.C.T. brings the benefits of theater-based arts education to Hailed as the “perfect playhouse,” the beautiful Geary Theater more than 17,000 Bay Area students and educators each year. has been our home since the beginning. When the 1989 Loma Director of Education & Community Programs Elizabeth Prieta earthquake ripped the roof apart, San Franciscans Brodersen oversees the Young Conservatory (students raised a record-breaking $30 million to rebuild the theater. ages 8–19), our Fellowship Program for emerging theater The Geary reopened in 1996 with The Tempest, directed by professionals, and our ACTsmart school and community Carey Perloff, who took over as A.C.T.’s third artistic director programs, including the Student Matinee (SMAT) program in 1992 after the retirement of Edward Hastings. that has brought hundreds of thousands of young people to Perloff’s tenure was marked by translations of classical A.C.T. performances since 1968. We also provide touring works; cross-disciplinary performances and international Will on Wheels Shakespeare productions, teaching-artist collaborations; and theater made by, for, and about the Bay residencies, in-school workshops, and study materials to Bay Area. Exploring powerful stories by celebrated artists and Area schools and community-based organizations. introducing audiences to extraordinary emerging voices in With the appointment of Artistic Director Pam MacKinnon American theater continues under A.C.T.’s current artistic and Executive Director Jennifer Bielstein, our continuing director, Pam MacKinnon. commitment to the development of new work and new A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, artists, and our increased presence in the Central Market is at the center of our work. Our three-year, fully accredited neighborhood with The Strand and The Costume Shop Master of Fine Arts Program is at the forefront of America’s theaters, A.C.T. plays a leadership role in securing the future actor training programs. Our Summer Training Congress of theater for San Francisco and the nation.

American Conservatory Theater Board of Trustees (As of December 2018) The Board of Directors David Riemer Jennifer Bielstein Jeff Spears of the M.F.A. Program Chair Lesley Ann Clement Patrick S. Thompson Abby Sadin Schnair Kay Yun Jerome L. Dodson Joaquin Torres Chair President Olympia Dukakis Jeffrey W. Ubben Frannie Fleishhacker Nola Yee Patrick S. Thompson Kirke M. Hasson Ken Fulk Vice Chair Immediate Past Chair Patti Hart Emeritus Advisory Board Nancy Livingston Dianne Hoge Barbara Bass Bakar Norman Abramson Chair Emerita Jo S. Hurley Rena Bransten Sara Barnes Celeste Ford Alan Jones Jack Cortis Carlotta Dathe Vice Chair Jascha Kaykas-Wolff Joan Danforth Frannie Fleishhacker Priscilla Geeslin James H. Levy Dagmar Dolby Arnie Glassberg Vice Chair Heather Stallings Little William Draper III Dianne Hoge Robina Riccitiello Janet V. Lustgarten John Goldman Christopher Hollenbeck Vice Chair Pam MacKinnon Kaatri Grigg Luba Kipnis Jamie Martin James Haire Linda Kurtz Steven L. Swig Katherine McGee Kent Harvey Jennifer Lindsay Vice Chair Jeffrey S. Minick Sue Yung Li Toni Ratner Miller Linda Jo Fitz Marcy S. Nathan Christine Mattison Mary Ann Munro Treasurer Michael P. Nguyen-Hormel Joan McGrath Joseph Ratner Adriana López Vermut Toni Rembe Deedee McMurtry Toni Rembe Secretary Sally Rosenblatt Mary S. Metz Lori Halverson Schryer Rusty Rueff Cherie Sorokin Anne Shonk Abby Sadin Schnair Barry Lawson Williams Melissa Smith Lori Halverson Schryer Carlie Wilmans

American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92. Carey Perloff,Artistic Director 1992–2018.

415.749.2228 5 UP NEXT AT THE STRAND

“Masterfully written . . . defies preconceptions and expectations” Los Angeles Times DON’T JUST SIT THERE . . .

“Powerful . . . moving . . . extraordinary” The New Yorker

At A.C.T.’s free InterACT events, you can mingle with cast members, join Ten years after Mfoniso Udofia graduated interactive workshops with theater artists, BY MFONISO UDOFIA and meet fellow theatergoers at hosted from A.C.T.’s M.F.A. Program, she celebrations in our lounges. Join us for Her DIRECTED BY VICTOR MALANA MAOG returns with this tender, funny, and Portmanteau and InterACT with us! heartbreakingly human drama. BIKE TO THE THEATER NIGHT FEB 20, 6:30 PM Take advantage of secure bike parking, Traveling from Lagos to visit her low-priced tickets, and our preshow mixer, presented in partnership with the San mother and half sister for the first time Francisco Bicycle Coalition.

in two decades, Iniabasi discovers a PROLOGUE freezing Manhattan and even chillier FEB 26, 5:30 PM Go deeper with a fascinating preshow truths. As Nigerian traditions clash discussion with a member of the Her Portmanteau artistic team. with US realities, this family must AUDIENCE EXCHANGE* confront literal and emotional baggage MAR 5, 7 PM; MAR 10, 2 PM; MAR 13, 2 PM across continents and cultures. Join us for an exciting Q&A with the cast following the show.

OUT WITH A.C.T.* Her Portmanteau is “a reminder that MAR 6, 7:30 PM most Americans share a common origin Mix and mingle at this hosted postshow LGBTQ+ party. story” (The New York Times). “In 500 WENTE VINEYARDS WINE SERIES years,” says director Victor Malana MAR 12, 6:30 PM Meet fellow theatergoers at this hosted Maog, “someone’s going to open up wine-tasting event.

this time capsule and, because of PLAYTIME MAR 16, 12:45 PM these plays, better understand the Get hands-on with theater at this complexity of the American story.” interactive preshow workshop. *Events take place immediately following the performance.

FEB 15–MAR 31, 2019 A.C.T.’S STRAND THEATER

act-sf.org/her To learn more about our InterACT events, 415.749.2228 visit act-sf.org/interact. UP NEXT AT THE STRAND

“Masterfully written . . . defies preconceptions and expectations” Los Angeles Times DON’T JUST SIT THERE . . .

“Powerful . . . moving . . . extraordinary” The New Yorker

FEB 15–MAR 31, 2019 A.C.T.’S STRAND THEATER

act-sf.org/her To learn more about our InterACT events, 415.749.2228 visit act-sf.org/interact. Develop innovative strategies for your classroom. Embrace your inner artist. Experience the thrill of performance. Earn academic credit. Come to Back to the Source, A.C.T.’s immersive professional development program for teachers and teaching artists.

Taught by A.C.T. professional artists and leading arts educators, this comprehensive course integrates voice, movement, text, and performance to generate creative approaches applicable to all subject areas.

JUL 29–AUG 4, 2019 ENROLL NOW! act-sf.org /backtothesource

Scholarship Application Deadline: March 26 | Final Application Deadline: April 2 PHOTOS BY JAY YAMADA JAY BY PHOTOS PHOTO BY MIRANDA ASHLAND MIRANDA BY PHOTO

WHAT’S INSIDE LEFT TO RIGHT Sarah Nina Hayon, Seann Gallagher, Ellen McLaughlin, and James Carpenter—the cast of A.C.T’s production of Edward Albee’s Seascape. ONSTAGE NOW A.C.T. TODAY

11 LETTER FROM THE 25 KICKING BACK EDITOR SIMON HODGSON ARTISTIC AND EXECUTIVE A.C.T. Celebrates the Arrival of DIRECTORS Pam and Jennifer ASSOCIATE EDITOR By A.C.T. Publications Staff ELSPETH SWEATMAN 14 I WRITE LIKE ME CONTRIBUTORS A Brief Introduction to Playwright 26 A DEEP DIVE JENNIFER BIELSTEIN Edward Albee PAM MACKINNON By Elspeth Sweatman 25 Years of Words on Plays ANNIE SEARS By Elspeth Sweatman 16 PAM AND EDWARD 28 NEVER STOP LEARNING A Wonderful Collaboration A.C.T. Gears Up for Our 48th VOLUNTEER! 18 BREAKING DOWN BARRIERS Summer Training Congress A.C.T. volunteers provide an invaluable service Director Pam MacKinnon on Seascape By Annie Sears with their time, enthusiasm, and love of theater. and Albee Opportunities include helping out in our performing arts library and ushering in our theaters. By Simon Hodgson act-sf.org/volunteer

Learn more at act-sf.org/conservatory.

415.749.2228 9 A.C.T.’S MASTER OF FINE ARTS PROGRAM PRESENTS

by Susan Soon He Stanton | Directed by Mina Morita

Romances blossom, resentments fester, and rumors spread at a performance of Romeo and Juliet. And that’s just onstage. Last-minute changes and inflated egos—as well as the artistic director’s inappropriate advances—reveal that in the 21st century, holding someone accountable and being complicit are the two warring factions.

A co-commission with Crowded Fire Theater. FEB 21–MAR 2 TICKETS $20–25 The Rueff at A.C.T.’s Strand Theater act-sf.org/csv FROM THE ARTISTIC AND EXECUTIVE DIRECTORS

Welcome to A.C.T. and Edward Albee’s Seascape, Dear Friends,

The morning after I won the Tony Award for directing Happy New Year! Welcome to 2019, and to Seascape, Pam Who’s Afraid of Virginia Woolf?, Edward left me a voicemail: MacKinnon’s directorial debut at A.C.T.! One of the many “Isn’t it nice when things go the way they’re supposed to? reasons I came to A.C.T. was the chance to work with Pam, Congratulations, congratulations, congratulations. I love you. and I cannot wait to experience her artistry along with you. Will you marry me? Please say no.” Earlier this year she directed Bruce Norris’s Downstate at Steppenwolf Theatre Company in Chicago, for which she He was a friend, a collaborator, and a colleague. Two years was recognized in the New York Times’s Best Theater of 2018 after his death I still miss him, but I’m happy to continue my list, and she’ll head to London next month to direct it at the work with him, on his mysterious play Seascape. It will be the National Theatre. Before then, she makes her A.C.T. bow with 11th time I am directing Albee. Having this supportive and Seascape, a play which offers a great opportunity for personal challenging artist at my side feels like the perfect way to land reflection, as it’s a piece that resonates with relationships and in the Bay Area and learn about The Geary as a director. the state of being at a crossroads—how do we relate to and diverge from those closest to us when facing these moments Edward’s plays remain provocative. His characters are in life? vital; they provoke each other. They even wound, altering chemistry, initiating each other into new phases of awake- The new year brings new voices and new work to our stages ness. Through tears and howls can come truth or uncertainty, as well. We are thrilled to share our upcoming production which is the beginning of really listening, really living, rather of Both Your Houses, running February 21–March 2 in than passing time or role-playing. Seascape does this gently The Rueff at The Strand Theater. Written by Hawaiian and, by its end, with an unambiguous sense of hope. At this playwright Susan Soon He Stanton, and presented by our time, we can use hope. M.F.A. Program class of 2019, this play is set backstage at a performance of Romeo and Juliet. Mixing snippets In Seascape, the surreal and metaphorical are loud and of Shakespeare, thought-provoking plotlines, laugh-out- fun and messy, but the play is also an upper-middle-class loud comedy, and insight into life in theater, this is a smart, marriage play—easy to consume, but hopefully something contemporary story from one of American theater’s rising that lingers, prompting thought in the wee hours. What’s young talents. Both Your Houses was co-commissioned with next? What’s possible? Am I brave? How do I define love? Crowded Fire Theater and workshopped at our 2018 New Big questions all. Strands Festival, where it was a runaway hit. We’re thrilled to bring it back for a fully staged performance with our M.F.A. This leads me directly to Mfoniso Udofia, an A.C.T. M.F.A. actors, so that more people can experience it. Program alum who’s now a playwright as well as a wonderful actor. We are thrilled to be producing play four in her nine- You are an important part of the process in creating new part Ufot Family cycle—Her Portmanteau, playing next at work. As a member of the audience, your reactions shape the The Strand—in conjunction with Magic Theatre, which is performance and the subsequent development of the script. producing play five. We have also commissioned, and will Your participation, paired with our incredibly strong M.F.A. develop in coming seasons, play eight in that cycle. This is students, will lead to great things. Our students are citizen an artist to grab hold of, to celebrate, and to support. Edward artists, who share a passion for theater, an entrepreneurial would be happy. spirit, and a deep commitment to making the world a better place. If you haven’t come to an M.F.A. production at A.C.T. Finally, a thought from María Irene Fornés, who passed away yet, why not make it one of your New Year’s resolutions? this fall a few days before Ntozake Shange, theater titans both: “If theater is to be successful it must be loved like one I hope to see you there. loves an animal that one wonders at.”

Enjoy! See you at the theater.

Jennifer Bielstein Pam MacKinnon Executive Director Artistic Director 11 Introducing A.C.T.’s Leadership Circle IT’S AN IMPORTANT MOMENT OF TRANSITION FOR A.C.T. AND WE INVITE YOU TO EXPERIENCE IT, PARTICIPATE IN IT, AND CELEBRATE IT. By making a multi-year gift, you enable A.C.T. to be more strategic as we plan for the future. Join the Leadership Circle, our newest giving program, by pledging to renew your gift for the next three years—giving A.C.T. a predictable revenue stream while you enjoy special, behind-the-scenes benefits.

DONATE TODAY To make a pledge, email [email protected] or call Donor Relations and Memberships Manager Hillary Bray at 415.439.2353. To learn more or to download our pledge form, visit act-sf.org/leadership-circle. PHOTO BY DREW ALTIZER PAM JENNIFER MACKINNON BIELSTEIN Artistic Director Executive Director

CAST (in order of appearance) PRESENTS Nancy Charlie ELLEN MCLAUGHLIN* JAMES CARPENTER*

Leslie Sarah SEANN GALLAGHER* SARAH NINA HAYON*

by EDWARD ALBEE Directed by PAM MACKINNON UNDERSTUDIES

Nancy Charlie TRISH MULHOLLAND* ROGER GRUNWALD*

THIS PRODUCTION MADE Leslie Sarah POSSIBLE BY GÖRAN NORQUIST** ASH MALLOY** Executive Producers KIRKE HASSON AND NANCY SAWYER HASSON STAGE MANAGEMENT Producers CONCEPCIÓN AND IRWIN Stage Manager Assistant Stage Manager Stage Management Fellow FEDERMAN ELISA GUTHERTZ* CHRISTINA HOGAN* NOAH USHER LINDA JO FITZ MERRILL RANDOL ABBY AND GENE SCHNAIR CHERIE SOROKIN CREATIVE TEAM

Associate Producers Scenic and Costume Designer Lighting Designer Sound Designer PAUL ANGELO DAVID ZINN ISABELLA BYRD BRENDAN AANES ARNIE AND SHELLY GLASSBERG KEN LAMB SARA EISNER RICHTER AND Movement Coach Dramaturg MICHAEL RICHTER DANYON DAVIS JOY MEADS MRS. KATHERINE G. WALLIN AND MR. HOMER WALLIN Casting Director Vocal Support BEVERLY AND LORING WYLLIE JANET FOSTER, CSA CHRISTINE ADAIRE

A.C.T. PRODUCING TEAM

Associate Artistic Director General Manager Director of Production OFFICIAL HOTEL PARTNER ANDY DONALD LOUISA BALCH MARTIN BARRON

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States Seascape (Albee) is presented by special **Member of the A.C.T. Master of Fine Arts Program class of 2019 and appearing in this production courtesy of arrangement with Samuel French, Inc. Actors’ Equity Association

13 ONSTAGE NOW

PHOTO COURTESY UNIVERSITY OF HOUSTON PHOTOGRAPHS COLLECTION New York New the Post While some critics. with sit well didn’t style exposing This survive. to we create lies the and quirks, quarrels, petty our bare lays play the dream, American the and of marriage exploration his Continuing Pulitzer Prize–winning WoolfVirginia like more produce plays to Albee For who expected those protest. in resigned members jury two and year, that awarded no prize was There them. overruled board advisory award’s the and trustees University’s but Columbia prize, for the Albee put forward jury drama the for Drama; Prize Pulitzer the almost Play and for Best writers. emerging support Unit to Playwrights the establish and Island, Long Montauk, in buy aproperty money to enough made Albee sales. office box fueled only reviews unfavorable it “a for play sick people.” sick The called Coleman Robert O’Neill’s since seen Ihave drama shattering most it “the declared Woolf? of Virginia Afraid Who’s with asplash made Albee 1962, In all.” at that doesn’t determine he in works that style “the Albee, said he makes,” that sound the voice is “A it. had playwright’s he already that knew Albee voice. But for his searching was Dream American The more absurdist the (1960) Smith and Bessie political overtly the by followed quickly was (1959). Story It Zoo The play: Albee quintessential first his he created that birthday 30th his Yetteens. until it wasn’t his in novels and 12, at plays six, at poems drafting began He age. early an from awriter be to he wanted knew Albee so not long they’re indifferent.” as “And Iwould loathe leave to audience an indifferent. I don’t whether they care like hate, or lives. their “Youreexamine either people affect or you leavethemindifferent,” Albee. said waydo its pushes own not in each its audience pacify; perceptions their reevaluate to and “It’sAlbee.Albee’s “Art not is disturbance.” Edward pacification,” 34 plays said playwright to which Broadway audiences were unaccustomed. were unaccustomed. audiences Broadway which to up, asensation audience the shake to techniques theatrical Seascape and BY ELSPETHSWEATMAN A BRIEFINTRODUCTIONTO PLAYWRIGHT EDWARD ALBEE I WRITELIKEME Quotations from Chairman Mao Tse-Tung Mao (1968), Chairman and from Quotations (1961). To outsiders, it may have looked like Albee Albee (1961). looked like have To it may outsiders, and its iconic, warring couple George and Martha. Martha. and couple George warring iconic, its and Long Day’s Journey into Night into Day’s Journey Long (1975)—were a real shock. Each used different different used Each shock. (1975)—were areal , his next works— next , his Virginia Woolf TonyVirginia the received Award (1966), (1966), Balance A Delicate (1964), Alice Tiny the Daily Mirror ,” Daily the ’s Richard Watts Watts ’s Richard The Death of Death The Box

’s ’s about—life and death.” death.” and about—life write to things two only are there Anyway, sometimes. them through Sleep lives. their through skid They die. to never going they’re if as living much time too people spend most that find “I not Albee. done,” said things at regret with lives end of their the to coming young, too down closing boat, the people missing about are my plays “All art. his with fully engage audiences that demand his Zoo the at AtHome called later (2004, Story Zoo The Homelife and (1998); Baby the About Play The world, he kept writing: the around plays for his rehearsals attending and playwrights, young supporting lecturing, Yet teaching, secure. between was playwrights master country’s one of the as place Albee’s millennium, anew entered theater American the As on top. back was Albee Prizes, Pulitzer “three-and-a-half”) fond of saying, was (or Albee three as now received Having for Drama. Prize Pulitzer the and Play, for Outstanding Award Lortel Play,for Lucille Best the Award Circle Critics’ Drama the winning success, critical for inspiration the provided death her son’s homosexuality—her acknowledge to refused Albee close—Frances never been son had and mother Though died. mother Albee’s 1989, In States. United the across universities at plays act of one- aseries premiering and of Houston University the at teaching Broadway. He began with broke ties Albee ideas, thematic and bold theatrical with experiment to space safe a he needed that Knowing ’80s. and 1970s the during hostile increasingly New York the found community Albee theater for Seascape Prize Pulitzer second his garnering Despite entertained. be to wanted just they challenged; be to theater the come to didn’t They (2007). He never wavered in Myself I(2007). Me, in He and never wavered ); and Peter and Jerry: Jerry: (2000); and Is Sylvia? Peter Who or Goat, The Three Tall a (1991). Women Three was play The n , ONSTAGE NOW

PHOTO COURTESY UNIVERSITY OF HOUSTON PHOTOGRAPHS COLLECTION 415.749.2228 Pulitzer Prize–winning WoolfVirginia like more produce plays to Albee For who expected those protest. in resigned members jury two and year, that awarded no prize was There them. overruled board advisory award’s the and trustees University’s but Columbia prize, for the Albee put forward jury drama the for Drama; Prize Pulitzer the almost Play and for Best writers. emerging support Unit to Playwrights the establish and Island, Long Montauk, in buy aproperty money to enough made Albee sales. office box fueled only reviews unfavorable it “a for play sick people.” sick The called Coleman Robert O’Neill’s since seen Ihave drama shattering most it “the declared York New the Post While some critics. with sit well didn’t style exposing This survive. to we create lies the and quirks, quarrels, petty our bare lays play the dream, American the and of marriage exploration his Continuing Woolf? of Virginia Afraid Who’s with asplash made Albee 1962, In all.” at that doesn’t determine he in works that style “the Albee, said he makes,” that sound the voice is “A it. had playwright’s he already that knew Albee voice. But for his searching was Dream American The more absurdist the (1960) Smith and Bessie political overtly the by followed quickly was (1959). Story It Zoo The play: Albee quintessential first his he created that birthday 30th his Yetteens. until it wasn’t his in novels and 12, at plays six, at poems drafting began He age. early an from awriter be to he wanted knew Albee so not long they’re indifferent.” as “And Iwould loathe leave to audience an indifferent. I don’t whether they care like hate, or lives. their “Youreexamine either people affect or you leavethemindifferent,” Albee. said waydo its pushes own not in each its audience pacify; perceptions their reevaluate to and “It’sAlbee.Albee’s “Art not is disturbance.” Edward pacification,” 34 plays said playwright to which Broadway audiences were unaccustomed. were unaccustomed. audiences Broadway which to up, asensation audience the shake to techniques theatrical Seascape and BY ELSPETHSWEATMAN A BRIEFINTRODUCTIONTO PLAYWRIGHT EDWARD ALBEE I WRITELIKEME Quotations from Chairman Mao Tse-Tung Mao (1968), Chairman and from Quotations (1961). To outsiders, it may have looked like Albee Albee (1961). looked like have To it may outsiders, and its iconic, warring couple George and Martha. Martha. and couple George warring iconic, its and Long Day’s Journey into Night into Day’s Journey Long (1975)—were a real shock. Each used different different used Each shock. (1975)—were areal , his next works— next , his Virginia Woolf TonyVirginia the received Award (1966), (1966), Balance A Delicate (1964), Alice Tiny the Daily Mirror ,” Daily the ’s Richard Watts Watts ’s Richard The Death of Death The Box

16 ACT-SF.ORG “The morning after I won the Tony Award for directing Who’s Afraid of Virginia Woolf?, Edward left me a voicemail: ‘Isn’t it nice PHOTO BY BERYL BAKER when things go the way they’re supposed to? Congratulations, congratulations, congratulations. I love you. Will you marry me? Please say no.’” —Pam MacKinnon

At the 2001 Eugene O’Neill Playwriting Conference, Pam MacKinnon directed 2002 The Play About the Baby (Philadelphia Theatre a workshop that would change her life. Company) The Philadelphia Theatre Company was looking for a director to helm its 2003 The Goat, or Who Is Sylvia? (Alley Theatre) production of Edward Albee’s The 2003 The Goat, or Who Is Sylvia? (Vienna’s English Play About the Baby, and spotted Theatre) MacKinnon. A few months later, 2003 The Play About the Baby (Goodman Theatre) MacKinnon met Albee for lunch. Across 2004 Peter and Jerry (premiere, Hartford Stage) a Tribeca table, the two theater-makers recognized a shared passion for truth 2007 Peter and Jerry (Second Stage) and theatricality. 2008 Occupant (premiere, Signature Theatre) 2009 A Delicate Balance (Arena Stage) When Houston’s Alley Theatre showed Albee a list of potential directors for its Who’s Afraid of Virginia Woolf? 2010–11 2003 production of The Goat, or Who Is (Steppenwolf Theatre Company, Arena Stage) Sylvia?, he didn’t hesitate. He pointed 2012–13 Who’s Afraid of Virginia Woolf? to Pam’s name. Over the next 15 years, (Broadway) MacKinnon would go on to direct Who’s 2014 A Delicate Balance (Broadway) Afraid of Virginia Woolf? and A Delicate Balance on Broadway, and the premieres 2019 Seascape (A.C.T.) of Occupant and Peter and Jerry. “I was incredibly fortunate to have first met Edward to direct his newer plays,” says MacKinnon. Now, she shares Albee with us.

LEFT Playwright Edward Albee

PHOTOS BY BRIAN HARKIN and director Pam MacKinnon at the opening night performance of Who’s Afraid of Virginia Woolf? at the Booth Theatre in New York City on October 13, 2012. 17 Right now, however, MacKinnon is focused on Edward Albee’s Seascape, continuing the collaboration with the ONSTAGE NOW great American dramatist she began in 2002. As she approached rehearsals for her A.C.T. directing debut (and her 11th Albee production), she talked about the production, her plans for The Geary, and her thoughts about the playwright.

What is Albee exploring in Seascape? PHOTOS BY MIRANDA ASHLAND This play is about love and marriage and what you want to do with your life. It’s an accessible play. All his plays feel richly funny, but Seascape feels much more comedy than tragedy, with an ending that looks ahead. I think the end of Virginia Woolf is hopeful, though it’s a hopeful that takes your breath away. Seascape feels unambiguously hopeful. I can picture what Edward was looking at when he wrote it— the waves of the Atlantic at the tip of Long Island. He had a house on the beach at Montauk that he built with the money he made from Virginia Woolf. I’m sure he wrote the bulk of Seascape there. MacKinnon talking with Producers Gene and Abby Schnair.

So how does the setting influence the storytelling? Audiences haven’t seen Albee at A.C.T. in a decade. What are your thoughts about bringing him back to The Geary? Seascape feels like a beach play, a very relaxed play. If a Edward wrote Seascape thinking about the theaters in character is saying, “There was a time in our marriage which they were going to be performed. This was written when I felt you were cheating on me,” that’s a heavy-duty for a Broadway house. The Geary is a jewel box, a turn-of- conversation. But if you say it at the beach, as opposed to the-century proscenium house; Seascape is written for that one a.m. in a faculty housing living room with a bar cart stage. I want to both honor that, and push it a bit further—to behind you, that’s different. There’s something more side- own The Geary as a new home for me as a director. by-side about the couple in Seascape, instead of being in opposition to each other. This is a play about transition. I’m interested in breaking down the barriers between It felt appropriate, as I swap life as a freelance director actors and audiences. With Sweat [which opened at The BREAKING DOWN in New York for the city by the bay with my partner of 11 Geary in September], I encouraged director Loretta Greco years, John. I’m interested in the next challenge. Not just to to really push the action far downstage, to be close to us. continue but to jolt ourselves into a next chapter. And for Her Portmanteau in The Strand [running February 15–March 31], I know director Victor Malana Maog is BARRIERS Over the course of your 11 Albee productions, you’ve worked thinking the same way. I am taking that charge myself. with dozens of actors. What have you learned about casting DIRECTOR PAM MACKINNON ON SEASCAPE AND ALBEE an Albee play? BY SIMON HODGSON There is something great about having at least one actor in To confront the audience with the storytelling? a company who is also a writer, someone like Tracy Letts or Yeah. You’re in that room. That’s important to me. Theaters can feel grand and presentational, at a remove. How do we Everyone wants a piece of Pam MacKinnon . Bill Pullman. And I’m working with playwright and actor Ellen McLaughlin on Seascape. These actors understand mix that up? In Seascape, we have the opportunity to take No sooner had the Tony Award–winning director that you can’t play a metaphor. Writers write metaphors, over The Geary. I’m curious about the moments when the play pours into the laps of the audience. How can we make kicked off her opening season as artistic director of but actors have to ground them, to massage those lines into something that will hit your ear as nothing but human. these rooms our own? n

production to London’s National Theatre, then flying Want to know more about Edward Albee’s Seascape? Words on Plays is full of interviews and original articles that FROM TOP TO BOTTOM Scenic and give you a behind-the-scenes look. Proceeds from sales of Words on Plays benefit A.C.T.’s education programs. Costume Designer David Zinn and Director back over the Atlantic to direct the premiere of Toni Pam MacKinnon; MacKinnon and A.C.T. Executive Director Jennifer Bielstein at Stone at Roundabout Theater Company in New York. the first rehearsal for Edward Available at the box office and lobby, at the bars, and online at act-sf.org/wordsonplays. Albee’s Seascape. 18 ACT-SF.ORG Right now, however, MacKinnon is focused on Edward Albee’s Seascape, continuing the collaboration with the ONSTAGE NOW great American dramatist she began in 2002. As she approached rehearsals for her A.C.T. directing debut (and her 11th Albee production), she talked about the production, her plans for The Geary, and her thoughts about the playwright.

AMERICAN CONSERVATORY THEATER 18/19 SEASON A.C.T. than she directed the acclaimed premiere of VOL. XXV, NO. 3 Bruce Norris’s Downstate at Steppenwolf Theatre EDWARD ALBEE’S SEASCAPE Company in Chicago. In March, she’ll be taking that production to London’s National Theatre, then flying Want to know more about Edward Albee’s Seascape? Words on Plays is full of interviews and original articles that FROM TOP TO BOTTOM Scenic and give you a behind-the-scenes look. Proceeds from sales of Words on Plays benefit A.C.T.’s education programs. Costume Designer David Zinn and Director back over the Atlantic to direct the premiere of Toni Pam MacKinnon; MacKinnon and A.C.T. Executive Director Jennifer Bielstein at Stone at Roundabout Theater Company in New York. the first rehearsal for Edward Available at the box office and lobby, at the bars, and online at act-sf.org/wordsonplays. Albee’s Seascape. 415.749.2228 19 Engaging and eclectic in the East Bay. Oakland is the gateway to the East Bay with a little bit of everything to offer, and St. Paul’s Towers gives you easy access to it all. An artistic, activist, and intellectual Life Plan Community, St. Paul’s Towers is known for convenient services, welcome comforts and security for the future.

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JAMES Theatre Company, The Real Thing Order, and Avatar. She is a proud CARPENTER* with Aurora Theatre Company, Frost/ graduate of New York University’s (Charlie) is an Nixon and The Vertical Hour with Tisch School of the Arts. A.C.T. veteran Neptune Theatre, Hamlet with actor with credits Soulpepper Theatre Company, The ELLEN including 12 years Glass Menagerie with Canadian Stage MCLAUGHLIN* has as Scrooge in A Company, and Love’s Labour’s Lost (Nancy) worked extensively Christmas Carol, with Repercussion Theatre. Gallagher in regional and Heisenberg, Rock ’n’ Roll, Cat on a Hot has also appeared in numerous New York theater, Tin Roof, A Doll’s House, and television and film productions, both as a Glengarry Glen Ross. He is an including Beautiful Boy, Designated playwright and as associate artist with California Survivor, Good Witch, Rogue, and an actor. Bay Area credits include For Shakespeare Theater and a former Hannibal, among others. He is a , , associate artist with Berkeley graduate of the National Theatre Peter Pan on her 70th birthday Ghosts and at Berkeley Repertory Theatre. Other credits School of Canada and studied under Hedda Gabler Repertory Theatre; and many roles at include work at Aurora Theatre Uta Hagen at Herbert Berghof Studio the former Eureka Theatre Company, Company, Magic Theatre, Marin in New York. Theatre Company, Shotgun Players, including the original Angel in Angels TheatreWorks, the Mark Taper SARAH NINA in America, a role she performed in Forum, The Old Globe, the Oregon HAYON* (Sarah) every workshop and production Shakespeare Festival, Yale Repertory is a bicoastal through its Broadway run in 1993–94. Theatre, Huntington Theatre actress now based Other favorite work includes Margie Company, and Intiman Theatre. in her hometown, in Good People (George Street Screen credits include the feature San Francisco. A Playhouse, Seattle Repertory filmsThe Rainmaker and Metro, the three-time Drama Theatre), the Homebody in independent filmsSinging and For the Desk Award Homebody/Kabul (Intiman Theatre), Coyotes, and the television series Nash nominee, Hayon first fell in love with Pirate Jenny in The Threepenny Bridges. Carpenter is the recipient of theater studying in A.C.T.’s Young Opera (Trinity Repertory Company; many San Francisco Bay Area Theatre Conservatory, and she’s pleased to Elliot Norton Award), and Claire in Critics Circle Awards, including the return to The Geary after making her Edward Albee’s A Delicate Balance 2007 Award for Excellence in the Arts A.C.T. debut earlier this season in (Arena Stage, Yale Repertory and the 2013 Lifetime Achievement Sweat. She is a member of LAByrinth Theatre). Her plays have been Award. In 2010, he was named a Theater Company, Partial Comfort performed off Broadway, regionally, Ten Chimneys Foundation Lunt- Productions, and Rising Phoenix and internationally; her producers Fontanne Fellow. Repertory. Recent theater highlights include The Public Theater, National include We Swim, We Talk, We Go to Actors Theatre, Classic Stage SEANN War (Golden Thread Productions); Company, New York Theatre GALLAGHER* The Gangster of Love (Magic Theatre); Workshop, the Guthrie Theater, (Leslie) is proud Swimmers (Marin Theatre Company; Intiman Theatre, the Mark Taper to be making his Theatre Bay Area Award nomination); Forum, the Oregon Shakespeare A.C.T. debut as a and Water by the Spoonful (The Old Festival, and London’s Almeida lizard. It is the first Globe). Her television and film credits Theatre. ellenmmclaughlin.com time he will be include Netflix’s13 Reasons Why, playing a lizard, so Succession, Pose, Danny DeVito’s ROGER GRUNWALD* there are a lot of exciting firsts for him Curmudgeons, Heirloom, (Understudy) in this production. Some of his recent, Unforgettable, Parker & Maggie, Are recently starred in favorite theater credits include We There Yet?, The Green, Law & Straight White Men with Marin The Obligation, his one-person Holocaust drama (2018 Theater Bay

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 415.749.2228 21 Area Award finalist for Outstanding ASH MALLOY** casting director, and she coaches Solo Production), directed by Nancy (Understudy) is actors and non-actors on presentation Carlin. In early 2018, he was the an actor, writer, skills. understudy for and appeared several and teaching artist times as Alex Priest in A.C.T.’s from Windsor, GÖRAN production of Heisenberg. Between Connecticut. NORQUIST** 2014 and 2018, Grunwald toured in an Malloy was last on (Understudy) is original presentation he co-created the Geary stage in so excited to be working on such an with Annie McGreevey called The A Christmas Carol (Annabelle). amazing show with Mitzvah Project, a short, Holocaust- Recent A.C.T. M.F.A. Program credits this phenomenal themed play and lecture, which he include Three Sisters (Irina), Fuente company. Norquist presented at over 80 universities, Ovejuna (Pascuala), and Twelfth Night theaters, high schools, and religious (Maria). Professional credits include was most recently seen on the Geary stage in as Dick organizations in the US, Canada, the A Streetcar Named Desire (Stella) at A Christmas Carol Wilkins. Regionally, you might have UK, and Israel. He co-starred in the Majestic Theater and Luna Gale premiere episode of the HBO series (Karlie) at New Century Theatre in seen him at Summer Repertory Theatre as Dan/Russ in Vinyl, directed by Martin Scorsese, Massachusetts. This past August, Clybourne and has portrayed Otto Frank in Malloy revived her touring Park and Amos Hart in Chicago, or in numerous productions of the play performance of the one-person show A.C.T.’s Young Conservatory production of Anne and Emmett, including a special My Name Is Rachel Corrie in The Urinetown: The Musical 2018 production in Amsterdam. A Costume Shop Theater. Malloy has as Caldwell B. Cladwell. Norquist native San Franciscan, Grunwald also taught a variety of classes in would like to dedicate this run to his graduated from UC Berkeley and A.C.T.’s Young Conservatory. amazing mother. Thank you for all you formally trained at the London @ashmalloy44 have done to help get me here. Academy of Music and Dramatic Art. @gorantenneynorquist TRISH MULHOLLAND* EDWARD ALBEE (Playwright) (Understudy) is was born on March 12, 1928, and a member of began writing plays 30 years later. His Berkeley’s Shotgun plays include The Zoo Story (1958), Players and has The American Dream (1960), Who’s Proud to appeared on stages Afraid of Virginia Woolf? (1961–62, around the Bay Tony Award), Tiny Alice (1964), Support Area including A.C.T., Aurora Theatre A Delicate Balance (1966, Pulitzer Company, and the San Francisco Prize; 1996, Tony Award), All Over A.C.T. Shakespeare Festival. Favorite roles (1971), Seascape (1975, Pulitzer Prize), include Mother Courage in Mother The Lady From Dubuque (1977–78), Courage and Her Children, Agave in The Man Who Had Three Arms (1981), The Bacchae, and the updated diva in Finding the Sun (1982), Marriage Play A Seagull in the Hamptons. She is a (1986–87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), Personal attention graduate of Australia’s National The Play About the Baby (1998), The thoughtful litigation Theatre Drama School and was a top-rating, award-winning radio host Goat, or Who Is Sylvia? (2000, 2002 final resolution in Melbourne, Australia. Mulholland Tony Award), Occupant (2001), Peter Our goal is to preserve our LAW FAMILY lived in Europe, hosting radio shows and Jerry: Act 1, Homelife; Act 2, The client’s dignity and humanity. in Italy and France, before finally Zoo Story (2004), and Me, Myself and settling in the Bay Area. She is a I (2007). Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and FA M I LYLAW G R OUP, P. C .

575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com * Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States * * Member of the A.C.T. Master of Fine Arts Program class of 2019 and appearing in this production courtesy of Actors’ Equity Association 22 ACT-SF.ORG Letters in 1980, and in 1996 received productions of Annie Baker’s The the Kennedy Center Honors and Flick in New York and at London’s the National Medal of Arts. In 2005 National Theatre. Her upcoming he was awarded the Special Tony projects include Continuity at Award for Lifetime Achievement. Manhattan Theatre Club, The Tale presence of Despereaux with PigPen Theatre PAM MACKINNON Co. at The Old Globe, and Jeremy O. (Director) See page 37. Harris’s Daddy for The New Group/ DAVID ZINN (Scenic and Vineyard Theatre. isabellabyrd.design Costume Designer) has recently BRENDAN AANES (Sound designed set and costumes on Designer) has designed sound for collaboration Broadway for Choir Boy, The Boys in recent A.C.T. productions including the Band, SpongeBob SquarePants: Heisenberg, The Unfortunates, John, The Broadway Musical, Fun Home, The Hard Problem, and Chester Amélie: A New Musical, and The Last Bailey. His other recent credits Ship; scenery for Torch Song, The include Fire in Dreamland at The Waverly Gallery, and The Humans; Public Theater (sound design and and costumes for A Doll’s House, Part original music); Balls with One 2. Off Broadway, Zinn has recently Year Lease (Drama Desk Award innovation designed scenery for Hamlet at The nomination); Wild Abandon at Irish Public Theater and Hir at Playwrights Repertory Theatre; {my lingerie play} Horizons; costumes for Othello at at Rattlestick Playwrights Theater; New York Theatre Workshop; and Beep Boop at HERE; Cowboy Bob at set and costumes for The Flick and Ars Nova and New York Stage and Circle Mirror Transformation at Film; Zurich with Colt Coeur; The Playwrights Horizons. In California, Curious Incident of the Dog in the leadership Zinn’s designs have been seen at Night-Time at Kansas City Repertory Berkeley Repertory Theatre, La Jolla Theatre (sound design and original Playhouse, The Old Globe, Center music); The War of the Roses, The Theatre Group, San Francisco Glass Menagerie and Othello at Opera, and Los Angeles Opera. California Shakespeare Theater; and Zinn has received Tony, Drama The Music Man at Sharon Playhouse. Desk, Obie, and Hewes awards for Aanes received his MFA in music PROFESSIONAL his work. mrdavidzinn.work from Mills College. aanes.org DEVELOPMENT

ISABELLA BYRD (Lighting DANYON DAVIS (Movement TRAINING Designer) is a Brooklyn-based Coach) is the head of movement designer. Her recent New York at A.C.T. He formerly served as the CLIENTS INCLUDE: credits include Light Shining in head of movement at Stella Adler Buckinghamshire at New York Theatre Studio of Acting, and he’s also Workshop (Henry Hewes Design a former faculty member at the Award nomination), The Thanksgiving Neighborhood Playhouse, Circle Play at Playwrights Horizons, The in the Square Theatre School, and Hello Girls with Prospect Theater HB Studio’s Hagen Core Training Company at 59E59 Theaters, and program. Davis assisted Moni Yakim, Plano at Clubbed Thumb, as well as founding faculty member and head productions at Juilliard and Ars Nova. of movement at the Juilliard Drama Regionally, she’s recently designed Division, for many years. He also To learn more, visit act-sf.org/growth at Williamstown Theatre Festival, performed, taught, and directed with Actors Theatre of Louisville, People’s the Guthrie Theater. He is a former Light, and Portland Center Stage. collaborator with the SITI Company Notable associate work includes The and a former associate with Bill T. Hairy Ape (Park Avenue Armory), Jones. Davis has coached individuals Othello (NYTW), and world-premiere

415.749.2228 23 and taught group workshops in a Later Life. Regionally, she has worked Day (Magic Theatre); It Can’t Happen variety of settings, including school at Intiman Theatre, Seattle Repertory Here (Berkeley Repertory Theatre); programs, correctional facilities, Theatre, California Shakespeare Skeleton Crew and The Wolves (Marin A.C.T. TODAY Middlebury College, the 52nd Street Theater, Berkeley Repertory Theatre, Theatre Company); A Raisin in the Project, and The Public Theater. Yale Repertory Theatre, Goodman Sun, Blithe Spirit, and The Pastures Theatre, Steppenwolf Theatre of Heaven (California Shakespeare JOY MEADS (Dramaturg), a Company, The Old Globe, and Theater); and very still & hard to see native of Oakland, comes to A.C.T. American Repertory Theater. Film, (A.C.T. Master of Fine Arts Program). PHOTOS BY DREW ALTIZER from Center Theatre Group, where television, and radio credits include Hogan has a BA in theater arts from she served as literary manager/ Cosby, Tracey Takes On New York, Saint Mary’s College of California. artistic engagement strategist. Her The Deal, Advice from a Caterpillar, CTG dramaturgy credits include The Day That Lehman Died (Peabody, KIRKE HASSON AND NANCY Archduke, by Rajiv Joseph; Good Grief, SONY, and Wincott awards), and SAWYER HASSON (Executive have been A.C.T. by Ngozi Anyanwu; Appropriate, by “T” Is for Tom (Tom Stoppard radio Producers) Branden Jacobs-Jenkins; Forever, by plays, WNYC and WQXR). She also subscribers for 26 years, and Kirke is a trustee on A.C.T.’s board and its Dael Orlandersmith; Marjorie Prime, cast LifeAfter, a GE Theater podcast. by Jordan Harrison (2015 Pulitzer immediate past chair. They have Prize finalist);A Parallelogram, ELISA GUTHERTZ* (Stage enjoyed serving as hosts for seven KICKING BACK by Bruce Norris; The Royale, by Manager) has been a Bay Area students in A.C.T.’s Master of Fine Marco Ramirez; Radiate, by Daniel stage manager for over 25 years. Her Arts Program, and their daughter A.C.T. CELEBRATES THE ARRIVAL OF PAM AND JENNIFER most recent A.C.T. credits are , Kathryn is a frequent flier in A.C.T.’s Alexander Jones; and SLEEP, by Sweat BY A.C.T. PUBLICATIONS STAFF Naomi Iizuka (a co-commission with Heisenberg, The Birthday Party, Young Conservatory. They are Ripe Time, Brooklyn Academy of and Hamlet. She stage-managed A particularly pleased to be executive The corner of Howard and 10th is quiet now, but on Music, and Yale Repertory Theatre). Thousand Splendid Suns at A.C.T., The producers for this production because November 15, the Saint Joseph’s Arts Society—A.C.T. Previously, Meads was literary Old Globe, and Theatre Calgary. Her it is the first where Pam MacKinnon Trustee Ken Fulk’s amazing new arts space—was manager at Steppenwolf Theatre numerous other productions for A.C.T. is both artistic director and director. hopping with theater devotees and guest artists at our Company and associate artistic include A Night with Janis Joplin, Fall Celebration, an extravaganza to officially welcome director at California Shakespeare The Realistic Joneses, Monstress, ADDITIONAL CREDITS Artistic Director Pam MacKinnon and Executive Director Theater. She has also developed Love and Information, Testament, Kayla Minton Kaufman, Jennifer Bielstein to San Francisco. Event co-chair Robina plays with the Oregon Shakespeare Major Barbara, Underneath the Assistant Director Riccitiello described the event as “energetic, elegant, and Festival, New York Theatre Lintel, Arcadia, The Normal Heart, Candace Shankel, so much fun!” Among the highlights were expert emcee- Head Props Workshop, Berkeley Repertory The Scottsboro Boys, Clybourne ing by Tony Award winner BD Wong, heartfelt speeches by Theatre, Denver Center for the Parke, The Caucasian Chalk Circle, Academy Award winner Ellen Burstyn and Golden Globe winner Judd Hirsch, and an awesome set by Grammy Performing Arts, the Eugene O’Neill The Rainmaker, A Number, and Award–nominated percussionist Sheila E., who brought Theater Center, Ojai Playwrights Eve Ensler’s The Good Body, among Pam and Jennifer onstage for an impromptu boogie. The Conference, Portland Center Stage, others. She has also stage-managed PHOTOGRAPHS AND evening was a smash hit! Huge thank-yous to our co-chairs South Coast Repertory, and Campo The Mystery of Irma Vep, Suddenly RECORDINGS Ken Fulk, Robina Riccitiello, and Jeff and Laurie Ubben, Santo, among others. Meads is a Last Summer, Rhinoceros, Big Love, Audience members may take photos in and to all our supporters who helped raise $900,000 Collected Stories, and Cloud Tectonics the theater before and after the proud co-founder of The Kilroys. for A.C.T.’s artistic, artist training, and education and (Berkeley Repertory Theatre); The performance and during intermission. If you post photos on social media or community programs. JANET FOSTER, CSA (Casting) Good Body (Broadway); Big Love elsewhere, you must credit the has cast for A.C.T. for seven seasons, production’s designers by including the (Brooklyn Academy of Music); and The following names: including Men on Boats, Sweat, Vagina Monologues (Alcazar Theatre). David Zinn (Scenic and Hamlet, A Thousand Splendid Suns, Costume Designer), @misterdavidzinn The Hard Problem, King Charles CHRISTINA HOGAN* (Assistant Isabella Byrd (Lighting Designer), www.isabellabyrd.design III, John, Arcadia, Stuck Elevator, Stage Manager) returns to A.C.T. Brendan Aanes (Sound Designer), The Orphan of Zhao, Napoli!, and after working on Men on Boats, @brendanaanes Endgame and Play. On Broadway, she Father Comes Home from the Wars Please note: Photos are strictly (Parts 1, 2 & 3), Hamlet, Monstress, prohibited during the performance. cast The Light in the Piazza (Artios Photos of the stage are not permitted if Award nomination), Lennon, Ma and Love and Information. Her an actor is present. Video recording is not permitted in the theater at any time. Rainey’s Black Bottom, and Taking other theater credits include The @ACTSanFrancisco #ACTSeascape Sides (co-cast). Off-Broadway credits Baltimore Waltz, runboyrun, And I include True Love, Floyd Collins, The and Silence, Hir, Arlington, Terminus, Monogamist, A Cheever Evening, and Se Llama Cristina, and Any Given CLOCKWISE, FROM TOP M.F.A. Program actors dancing with Sheila E.; Percussionist Sheila E.; A.C.T. Trustees Priscilla Geeslin and Ken Fulk; Judd Hirsch, Jennifer Bielstein, Ellen Burstyn, Pam MacKinnon, and BD Wong; M.F.A. Program actors dancing; Pam * Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States MacKinnon and Jennifer Bielstein. 24 ACT-SF.ORG A.C.T. TODAY PHOTOS BY DREW ALTIZER

KICKING BACK A.C.T. CELEBRATES THE ARRIVAL OF PAM AND JENNIFER BY A.C.T. PUBLICATIONS STAFF The corner of Howard and 10th is quiet now, but on November 15, the Saint Joseph’s Arts Society—A.C.T. Trustee Ken Fulk’s amazing new arts space—was hopping with theater devotees and guest artists at our Fall Celebration, an extravaganza to officially welcome Artistic Director Pam MacKinnon and Executive Director Jennifer Bielstein to San Francisco. Event co-chair Robina Riccitiello described the event as “energetic, elegant, and so much fun!” Among the highlights were expert emcee- ing by Tony Award winner BD Wong, heartfelt speeches by Academy Award winner Ellen Burstyn and Golden Globe winner Judd Hirsch, and an awesome set by Grammy Award–nominated percussionist Sheila E., who brought Pam and Jennifer onstage for an impromptu boogie. The evening was a smash hit! Huge thank-yous to our co-chairs Ken Fulk, Robina Riccitiello, and Jeff and Laurie Ubben, and to all our supporters who helped raise $900,000 for A.C.T.’s artistic, artist training, and education and community programs.

CLOCKWISE, FROM TOP M.F.A. Program actors dancing with Sheila E.; Percussionist Sheila E.; A.C.T. Trustees Priscilla Geeslin and Ken Fulk; Judd Hirsch, Jennifer Bielstein, Ellen Burstyn, Pam MacKinnon, and BD Wong; M.F.A. Program actors dancing; Pam MacKinnon and Jennifer Bielstein. 415.749.2228 25 30 Grant Avenue San Francisco, CA 94108-5834 PRESORTED FIRST-CLASS U.S. POSTAGE PAID SAN FRANCISCO, CA PERMIT #8894

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presorted first -class U.s. postage PAID s an francisco permit , ca #8894 words on plays, American Conservatory Theater’s in-depth performance guide series, offers insight into the plays, playwrights, and productions of the a.c.t. subscription season. Each entertaining and informative issue contains a synopsis, advance program notes, study questions, and additional background information about the historical and cultural context of the play. To subscribe to the full season or to order individual issues of Words on Plays, call 415.749.2250 or visit www.act-sf.org. words on plays “Words on Plays is a terrific resource for the theatergoer who wants performance guide series, offers insight into the plays, playwrights, some context or background on the production. The original essays , American Conservatory Theater’s in-depth and productions of the are usually as entertaining and well written as they are informative. and informative issue contains a synopsis, advance program notes, The selection of topics and source materials is creative and thought a.c.t. subscription season. Each entertaining V O L U M E X V I I , N O . 1 provoking. . . . I almost always find some new information or study questions, and additional backgroundA M E Rinformation I C A N C O N S E R V AT O Rabout Y T H E ATthe E R

intriguing point of view.” historical and cultural context of the play. To subscribe to the full Scapin Rob Hurwitt, San Francisco Chronicle Theater Critic season or to order individual issues of or visit www.act-sf.org. by molière adapted by bill irwin T H E AT E R Wordsand on mark Plays o’donnell, call CONSERVATORY A M E R I C A N directed by bill irwin415.749.2250 “Words on Plays is a terrific resource for the theatergoer who wants some VOLUME XV, NO. 1 Roll Rock ’n’ context or background on the production. The original essays are usually as entertaining and well written as they are informative. The selection of topics by tom stoppard and source materials is creative and thought provoking. . . . I almost always directed by carey perloff find some new information or intriguing point of view.”

Rob Hurwitt, San Francisco Chronicle

V O L U M E X V I , N O . 3

A M E R I C A N C O N S E R V AT O R Y Phèdre T H E AT E R

by jean racine translated and adapted by timberlake wertenbaker A.C.T. TODAY directed by carey perloff

A25 YEARS DEEP OF WORDS ON PLAYS DIVE BY ELSPETH SWEATMAN AMERICAN CONSERVATORY THEATER

18/19 SEASON VOL. XXV, NO. 3

EDWARD ALBEE’S SEASCAPE hen I was searching for my theatrical home, there was one thing above all that drew me to A.C.T.: Words on W Plays. A unique, in-depth guide to each of our mainstage shows, this publication has made my love for theater grow. Through it, I have discovered the minimalism of Peter Brook, the language of Shakespeare, and the theatrical hijinks of Men on Boats. I have explored the history of silent retreats, the uncertainty principle, and the little-known stories of enslaved people during the Civil War. No matter the play, Words on Plays has transformed it into my latest favorite.

26-27_ACTTWop25Anniversary_v3_1.3.19_MM.indd 2 1/8/19 11:19 AM 30 Grant Avenue San Francisco, CA 94108-5834

presorted first-class U.s. postage PAID s an francisco, permit #8894 ca 25 YEARS IN NUMBERS

words on plays performance guide series,, American offers insight Conservatory into the Theater’splays, playwrights, in-depth and productions of the and informative issue contains a synopsis, advance program notes, a.c.t. subscription season. Each entertaining study questions, and additional background information about the historical and cultural context of the play. To subscribe to the full EDITIONS season or to order individual issues of or visit www.act-sf.org. Words on Plays, call 415.749.2250 “Words on Plays is a terrific resource for the theatergoer who wants some context or background on the production. The original essays are usually as entertaining and 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 intriguing point of view.” 175 Rob Hurwitt, San Francisco Chronicle V O L U M E X V I , N O . 3 Words on Plays was created in 1994 by Education & A M E R I C A N C O N S E R V AT O R Y Phèdre T H E AT E R Community Programs Director Elizabeth Brodersen by jean racine translated and adapted INTERVIEWS by timberlake wertenbaker (then A.C.T.’s publications editor). She saw our audiences directed by carey perloff devouring the dramaturgy in the program and asking the house manager to mail them a copy of the next program so they could read it before seeing the show. 269ORIGINAL ARTICLES Taking the material her team was compiling for the 1,158 teacher guides used in Bay Area schools, Brodersen founded a new publication, one dedicated to all things PAGES dramaturgy. She put them together herself, gluing the photos on by hand before photocopying the pages. 8,643

Since then, Words on Plays has grown into a sleek WORDS print and online publication, read by thousands of 3.2 MILLION teachers, students, and audience members each year. While its look may have changed in 25 years, it remains our primary education tool and your go-to place for a behind-the-scenes look at the art created on A.C.T.’s stages. There are exclusive interviews with playwrights SELECT INTERVIEWS and directors, designers and actors, as well as original • Director Rachel Chavkin articles about everything from lizards and the history of • Playwright David Henry Hwang (M. Butterfly) Central Park to The Simpsons and the life of a sniper. AMERICAN CONSERVATORY THEATER • Tony Award–winning actor and clown Bill Irwin 18/19 SEASON VOL. XXV, NO. 3 “Words on Plays can often make the difference between a • Playwright David Mamet (Glengarry Glen Ross)

EDWARD ALBEE’S SEASCAPE squirmy, uneasy launch with an audience and an early-on • Playwright Tarell Alvin McCraney (Moonlight) feeling of engagement—of synch,” says Tony Award winner • Two-time Pulitzer Prize winner Lynn Nottage Bill Irwin. “For an actor, the feeling is palpable. This (Sweat) group of people I’m stepping in front of has a feeling for • Former artistic director of Shakespeare’s Globe what we’re up to here. We’re in the same room together.” Theatre Emma Rice • Playwright José Rivera (Boleros for the A.C.T. remains one of the few theaters in America Disenchanted) to create such a unique publication. Proceeds from • Five-time Tony Award winner Susan Stroman Words on Plays directly support our ACTsmart • Actor John Douglas Thompson (Hamlet; theater arts education programs, which serve more Satchmo at the Waldorf) than 17,000 students and educators every year. Join us in celebrating 25 years of Words on Plays! n

Pick up your copy of Words on Plays for Edward Albee’s Seascape at any of our bars or at our merchandise stand. And check out our brand-new archive at act-sf.org/wordsonplays.

415.749.2228 27

26-27_ACTTWop25Anniversary_v3_1.3.19_MM.indd 3 1/8/19 11:20 AM A.C.T. TODAY NEVER STOP LEARNING A.C.T. GEARS UP FOR OUR 48TH SUMMER TRAINING CONGRESS BY ANNIE SEARS

There’s a whole lot of newness The STC is divided into two separate countries. “An eclectic assortment happening at A.C.T.—a new year, new but interconnected sessions. of excellent people,” says Herold. leadership, a new season soon to be Students can participate in a five- announced. But we’re also gearing week foundational skills Congress, After completing a rigorous application up for one longstanding tradition, a two-week Shakespeare intensive, process and being admitted to the the annual return of A.C.T.’s very or both. Whatever option students Congress, this diverse group of first Conservatory program: the select, “They’ll grasp foundational participants audition in person on Summer Training Congress (STC). notions of acting that will serve them their first day of class. Based on their Established in 1967 for actors who individual performance, Herold sorts want to deepen their craft, the STC them into smaller companies of 14–18 is an immersive learning experience actors “who will be mutually helpful to that propels actors toward “finding “WE NEVER STOP each other,” he says. “Every company is their voice and becoming the artists consciously constructed from a mix of they want and hope to be,” says STC LEARNING, BUT actors with a range of experiences, so Director Christopher Herold. THERE ARE SOME that cross-pollination can take place.” When Herold moved to the Bay Area IDEAS THAT Over the last 10 years, Herold has to earn his PhD in directing from developed an expansive network of UC Berkeley, he found a home in ARE ETERNALLY local teaching artists to lead these its thriving arts community. He’s companies and share their wisdom acted, directed, and taught all over RELEVANT.” with STC students. “They are teaching the Bay Area, including 25 years it, but also living it and doing it,” he as an instructor and director in says. “That essential connection our STC, M.F.A., and Studio A.C.T. well in the present moment and in keeps them knowledgeable and their programs, before assuming his role as all of their future acting endeavors,” coursework vibrant.” These award- STC director in 2008. “Christopher says Herold. “We never stop learning, winning artists offer world-class is dedicated to teaching,” says Kim but there are some ideas that are expertise, having worked at the Hollkamp, a 2016 STC alum and eternally relevant. That’s what we’re Oregon Shakespeare Festival, current second-year M.F.A. Program giving students here at A.C.T.” Dell’Arte International School of actor. “He’s specific and honest, which Physical Theatre, Theatre Rhinoceros, is exactly what you need if you’re going For this reason, the STC attracts and the John F. Kennedy Center for to improve. I was amazed by how a variety of actors, from 19-year- the Performing Arts, among others. much I learned about acting and about olds just beginning their careers Many have studied under world- myself in such a short period of time.” to Equity actors in their 50s and renowned artists, such as voice teacher 60s. Students vary not only in age, Kristin Linklater and clowning artist but also in origin, with students Jacques Lecoq. from all 50 states and more than 30

28 ACT-SF.ORG

28-29_ACTT/ChrisHeroldArticle_v3_1.9.19_MM.indd 2 1/9/19 12:02 PM PHOTO BY RYAN MONTGOMERY. RYAN BY PHOTO

Director Christopher Herold teaching a Summer Training Congress class in The Garret at A.C.T.’s Geary Theater.

“All the teachers are amazing,” says University, Columbia University, FOUNDATIONAL Hollkamp. “The head of my company DePaul University, and London COURSES INCLUDE: was Lisa Anne Porter, who also teaches Guildhall University, among others. • Acting in the M.F.A. Program. She made • Voice & speech dynamics me feel confident about what I have “Every great actor is a trained actor,” • Movement to offer as an actor. Wanting to keep says Herold. “I have faith in training, • Clowning learning from her is a large part of why in art, and in A.C.T.’s ability to train • Text analysis I applied for A.C.T.’s M.F.A. Program.” actors of the highest caliber. I believe • Auditioning the work they’re doing is relevant and • Combat Like Hollkamp, many STC alumni will alter the terrain of the world.” n pursue master’s degrees following the THE SHAKESPEARE STC. “The STC taught me the demand The 2019 STC five-week session INTENSIVE INCLUDES: and the discipline that it takes to be starts June 10, and the two-week • Classical acting an actor,” says Summer Brown, a 2016 Shakespeare intensive starts July 15. • Physicalizing STC alum and second-year M.F.A. classical movement Program actor. “It gives you a great idea To learn more about the application • Speaking classical text of what it’s like to be in an immersive, process, visit act-sf.org/stc or • Performing soliloquies intensive study. That’s what made me contact Callie Garrett at decide to go to grad school.” In addition [email protected] or to attending our M.F.A. Program, 415.439.2426. recent STC alumni have studied at Yale School of Drama, The Juilliard School, Brown University, New York

415.749.2228 29

28-29_ACTT/ChrisHeroldArticle_v3_1.9.19_MM.indd 3 1/9/19 12:02 PM FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during the November 1, 2017, to November 1, 2018, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

† A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter * Leadership Circle Member

Season Presenters JEROME L. AND JAMES C. HORMEL AND TONI REMBE AND JEFF AND LAURIE UBBENw THAO N. DODSON† MICHAEL P. HORMEL-NGUYENw ARTHUR ROCKw Jeff is a founder of ValueAct Capital Jerry is president of Parnassus James, the first openly gay US Past chair of A.C.T.’s Board of and a director of 21st Century Fox Investments and serves on the boards ambassador, founded the James C. Trustees, Toni is a retired partner at Inc. and Willis Towers Watson PLC. of San Francisco Opera and A.C.T. Thao Hormel Gay & Lesbian Center at the Pillsbury Winthrop Shaw Pittman. He serves on the boards of Duke and Jerry have established scholarships San Francisco Public Library (SFPL). Arthur was one of America’s first University, Northwestern University, for music education at the San Francisco Michael works alongside James on their venture capitalists. Along with other and the E. O. Wilson Biodiversity Symphony, undergraduate education at charitable giving foundation, and has community endeavors, they are Foundation. Laurie founded San UC Berkeley, and high school education served on the SFPL Commission for cofounders of the Arthur and Toni Francisco’s Bird School of Music. for 125 girls in Vietnam. two terms. A trustee of A.C.T., Michael Rembe Rock Center for Corporate is profoundly passionate about the arts Governance at Stanford Law School. KAY YUN AND ANDRE FRANNIE FLEISHHACKER and humanities. NEUMANN-LORECK†w has supported A.C.T. for more than 21 ROBINA RICCITIELLO†w President of A.C.T.’s Board of Trustees, years. She has chaired season galas and FRED M. LEVIN AND NANCY Robina is communications director for Kay is a partner at private equity fund serves on A.C.T.’s Board of Trustees and LIVINGSTON, THE SHENSON the Million Person Project, a company Health Evolution Partners. She is a several committees. She funded the FOUNDATIONw that helps people identify their core trustee of Parnassus Funds and a board Mort Fleishhacker M.F.A. Scholarship and Nancy is the Chair Emerita of A.C.T.’s values to tell their personal story. She member of San Francisco University multiple capital campaigns. She has held Board of Trustees. She serves on the is involved with the UCLA Depression High School. Andre, the founder of On board positions at the SF Junior League boards at the College of Fine Arts at Grand Challenge, an effort to cure Tap Consulting, has held executive roles and the Francisca Club. Boston University and the National depression by the end of this century, in startups and Fortune 500 companies. Council for the American Theatre. and with NARAL Pro-Choice America. PRISCILLA AND KEITH GEESLIN†w Fred serves on the boards of the San Priscilla is a vice chair of A.C.T.’s Francisco Symphony, the Asian Art MARY AND STEVEN SWIGw Board of Trustees and Development Museum, and the SF Film Society. Steven has served on A.C.T.’s board Committee chair. She is vice president since 1986 and is cofounder of Presidio of the SF Symphony, Grace Cathedral, Graduate School. Mary is on the and past chair of NARAL Pro-Choice Women’s Leadership Board of Harvard America’s Foundation Board. University’s John F. Kennedy School of A principal of Francisco Partners, Government. They serve on the boards Keith is president of SF Opera’s board of the Solar Electric Light Fund and the of trustees and a board member of Americans for Cures Foundation. Episcopal Community Services.

Company Sponsors Executive Producers Susan A. Van Wagner The Marymor Family Fund Lesley Ann Clement and Mrs. Barbara Bakar Barbara and Stephan Vermut Don and Judy McCubbin Karl Lukaszewicz ◆ Bill Draper Diane B. Wilsey Mr. and Mrs. J. A. McQuown Ray and Dagmar Dolby Family Fund Sakana Foundation Nola Yee Mary and Gene Metz Kevin and Celeste Ford Linda Jo Fitz ◆ Donald J. and Toni Ratner Miller ◆† Mr. and Mrs. Gordon P. Getty The Milledge and Patti Hart Family Producers Clay Foundation - West Kirke and Nancy Sawyer Hasson ◆ Dianne and Ron Hoge ◆† Paul Asente and Ron Jenks Rich Rava and Elisa Neipp Jeri Lynn and Jeffrey W. Johnson Jo S. Hurley ◆ Nancy and Joachim Bechtle Norman and Janet Pease Mr. and Mrs. Robert McGrath Christopher and Leslie Johnson Lloyd and Janet Cluff Elsa and Neil Pering Burt and Deedee McMurtry John Little and Heather Stallings Little Daniel E. Cohn and Lynn Brinton Merrill Randol Kenneth and Gisele Miller Janet V. Lustgarten The New Ark Fund Abby and Gene Schnair ◆ David and Carla Riemer ◆ Nion McEvoy and Leslie Berriman ◆ Concepción and Irwin Federman Kathleen Scutchfield Patti and Rusty Rueff ◆ Barbara Ravizza and John S. Osterweis Stephen and Diane Heiman Anne and Michelle Shonk ◆ Aaron Vermut and Sally and Toby Rosenblatt Luba Kipnis and David Russel* Cherie Sorokin Adriana López Vermut ◆† Lori Halverson Schryer ◆† Marcia and Jim Levy* Emmett and Marion Stanton Jack and Susy Wadsworth ◆ Matthew and Lisa Sonsini Jennifer S. Lindsay Valli Benesch and Bob Tandler Barry Williams and Lalita Tademy ◆

Associate Producers Carol Dollinger Linda Kurtz Joseph E. and Julie Ratner ◆† make dreams come true... Vicki and David Fleishhacker Ken Lamb Sara Eisner Richter and Michael Richter Paul Angelo Marilee K. Gardner Mr. and Mrs. John P. Levin Rick and Cindy Simons Sara and Wm. Anderson Barnes Fund become a Friend of A.C.T. today! Dr. and Mrs. Richard E. Geist Marmor Foundation/ Lee and Carolyn Snowberg Dr. Barbara L. Bessey Arnie and Shelly Glassberg Drs. Michael and Jane Marmor Vera and Harold Stein Linda K. Brewer For a full listing of member beneﬁ ts, visit Glasser Family Fund Ann McNamee Dr. Martin and Elizabeth Terplan Linda Joanne Brown Dr. Allan P. Gold and Mr. Alan C. Ferrara Milton Mosk and Thomas Foutch Mrs. Katherine G. Wallin and Gayle and Steve Brugler act-sf.org/memberships or contact A.C.T.’s Marcia and John Goldman Marcy S. and Paul Nathan Mr. Homer Wallin Carlotta and Robert Dathe Betty Hoener Mr. and Mrs. Tom Perkins Katherine Welch Development Department at 415.439.2353. James and Julia Davidson Mr. Joel Krauska and Ms. Patricia Fox Barbara Phillips Beverly and Loring Wyllie Richard Davis-Lowell and Bill Lowell

30 ACT-SF.ORG DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR

We are privileged to recognize these members’ generosity during the November 1, 2017, to November 1, 2018, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

† A Dickens of a Holiday event sponsor/lead supporter w Lead Gala supporter

Benefactors Scott and Janis Sachtjen Mr. Alexander L. Fetter and Ms. Mary D. Niemiller Susan and Ralph G. Coan, Jr. George and Camilla Smith Ms. Lynn Bunim Barbara O’Connor Tom Frankel The Somekh Family Foundation Mr. Robert Feyer and Ms. Marsha Cohen Ms. Mary Jo O’Drain Dr. and Mrs. Fred N. Fritsch Laura and Gregory Spivy † Mr. and Mrs. Patrick F. Flannery Emilie and Douglas Ogden Mr. and Mrs. Thomas A. Gallagher Diana L. Starcher Mr. and Mrs. Richard Fowler Don and Sally O’Neal Kaatri and Doug Grigg Roselyne C. Swig ◆ Laura Frey and Erico Gomes Janet and Clyde Ostler Sue Yung Li and Dale K. Ikeda Patrick S. Thompson ◆ Mrs. Susan Fuller Mr. and Mrs. William Pitcher Jeffrey and Elizabeth Minick Pasha and Laney Thornton Sameer Gandhi and Monica Lopez Gordon Radley Terry and Jan Opdendyk Mrs. Helena Troy Wasp William Garland and Michael Mooney Sandi and Mark Randall Lisa and John Pritzker Family Fund Ms. Allie Weissman Mr. Michael R. Genesereth Jeff and Karen Richardson Dr. James Robinson and Barbara and Chris Westover Susan and Dennis Gilardi Gary and Joyce Rifkind Ms. Kathy Kohrman Mr. and Mrs. Bruce White Dr. A. Goldschlager Rick and Anne Riley Matt and Yvonne Rogers Kenneth and Sharon Wilson Barbara Grasseschi and Tony Crabb Mr. Orrin W. Robinson, III Mr. Laurence L. Spitters Marcia and Geoffrey Green Ms. Shelagh Rohlen Directors Mark and Renee Greenstein Deborah Romer and William Tucker Anonymous (3) Mr. Bill Gregory Gary Rubenstein and Nancy Matthews Playwrights Raymond and Gale L. Grinsell Betty and Jack Schafer Anonymous (3) Mr. Howard J. Adams Naren and Vinita Gupta Kent and Nancy Clancy Ray and Jackie Apple Martha and Michael Adler James Haire and Timothy Cole Mr. and Mrs. John Shankel The Tournesol Project Bruce and Betty Alberts Mr. and Mrs. Richard Halliday Mr. James Shay and Mr. Steven Correll Paul Blake Lynn Altshuler and Stanley D. Herzstein Vera and David Hartford Te Smith and Dennis Cress Roger and Helen Bohl Sharon L. Anderson Ms. Kendra Hartnett and Robert Santilli Kristine Soorian and Bryce Ikeda Ms. Donna Bohling and Ms. Kay Auciello Kent Harvey Ms. Valerie Sopher Mr. Douglas Kalish Jeanne and William Barulich Mrs. Deirdre Henderson Mr. Richard Spaete Christopher and Debora Booth Mr. Michael Bassi and Ms. Christy Styer Mr. and Mrs. Henry Paul Hensley Mr. and Mrs. Robert S. Spears Ed Brakeman David V. Beery and Norman Abramson ◆ Ms. Marcia Hooper Steven and Chris Spencer Dolly Chammas Donna L. Beres and Terry Dahl Bannus and Cecily Hudson Vibeke Strand, MD and Jack Loftis, PhD Richard DeNatale and Craig Latker David and Rosalind Bloom Rob Hulteng Richard and Michele Stratton Ms. Roberta Denning Peter Blume Robert Humphrey & Diane Amend Mr. Jay Streets William H. Donner Foundation Mr. Mitchell Bolen and Robert and Riki Intner Dawna Stroeh Anne and Gerald Down Mr. John Christner Harold and Lyn Isbell Mr. M. H. Suelzle Charles and Susan Fadley Brenda and Roger Borovoy Franklin Jackson & Maloos Anvarian Susan Terris Nancy and Jerry Falk Benjamin Bratt and Talisa Soto Phil and Edina Jennison Nancy Thompson and Andy Kerr Mr. Rodney Ferguson and Susan Breyer Stephanie and Owen Jensen John R. Upton Jr. and Ms. Kathleen Egan ◆ Mrs. Libi Cape Ms. Pamela L. Kershner Janet Sassoon-Upton Sue and Ed Fish Steven and Karin Chase Mr. R. Samuel Klatchko Arnie and Gail Wagner Lynda Fu Kent and Nancy Clancy Harold L. Wyman Foundation Mr. and Mrs. James Wagstaffe Bruce Golden Teresa Clark and Martin Lay Harold and Leslie Kruth Joy and Ellis Wallenberg, Alex Ingersoll and Martin Tannenbaum Mr. and Mrs. David Crane Harriet Lawrie Milton Meyer Foundation Alan and Cricket Jones ◆ Ms. Karen T. Crommie Julius Leiman-Carbia Ms. Margaret Warton and Sy Kaufman and Kerstin Edgerton Joan T. Dea and Lionel F. Conacher Mr. Michael Levy and Mr. Steve Benting Paola and Richard Kulp Madeline and Myrkle Deaton Mr. Michael Golden Ms. Carol Watts Melanie and Peter Maier - John Robert and Judith DeFranco Ms. Helen S. Lewis Ms. Patricia Tomlinson and Brockway Huntington Foundation Ingrid M. Deiwiks Ms. Gayla Lorthridge Mr. Bennet Weintraub Christine and Stan Mattison Mrs. Julie D. Dickson Dr. Thane Kreiner and Irv Weissman and Family Mr. and Mrs. Roger Miles Art and JoAnne Dlott Dr. Steven Lovejoy Ms. Beth Weissman Mr. Daniel Murphy Bonnie and Rick Dlott Richard N. Hill and Nancy Lundeen Marie and Daniel Welch Paula and John Murphy Ms. Kathleen Dumas John B. McCallister Dr. and Mrs. Andrew Wiesenthal Peter Pastreich and Jamie Whittington Robert Ellis Elisabeth and Daniel McKinnon Mr. and Mrs. David Wilcox John Riccitiello Philip and Judy Erdberg Ms. Nancy Michel Susan Roos Barb and Gary Erickson Joseph Fanone Mr. and Mrs. Merrill E. Newman

make dreams come true... become a Friend of A.C.T. today!

For a full listing of member beneﬁ ts, visit act-sf.org/memberships or contact A.C.T.’s Development Department at 415.439.2353.

415.749.2228 31 We are privileged to recognize Friends of A.C.T. members’ generosity during the November 1, 2017, to November 1, 2018, 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 Hillary Bray at 415.439.2353 or [email protected].

†A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter *Leadership Circle Member

Patrons Mrs. Gary Letson Sustainers Mr. and Mrs. William Manheim Dr. Lois Levine Mundie Marina and Andy Martin Anonymous (4) Anonymous (3) Julia Lobel Marsha Mason Mr. and Mrs. Harold P. Anderson Mr. and Mrs. James Michael Allen Mr. and Mrs. Robert W. Logan Robert McCleskey Mr. Paul Anderson Robert Anderson Mr. and Mrs. Alexander Long Carol McCutcheon-Aguilar and Ms. Patricia Wilde Anderson Ms. Gwynn August Jeff and Susanne Lyons Luis Aguilar Mr. David N. Barnard Dick Barker Mr. and Mrs. Bruce A. Mann Linda McPharlin and Nick Nichols Mr. and Mrs. Paul Berg Mr. William Barnard Amelia Lis Ms. Jane E. Miller Fred and Nancy Bjork Ms. Linda J. Barron Karen and John McGuinn Sharon and Jeffrey Morris Mr. John Blankenship and Mr. Daniel R. Bedford Dr. Margaret R. McLean John and Betsy Munz Ms. Linda Carter Monique and Avner Ben-Dor Mr. Byron R. Meyer Joseph C. Najpaver and Deana Logan Ben and Noel Bouck Mrs. Fowler A. Biggs Trudy and Gary Moore Jon Nakamura Mr. Roland E. Brandel Mr. Igor R. Blake Thomas and Lydia Moran Ms. Berna Neumiller Mr. and Mrs. Bernard Butcher John Boland and James Carroll Jane and Bill Neilson Jeanne Newman Denis Carrade and Jeanne Fadelli Marilyn and George Bray Nancy and Bill Newmeyer Ms. Joanna Officier and Mr. Ralph Tiegel Cecily Cassel & Larry Cassel Ms. Angela Brunton Bruce Noble and Diane Elder Ms. Joyce Ratner Todd Charles in memory of Jaime Caban and Rob Mitchell Melodee and Lee Nobmann Jillian C. Robinson Robert E. Scheid Ms. Jean Cardoza Ms. Lisa Nolan Marguerite Romanello Jean and Mike Couch Drs. James and Linda Clever Mrs. Margaret O’Drain Mr. L. Kyle Rowley Mr. and Mrs. Ricky J. Curotto Rebecca Coleman Margo and Roy Ogus Ms. Diane Rudden Reid and Peggy Dennis Mr. Edward Conger Shelly Osborne Laura Jo Ruffin Ron Dickel Mr. Copley E. Crosby Barbara Paschke and Mr. Joshua Rutberg Elizabeth Eaton James Cuthbertson David Volpendesta Ms. Monica Salusky and Michael Kalkstein and Susan English Ms. Kathleen Damron Janine Paver and Eric Brown Mr. John Sutherland Leif and Sharon Erickson Ira and Jerry Dearing Caitlin A. Quinn and Peter C. Garenani Louise Adler Sampson Dr. Angela Sowa and William Dewey Ms. Diane Raile Mr. James J. Scillian Dr. Dennis B. Facchino Edward and Della Dobranski Mr. and Mrs. Jacob Ratinoff Mr. Jim Sciuto M. Daniel and Carla Flamm Ms. Kirsty Ellis Ms. Danielle Rebischung Mr. Jon Shantz Elizabeth and Paul Fraley Ms. Winn Ellis and Mr. David Mahoney Maryalice Reinmuller Catharine Shirley Ms. Susan Free Marilynne Elverson Mr. and Mrs. John A. Reitan Donna and Michael Sicilian Alan and Susan Fritz Mrs. Samuel Engel Albert and Roxanne Richards Fund Jill Stanfield Lisa Fung† Karen and Stuart Gansky Barbara and Saul Rockman Jeffrey Stern, M.D. John L. Garfinkle Frederick and Leslie Gaylord Ms. Mary Ellen Rossi Margaret Stewart and Ms. Nonie Greene and Mr. Todd Werby ◆ David and Betty Gibson Michele and John Ruskin Severin Borenstein Ms. Ann M. Griffiths Kathleen and Paul Goldman Sonja Schmid Mr. and Mrs. Monroe Strickberger Bill and Nancy Grove David B. Goldstein and Julia Vetromile Andrew and Marva Seidl Mr. Jason Surles Mr. Kim Harris and Bennet Marks Dr. and Mrs. Gabriel Gregoratos Ms. Ruth A. Short Ms. Kim Szelog Kathy Hart Mr. Harry Hamlin and Ms. Lisa Rinna Dr. Elliot and Mrs. Kathy Shubin Catherine Tait Lenore Heffernan Ms. Margaret Handelman Ms. Patricia Sims Marvin Tanigawa Mr. John F. Heil Dr. James and Suzette Hessler Mr. Earl G. Singer Ian and Olga Thomson Leni and Doug Herst Ginger and Bill Hedden Mr. Mark Small Melita Wade Thorpe Tracy Brown and Greg Holland Ms. Rebecca Helme Richard and Jerry Smallwood Leon Van Steen Richard and Cheryl Jacobs Ms. Sandra Hess Candrah Smith Mr. and Mrs. Ron Vitt Dr. and Mrs. John E. Jansheski Edward L. Howes, MD Dr. Gary Stein and Jana Stein Anita Watkins Ms. Carolyn Jayne Allan and Rebecca Jergesen Joe Tally and Dan Strauss Ms. Meredith J. Watts Jeffrey and Loretta Kaskey Mrs. Zeeva Kardos Robert Tufts Mr. Richard West Michael Kim Dan and Gloria Kearney Fund Mr. Douglass J. Warner Mr. Robert Weston George and Janet King Jody Kelley Wypych Mr. David S. Wood and Judie and Howard Wexler Mr. and Mrs. Kevin Klotter Dr. and Mrs. David Kessler Ms. Kathleen Garrison Tim M. Whalen Jennifer Langan Ms. Nancy L. Kittle Mr. and Mrs. Roy B. Woolsey Mr. Laird Williamson Thomas and Barbara Lasinski Ms. Peggy Kivel Mr. and Mrs. Roger Wu Mr. Steven Winkel Mr. Richard Lee and Edward and Miriam Landesman Jacqueline L. Young ◆ Timothy Wu Ms. Patricia Taylor Lee Carlene Laughlin The Arthur and Charlotte Zitrin Barry and Ellen Levine Marilyn and Irvin Yalom Foundation Thomas Lange and Spencer Lockson Nancy and Kell Yang Ms. Evelyn Lockton Ms. Emerald Yeh Harold and Diane Lunde Mr. and Mrs. Philip Zimbardo

For a full list of member benefits or to make a donation, visit act-sf.org/memberships or contact A.C.T.’s Development Department at 415.439.2353.

32 ACT-SF.ORG For more information about Prospero Society JO S. HURLEY, CHAIR membership, please contact A.C.T. gratefully acknowledges the Prospero Society members listed below, Tiffany Redmon, who have made an investment in the future of A.C.T. by providing for the theater in their estate plans. Deputy Director of

**Deceased Development Providing a Legacy for A.C.T. 415.439.2482 [email protected]. Gifts Designated to A.C.T. Michele Garside, PhD The Kenneth and Muriel Marks Herman Victor Anonymous (2) Dr. Allan P. Gold and Living Trust Ms. Nadine Walas Mr. Anthony Alfidi Mr. Alan C. Ferrara Mr. and Mrs. Michael R. Marron Ms. Marla M. Walcott Judith and David Anderson Dr. A. Goldschlager John B. McCallister Mrs. Katherine G. Wallin and Ms. Kay Auciello Ruth Goldstine and David Weber John G. McGehee Mr. Homer Wallin Nancy Axelrod Ms. Carol A. Goodman and Burt and Deedee McMurtry Paul Weintraub and Ms. Mary Lou Baird Mr. Anthony Gane Mary and Gene Metz Raymond Szczesny Mr. Eugene Barcone Ms. JeNeal Granieri and J. Sanford Miller Ms. Beth Weissman Teveia Rose Barnes and Alan Sankin Alfred F. McDonnell Milton Mosk and Thomas Foutch Tim M. Whalen Robert H. Beadle Mr. Bill Gregory Pennie Needham Barry Williams and Lalita Tademy Ms. Susan B. Beer James Haire and Timothy Cole Mr. Dante Noto Kay Yun and Andre Neumann-Loreck David V. Beery and Norman Abramson Mr. and Mrs. Richard Halliday Shelly Osborne Ms. Terilyn Hanko Ms. Patricia Patton Leo and J. Michael Berry-Lawhorn Richard H. Harding Elsa and Neil Pering Gifts Received by A.C.T. Dr. Barbara L. Bessey The Estate of Barbara Beard Kent Harvey Barbara Phillips Mr. Arthur Bredenbeck and The Estate of John Bissinger Nina Hatvany and Jonathan Kitchen Robert and Marcia Popper Mr. Michael Kilpatrick The Estate of Ronald Casassa William E. Hawn Kellie Raines Linda K. Brewer The Estate of Rosemary Cozzo Betty Hoener Bert and Anne Raphael Martin and Geri Brownstein The Estate of Nancy Croley James C. Hormel and Mr. and Mrs. Jacob Ratinoff Gayle and Steve Brugler The Estate of Leonie Darwin Michael P. Nguyen-Hormel John and Karen Kopac Reis Christine Bunn and William Risseeuw The Estate of Mary Jane Detwiler Dr. and Mrs. Richard W. Horrigan Mary L. Renner Mr. Bruce Carlton The Estate of Olga Diora Jo S. Hurley Ellen Richard Florence Cepeda and Earl Frick The Estate of Mortimer Fleishhacker Alex Ingersoll and Martin Tannenbaum Jillian C. Robinson Ms. Paula Champagne and The Estate of Mary Gamburg Mr. Barry Johnson Arthur Rock and Toni Rembe Mr. David Watson The Estate of Rudolf Glauser Ms. Robin Johnson and Susan Roos Steven and Karin Chase The Estate of Phillip E. Goddard Ms. Dottie Lofstrom Ms. Andrea Rouah Ms. Agnes Chen Brown The Estate of Mrs. Lester G. Hamilton Carol and Paul Kameny Dr. David Rovno Lesley Ann Clement and Karl The Estate of Sue Hamister Dr. and Mrs. Stewart Karlinsky Ms. Pamela Royse Lukaszewicz The Estate of Howard R. Hollinger Nelda Kilguss Mr. and Mrs. Paul Sandberg Lloyd and Janet Cluff The Estate of William S. Howe, Jr. Heather M. Kitchen Andrew Smith and Brian Savard Mr. James L. Coran and The Estate of Ines R. Lewandowitz Dr. Thane Kreiner and Sonja Schmid Mr. Walter A. Nelson-Rees The Estate of Thomas H. Maryanski Dr. Steven Lovejoy Mr. Harold E. Segelstad Patricia Corrigan The Estate of Michael L. Mellor Catherine Kuss and Danilo Purlia Dr. F. Stanley Seifried Jack and Susan Cortis The Estate of Bruce Tyson Mitchell Stephanie Hencir Lamey and Ms. Ruth A. Short Ms. Joan Danforth The Estate of Gail Oakley Patrick Lamey Dr. Elliot and Mrs. Kathy Shubin Richard Davis-Lowell and Bill Lowell The Estate of Dennis Edward Parker Mr. Philip C. Lang Cherie Sorokin Mrs. Carl Degler The Estate of Rose Penn Mindy Lechman Ruth and Alan L. Stein Sharon Dickson The Estate of Shepard P. Pollack Ms. Marcia Leonhardt Bert and LeAnne Steinberg Jerome L. and Thao N. Dodson The Estate of Margaret Purvine Fred M. Levin and Nancy Livingston, Jasmine Stirling Bill Draper The Estate of Gerald B. Rosenstein The Shenson Foundation Mr. John E. Sweeney and Drs. Peter and Ludmila Eggleton The Estate of Charles Sassoon Marcia and Jim Levy Ms. Lana Basso Linda Jo Fitz The Estate of Olivia Thebus Jennifer S. Lindsay Ms. Jane Taber Frannie Fleishhacker The Estate of Ayn and Brian Thorne Ms. Paulette Long Marilyn E. Taghon Kevin and Celeste Ford The Estate of Sylvia Coe Tolk Mr. and Mrs. Jim Magill Marvin Tanigawa Mr. and Mrs. Richard Fowler The Estate of Elizabeth Wallace Melanie and Peter Maier Nancy Thompson and Andy Kerr Alan and Susan Fritz The Estate of Frances Webb Mr. Jeffrey P. Malloy Mr. Dayton E. Torrence Mr. and Mrs. Russell Fudge The Estate of William Zoller Marilee K. Gardner Michael E Tully

The following members of the A.C.T. community made gifts in memory and in honor of friends, Memorial & Tribute Gifts colleagues, and family members of $100 or more during the November 1, 2017, to November 1, 2018, period.

Susan Medak and Gregory S. Murphy In Honor of Louisa Balch Mr. David J. Pasta In Memory of Gloria J. A. Guth Patrick Hobin In Honor of Giles Havergal Susan L. Kaplan In Memory of Richard M. Kaplan Dr. Sandra L. Lillie In Honor of Dakota Lillie Dr. Margaret R. McLean In Memory of Teresa and Phillip McLean Ms. Roberta Denning In Honor of Carey Perloff Richard and Victoria Larson In Memory of Dennis Powers Bill Draper In Honor of Carey Perloff Ms. Peggy Kivel In Memory of Eva Ramos Dorothy Saxe In Honor of Carey Perloff Philip Huff In Memory of Mrs. Barbara Rosenblum Kristina Veaco In Honor of Carey Perloff Wendy, David, Marisa and Jared Robinow In Memory of Barbara Rosenblum Jacqueline L. Young In Honor of Carey Perloff and Linda Jo Fitz Rosenblum - Silverman - Sutton, SF Inc. In Memory of Mrs. Barbara Rosenblum The Kellners & The Bunises In Honor of David A. Riemer Barbara C. Ross In Memory of Barbara Rosenblum Brooke Hall In Honor of Joan W. Sadler Susan Terris In Memory of Barbara Rosenblum Jon Nakamura In Honor of Craig Slaight Ms. Carol Tessler In Memory of Barbara Rosenblum Eric and Susan Nitzberg In Honor of Craig Slaight Alan P. Winston In Memory of Deborah Rush Mr. and Mrs. Sandy Dean In Honor of Adriana Vermut Judy and Robert Aptekar In Memory of Alan Stein Fred M. Levin and Nancy Livingston In Honor of Adriana López Vermut Sally-Ann and Ervin Epstein, Jr. In Memory of Alan Stein Dan and Gloria Kearney Fund In Memory of Alan Stein Anonymous In Memory of Ruth Asawa Fred M. Levin and Nancy Livingston In Memory of Alan Stein Michael Kim In Memory of Youngmee Baik Susan Terris In Memory of Alan Stein Marilee K. Gardner In Memory of Winnie Biocini, Joey Chait, Susan and John Weiss In Memory of Alan Stein Joe Greenbach, and Roland Lampert Ms. Joy Eaton In Memory of Todd Wees

415.749.2228 33 Corporate Membership Program

A.C.T.’s Corporate Membership Program comprises businesses that understand that the arts are an essential element of healthy communities and a strong economy. Member companies 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 education and community outreach programs serving 17,000 young people across the Bay Area each year. In exchange for their generous support, A.C.T. offers an outstanding array of benefits. For more information, please contact Caitlin A. Quinn at 415.439.2436 or [email protected].

Business Leadership Council EXECUTIVE PRESENTING PRODUCING PARTNERS Nancy Livingston, Co-Chair PARTNERS PARTNERS ($15,000–$24,999) A.C.T. Chair Emerita ($50,000 +) ($25,000–$49,999) BNY Mellon Wealth Management Jamie Martin, Co-Chair Theatre Forward VP, Business Finance, PG&E

Lesley Clement, Clement & Associates Jerome L. Dodson, Parnassus OFFICIAL HOTEL PARTNER Investments DIRECTING PARTNERS Celeste Ford, Stellar Solutions ($10,000–$14,999) Kirke M. Hasson, Pillsbury Winthrop Farella Braun & Martel Shaw Pittman LLP Perkins Coie LLP Jascha Kaykas-Wolff, Mozilla Pillsbury Winthrop Shaw Janet V. Lustgarten, Kx Systems, Inc. Pittman LLP Jeffrey Minick, Bank of America David Riemer, UC Berkeley Steven L. Swig, Presidio World College STAGE PARTNERS Patrick S. Thompson, Perkins Coie LLP ($5,000–$9,999) Jeffrey W. Ubben, ValueAct Capital RBC Wealth Management Kay Yun, Health Evolution Partners Schoenberg Family Law Group

Foundations and Government Agencies The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Director of Grants and Foundation Relations Nicole Chalas at 415.439.2337 or [email protected].

$100,000 and above $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Department of Children, The Bernard Osher Anonymous California Arts Council Anonymous Youth & Their Families Foundation Walter and Elise Haas Fund The Stanley S. Langendorf Davis/Dauray Family Fund Doris Duke Charitable The Edgerton Foundation The Kimball Foundation Foundation The Bill Graham Memorial Foundation National Endowment for MAP Fund Laird Norton Family Foundation The William Randolph Hearst the Arts The Harold & Mimi Foundation Edna M. Reichmuth Foundations Steinberg Charitable Trust The Kenneth Rainin Educational Fund of The William and Flora The Virginia B. Toulmin Foundation The San Francisco Hewlett Foundation Foundation San Francisco Arts Foundation Jewels of Charity, Inc. Commission Koret Foundation The Sato Foundation San Francisco Grants The Zellerbach Family for the Arts Foundation The Shubert Foundation

34 ACT-SF.ORG Theatre Forward Current Funders List as of October 2018

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

THEATRE PACESETTERS DONORS SUPPORTERS Leslie C. Quick, Jr. and EXECUTIVES ($15,000–$24,999) ($10,000–$14,999) ($2,500–$9,999) Regina A. Quick Charitable American Express Aetna Joe Baio & Anne Griffin* Trust Foundation ($50,000+) Sarah Robertson AT&T ◆ AudienceView Mitchell J. Auslander• Sheri and Les Biller Elliott Sernel & Larry Falconio* Bank of America• Bloomberg Philanthropies DELL Foundation Ten Chimneys Foundation Citi• Paula A. Dominick• Dorsey & Whitney Foundation Sue Ann Collins* Theatermania The Hearst Foundations ◆ The Estée Lauder Bruce R. & Tracey Ewing• Dramatists Play Service, Inc. John Thomopoulos • The Schloss Family Foundation◆ • Companies Inc. Mary Kitchen & Jon Orszag* Kevin & Anne Driscoll* Ubiñas Family Charitable Trust James S. & Lynne P. Turley* ◆ • Alan & Jennifer Freedman* • KLDiscovery John R. Dutt* Michael A. Wall* Wells Fargo ◆ Frank & Bonnie Orlowski• Anthony & Diane Lembke* Jessica Farr Marsh & McLennan Lisa Orberg ◆ Lucy Fato & Matt Detmer* Mary Beth Winslow & Companies, Inc. Presidio Foresight Theatrical Bill Darby* BENEFACTORS • The Music Man Foundation◆ RBC Wealth Management Steven & Donna Gartner* Terrence P. Yanni ($25,000–$49,999) Westlake Reed Leskosky ◆ Buford Alexander & Pamela Farr• Meltwater Daniel A. Simkowitz & Glen Gillen & • The Augustine Foundation ◆ Pfizer, Inc. Mari Nakachi Michael Lawrence • • BNY Mellon Thomas C. Quick S&P Global Richard K. Greene ◆ Steven & Joy Bunson• Southwest Airlines † Evelyn Mack Truitt* Nancy Hancock Griffith* ◆ • • EY TD Charitable Foundation Isabelle Winkles Joyce & Gregory Hurst George S. Smith, Jr.* • Willkie Farr & Gallagher Jujamcyn Goldman, Sachs & Co. *National Society Membership MetLife UBS Rob Kauffman* †Includes in-kind support Morgan Stanley Jonathan Maurer & • Patti & Rusty Rueff Foundation• Gretchen Shugart ◆ Educating through Theatre Support Louise Moriarty & Stephanie Scott• •Advancing Strong Theatre Support Patrick Stack* Robin and Bob Paulson Charitable Fund For a complete list of funders visit, theatreforward.org.

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

ACORN Winery Krista Coupar Clift Hotel Kryolan Professional Make-up CyberTools for Libraries The Marker Hotel Emergency BBQ Company Moleskine First Crush Restaurant Piedmont Piano Company and Wine Bar Premium Port Wines, Inc. Hafner Vineyard Joe Tally and Dan Strauss

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 Salesforce Visa International Community Partnership The Gap Lockheed Martin Corporation State Farm Companies John Wiley and Sons, Inc. Foundation

415.749.2228 35 A.C.T. STAFF

PAM MACKINNON JENNIFER BIELSTEIN MELISSA SMITH Artistic Director Executive Director Conservatory Director

Artistic Director Emerita The Strand: Front of House M.F.A. Program Core Faculty Carey Perloff Sarah Jacquez, Strand Sound Engineer Kevin Nelson, Theater Manager Christine Adaire, Head of Voice David Whitman, House Manager and Volunteer Danyon Davis, Head of Movement Producing Director Emeritus ADMINISTRATION Usher Coordinator Peter J. Kuo, Collaboration Building James Haire Coralyn Bond, Executive Assistant and Megan Murray, Genevieve Pabon, Joy Meads, Character and Text Board Liaison Tuesday Ray, House Managers Lisa Anne Porter, Head of Text and Dialects ARTISTIC April Andrickson, Receptionist Oliver Sutton, Security Jack Sharrar, PhD, Theater History Andy Donald, Associate Artistic Director Caitlin Volz, Yale Theater Management Fellow Ramsey Abouremeleh, Monica Amitin, Melissa Smith, Head of Acting, Shannon Amitin, Forrest Choy, Bernadette Janet Foster, Director of Casting and Conservatory Director Artistic Associate Human Resources Fons, Nailah Harper-Malveaux, Anthony Hernandez, Caleb Lewis, Svetlana Karasyova, Joy Meads, Director of Dramaturgy Amanda Williams, Human Resources Director M.F.A. Program Adjunct Faculty Susan Monson, Haley Nielsen, Trever and New Works Milissa Carey, Singing, Director Amanda Roccuzzo, Human Resources Pearson, Scott Phillips, Pete Pickens, Miki Allie Moss, Literary Manager and Generalist Richmond, Travis Rowland, Tracey Sylvester, Andy Donald, Arts Leadership Artistic Associate Cevie Toure, Robyn Williams, Bartenders Julie Douglas, Improv Ken Savage, Associate Producer General Management Lauren English, The Actor’s Work Ariana Johnson, Kayla Minton Kaufman, Louisa Balch, General Manager Susan Allen, Rodney Anderson, Branden Daniel Feyer, Accompanist Artistic Fellows Bowman, Serena Broussard, Danica Burt, Amy Dalba, Associate General Manager Janet Foster, Audition Jose Camello, Barbara Casey, Wendy Chang, Sabra Jaffe, Company Manager Associate Artists Niyjale Cummings, Kathy Dere, John Doll, Anthony Fusco, Acting Christina M. Sturken, Assistant Larry Emms, Doris Flamm, Claire Gerndt, Liz Jasmin Hoo, Citizen Artistry Marco Barricelli, Olympia Dukakis, Anthony Company Manager Githuka, Carol Grace, Blue Kesler, Ryszard Mark Jackson, Performance Making Fusco, Giles Havergal, Bill Irwin, Steven Emma Penny, General/Company Management Koprowski, Sharon Lee, Sadie Li, David Darryl Jones, Acting, Director Anthony Jones, Andrew Polk, Tom Stoppard, Fellow Gregory Wallace, Timberlake Wertenbaker Linger, Joe MacDonald, Maria Markoff, Val W. D. Keith, On-Camera Acting Mason, Sam Mesinger, Edvida Moore, Kathy Finance Philip Charles MacKenzie, On-Camera Acting Coaches Napoleone, Mary O’Connell, Brandie Pilapil, Rob Fore, Chief Financial Officer Mark Saladino, Steve Salzman, Walter Heidi Marshall, On-Camera Acting Christine Adaire, Lisa Anne Porter, Sharon Boyce, Accounting Manager Schoonmaker, Michael Sousa, Melissa Stern, Seana McKenna, Acting Voice and Text May Chin, Matt Jones, Ryan Jones, Finance Dale Whitmill, Lorraine Williams, June Yee, Danielle O’Dea, Combat Danyon Davis, Movement Associates Ushers Caymichael Patten, On-Camera Acting Dave Maier, Danielle O’Dea, Fights Kari Prindl, Alexander Technique Daniel Feyer, Music Information Technology The Strand Cafe Stacey Printz, Dance Thomas Morgan, Director Rafael Monge, Cafe Manager Tiffany Redmon, Fundraising PRODUCTION Joone Pajar, Network Administrator LaRina Hazel, Barista Lindsay Saier, Stage Makeup Martin Barron, Director of Production Virginia Scott, Clowning Robert Hand, Production Manager Operations EDUCATION & COMMUNITY Elyse Shafarman, Alexander Technique Jack Horton, Production Manager Eric Brizee, Operations and Facilities Manager PROGRAMS Lisa Townsend, Director, Choreographer Marlena Schwartz, Jeffrey Warren, Assistant Facilities Manager Elizabeth Brodersen, Director of Education & Stephanie Wilborn, Citizen Artistry Assistant Production Manager Leopoldo Benavente, Matt Stewart-Cohn, Community Programs Chris Lundahl, Design and Production Associate Facilities Crew Members Vincent Amelio, School & Community Programs Studio A.C.T. Michelle Symons, Curtis Carr, Jr., Jesse Nightchase, Operations Manager Mark Jackson, Program Director Conservatory Production Manager Timothy Ward, Security Vanessa Ramos, School Programs Manager Liz Anderson, On-Camera Acting, Improv Conservatory Design and Jaime Morales, Geary Cleaning Foreman Haley Miller, Stephanie Wilborn, Heidi Carlsen, Acting, Voice, Movement Production Associate Jamal Alsaidi, Jeaneth Alvarado, Lidia Community Programs Manager Julie Douglas, Acting, Clown Sean Key-Ketter, Godinez, Geary Cleaning Crew Jarrett Holley, School Programs Associate Francie Epsen-Devlin, Musical Theater Conservatory Technical Director Elizabeth Halperin, Student Matinees Paul Finocchiaro, Acting Miranda Erin Campbell, Conservatory Development Hannah Clague, School & Community Margo Hall, Acting Production and Stage Management Coordinator Caitlin A. Quinn, Director of Development Programs Fellow Lavine Leyu Luo, Tiffany Redmon, Deputy Director of W. D. Keith, Acting Production Management Fellow Development YOUNG CONSERVATORY Drew Khalouf, Speech, Shakespeare Nicole Chalas, Director of Grants and Jill MacLean, Craig Slaight Director of the Young Kari Prindl, Alexander Technique Stage Management Foundation Relations Conservatory Mark Rafael, Acting Elisa Guthertz, Head Stage Manager Jody Price, Director of Special Events Sophia Nguyen, Young Conservatory & Studio Katie Rubin, Stand-Up Comedy, Acting Dani Bae, Samantha Greene, Elisa Guthertz, Hillary Bray, Donor Relations and A.C.T. Associate Patrick Russell, Acting, Clown Christina Hogan, Leslie M. Radin, Memberships Manager Rahel Zeleke, Young Conservatory Naomi Sanchez, Musical Theater Cristine Reynolds, Stage Managers Renée Gholikely, Development Research and Administrative Assistant Michael Gene Sullivan, Playwriting Cheryle Honerlah, Maggie Manzano, Prospect Manager Andy Alabran, Acting Caitlyn Tella, Movement Chris Waters, Hannah Woodward, Stephanie Swide, Development Operations Cristina Anselmo, Acting Assistant Stage Managers Laura Wayth, Acting, Musical Theater Manager Enrico Banson, Musical Theater Amanda Marshall, Production Assistant Emily Remsen, Special Events Associate Denise Blase, Musical Theater Professional Development Brianna Grabowski, Miranda Ramos, Taylor Steinbeck, Development Assistant Musical Theater Noah Usher, Stage Management Fellows Kimberly Braun, Liz Anderson, Fontana Butterfield, Mark Mads Leigh-Faire, Special Events Fellow Nancy Gold, Physical Character, Acting Rafael, Katie Rubin, Patrick Russell, Ashley Mareira, Development Fellow Prop Shop Dan Griffith, Movement Radhika Rao Abo Greenwald, Interim Supervisor Jane Hammett, Musical Theater Marketing & Public Relations Conservatory Accompanists W. D. Keith, Director Syche Phillips, Interim Director of Marketing Lynden James Bair, Daniel Feyer, Christopher Costume Shop Domenique Lozano, Director, Acting Simone Finney, Digital Content Manager Hewitt, Louis Lagalante, Paul McCurdy, Jessie Amoroso, Costume Director Danielle O’Dea, Stage Combat Simon Hodgson, Publications Manager Thaddeus Pinkston, Naomi Sanchez Callie Floor, Rentals Manager Thaddeus Pinkston, Accompanist Kevin Kopjak/Charles Zukow Associates, Keely Weiman, Build Manager/Draper Public Relations Counsel Corinna Rezzelle, Musical Theater Library Staff Jef Valentine, Inventory Manager Matt Mullin, Senior Graphic Designer Lauren Rosi, Musical Theater Joseph Tally, Head Librarian Maria Montoya, Head Stitcher Dani Karonis, Graphic Designer Vivian Sam, Musical Theater, Dance G. David Anderson, Theresa Bell, Laurie Kelly Koehn, Accessories & Crafts Artisan Beryl Baker, Digital Content Associate Lauren Spencer, Acting Bernstein, Helen Jean Bowie, Bruce Carlton, Barbara Cohrssen, William Goldstein, Pat Chanterelle Grover, First Hand Elspeth Sweatman, Publications Associate Trish Tillman, Acting Victoria Mortimer, Costume Administrator Valerie Weak, Acting Hunter, Connie Ikert, Ashok Katdare, Martha Miranda Ashland, Marketing Assistant Kessler, Nelda Kilguss, Barbara Kornstein, Nina Bice, Kinsey Thomas, Costume Fellows Krista Wigle, Musical Theater Aaron Higareda, Marketing Fellow Patricia O’Connell, Roy Ortopan, Maida Annie Sears, Publications Fellow Wig Shop Paxton, Connie Pelkey, Christine Peterson, CONSERVATORY Dana Rees, Roger Silver, Whitney Spaner, Lindsay Saier, Wig Master Ticket Services Peter J. Kuo, Associate Conservatory Director Jane Taber, Aileen Thong, Susan Torres, Lyre Alston, Wigs Fellow Ian Fullmer, Director of Ticket Services Christopher Herold, Director of Summer Joyce Weisman, Jean Wilcox, Marie Wood, Mark C. Peters, Subscriptions Manager Training Congress Library Volunteers STAGE STAFF David Engelmann, Head Treasurer Jack Sharrar, PhD, Director of Academic Affairs Accreditation Elizabeth Halperin, Assistant Head Treasurer Jerry Lopez, Director of Financial Aid The Geary: A.C.T. is accredited by the Accrediting Anthony Miller, Group Sales Sophia Nguyen, Young Conservatory & Studio Miguel Ongpin, Head Carpenter A.C.T. Associate Commission for Senior Colleges and Scott Tignor, Subscriptions Coordinator Universities of the Western Association of Suzanna Bailey, Head Sound Callie Garrett, Conservatory Associate, Andy Alabran, Liam Blaney, Richard Claar, Schools and Colleges (WASC), 985 Atlantic Academic Programs Amy Domjan, Head Electrician Peter Davey, Leontyne Mbele-Mbong, Alex Avenue, Suite 100, Alameda, CA 94501, Colin Wade, Flyman Mechanic, Katharine Torres, Treasurers Matt Jones, Bursar/Payroll Administrator 510.748.9001, an institutional accrediting Mary Montijo, Wardrobe Supervisor Miranda Reilly, Young Conservatory/Studio body recognized by the Council on Diane Cornelius, Assistant Wardrobe Supervisor A.C.T. Fellow Postsecondary Accreditation and the U.S. Loren Lewis, Joe Nelson, Stage Door Monitors Hannah Rosenzweig, Department of Education. Conservatory/Academic Fellow

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

PAM MACKINNON (Artistic Bruce Norris’s Clybourne Park (Obie Award for Excellence in Director) is celebrating her inaugural Direction, Tony and Lucille Lortel nominations). After five season as A.C.T.’s fourth artistic years as board chair of Clubbed Thumb, a downtown New director. She is a Tony, Drama Desk, and York theater company dedicated to new American plays, she Obie Award–winning director, having sits on its advisory board. She is an artistic associate of the directed upwards of 70 productions Roundabout Theatre Company, a Usual Suspect of New York around the country, off Broadway, and Theatre Workshop, and an alumna of the Drama League, on Broadway. Her Broadway credits Women’s Project, and Lincoln Center Theater’s Directors’ include Beau Willimon’s The Parisian Woman (with Uma Labs. She is also the executive board president of the Stage Thurman), Amelie: A New Musical, David Mamet’s China Directors and Choreographers Society (SDC). She grew up in Doll (with Al Pacino), Wendy Wasserstein’s The Heidi Toronto, Canada, and Buffalo, New York, acted through her Chronicles (with Elisabeth Moss), Edward Albee’s A Delicate teens, but majored in economics and political science at the Balance (with Glenn Close and John Lithgow), Edward University of Toronto and briefly pursued a PhD in political Albee’s Who’s Afraid of Virginia Woolf? (Tony Award, Drama science at UC San Diego, before returning to her true Desk Award, and Outer Critics Circle nomination), and passion: theater.

JENNIFER BIELSTEIN (Executive Theatres, Theatre Forward, the Arts and Cultural Director) joins A.C.T. with more than 25 Attractions Council, and other civic boards. She has years of theater management received the Center for Nonprofit Excellence’s Pyramid experience. She is currently president Award of Excellence in Leadership, and has been of the League of Resident Theatres recognized as one of Louisville’s Business First’s 40 (LORT)—an organization that Under 40. In 2017, Bielstein was named by Twin Cities represents 74 theaters nationwide— Business as a Person to Know, and, in 2018, Minnesota having previously served as LORT’s Business magazine named her as a Real Power 50 vice president; chair of its Equity, Diversity, and Inclusion member. Bielstein is a graduate of the University of North Committee; secretary; and on multiple union negotiating Carolina at Chapel Hill, attended Stanford’s Graduate teams. Before relocating to the Bay Area, Bielstein was the School of Business Executive Program for Nonprofit managing director of the Guthrie Theater in Minneapolis, Leaders in the Arts, and earned an MBA from Bellarmine managing director of Actors Theatre of Louisville, and University, where she received the MBA Faculty Merit executive director of Writers Theatre in Chicago. She has Award and was inducted into Beta Gamma Sigma, the also worked for Steppenwolf Theatre Company, About Face honor society for business programs. Theatre, Northlight Theatre, and the Lincoln Park Zoo, as well as serving on the boards of the League of Chicago

MELISSA SMITH (Conservatory leadership of the Conservatory, Smith was the director of Director, Head of Acting) has served as the Program in Theater and Dance at Princeton University. Conservatory director and head of She has taught acting classes to students of all ages in acting in the Master of Fine Arts various colleges, high schools, and studios around the Program at A.C.T. since 1995. During continental United States, at the Mid-Pacific Institute in that time, she has overseen the Hawaii, New York University’s La Pietra campus in expansion of the M.F.A. Program from Florence, and the Teatro di Pisa in San Miniato, Italy. She is a two- to a three-year course of study featured in Acting Teachers of America: A Vital Tradition. and the further integration of the M.F.A. Program faculty Also a professional actor, she has performed regionally at and student body with A.C.T.’s artistic wing, while also the Hangar Theatre, A.C.T., the California Shakespeare teaching and directing in the M.F.A. Program, Summer Festival, and Berkeley Repertory Theatre; in New York at Training Congress, and Studio A.C.T. In 2013, she launched Primary Stages and Soho Rep.; and in England at the the San Francisco Semester, a semester-long intensive that Barbican Centre in London and Birmingham Repertory deepens students’ acting. In 2016, she was honored by Theatre. Smith holds a BA from Yale College and an MFA in Theatre Bay Area as one of 40 individuals who have acting from Yale School of Drama. changed the face of Bay Area theater. Prior to assuming

415.749.2228 37 F.Y. I .

AFFILIATIONS ADMINISTRATIVE OFFICES REFRESHMENTS Full bar service, sweets, and savory items are A.C.T. is a constituent of Theatre A.C.T.’s administrative and conservatory available one hour before the performance in Communications Group, the national offices are located at 30 Grant Avenue, San Fred’s Columbia Room on the lower level and organization for the nonprofit professional Francisco, CA 94108, 415.834.3200. On the the Sky Bar on the third level. You can avoid theater. A.C.T. is a member of Theatre Bay web: act-sf.org. the long lines at intermission by preordering Area, the Union Square Association, the San food and beverages in the lower- and third- Francisco Chamber of Commerce, and the BOX OFFICE INFORMATION level bars. Bar drinks are now permitted in San Francisco Convention & Visitors Bureau. the theater. A.C.T. BOX OFFICE Visit us at 405 Geary Street at Mason, next to CELL PHONES A.C.T. operates under an agreement the theater, one block west of Union Square; If you carry a pager, beeper, cell phone, or between the League of Resident Theatres or at 1127 Market Street at 7th Street, watch with an alarm, please make sure that and Actors’ Equity Association, the union of across from the UN Plaza. Walk-up hours it is set to the “off” position while you are professional actors and stage managers in are Tuesday–Sunday (noon–curtain) on in the theater. Text messaging during the the United States. performance days, and Monday–Friday performance is very disruptive and not allowed. The Director is a member of the STAGE (noon–6 p.m.) and Saturday–Sunday DIRECTORS AND CHOREOGRAPHERS PERFUMES (noon–4 p.m.) on nonperformance days. SOCIETY, a national theatrical labor union. (For Strand Box Office walk-up hours, please The chemicals found in perfumes, colognes, visit act-sf.org.) Phone hours are Tuesday– and scented aftershave lotions, even in The scenic, costume, lighting, and sound Sunday (10 a.m.–curtain) on performance small amounts, can cause severe physical designers in LORT theaters are represented days, and Monday–Friday (10 a.m.–6 p.m.) reactions in some individuals. As a courtesy to by United Scenic Artists, Local USA-829 of and Saturday–Sunday (10 a.m.–4 p.m.) on fellow patrons, please avoid the use of these the IATSE. nonperformance days. Call 415.749.2228 and products when you attend the theater. use American Express, Visa, or MasterCard; The scenic shop, prop shop, and stage crew or fax your ticket request with credit card EMERGENCY TELEPHONE are represented by Local 16 of the IATSE. information to 415.749.2291. Tickets are also Leave your seat location with those who available 24 hours a day on our website at may need to reach you and have them call 415.439.2317 in an emergency. A.C.T. is supported in part by an award from act-sf.org. All sales are final, and there are no the National Endowment for the Arts. refunds. Only current ticket subscribers and LATECOMERS those who purchase ticket insurance enjoy Performances begin promptly, and late ticket exchange privileges. Packages are A.C.T. is supported in part by a grant from seating is at the house manager’s discretion. Grants for the Arts. 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 to sign up. Find the sound system and make a disruptive noise. us on Facebook and Twitter for other great RESTROOMS deals. Beginning two hours before curtain, Gender diversity is welcome at A.C.T. We a limited number of discounted tickets invite audiences to use the restroom that are available to seniors (65+), educators, best fits your gender identity or expression. If administrators, and full-time students. For preferred, a single-user restroom can be found matinee performances, all seats are just $20 on the 5th floor. for seniors (65+). Valid ID required—limit one ticket per ID. Not valid for Premiere Wheelchair Seating is located Orchestra seating. All rush tickets are subject in Fred’s Columbia Room on the MEZZANINE 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, call Anthony Miller A.C.T. is pleased to announce that an Automatic at 415.439.2424. External Defibrillator (AED) is now available in the house management closet in the lobby AT THE THEATER of The Geary. A.C.T.’s Geary Theater is located at 415 Geary Street. The lobby opens one hour before LOST AND FOUND curtain. Bar service and refreshments are If you’ve misplaced an item while you’re available one hour before curtain. The theater still at the theater, please look for it at our opens 30 minutes before curtain. merchandise stand in the lobby. Any items found by ushers or other patrons will be taken ABOUT OUR PLAYS there. If you’ve already left the theater, please BALCONY Copies of Words on Plays, A.C.T.’s in-depth call 415.439.2471 and we’ll be happy to check performance guide, are on sale in the main our lost and found for you. Please be prepared lobby, at the theater bars, at the box office, with the date you attended the performance and online at act-sf.org/wordsonplays. and your seat location.

38 ACT-SF.ORG NEW YORK CITY, 1863: A GROUP OF AMERICANS LIVED IN THE FUTURE...

NOW PLAYING · RODA THEATRE Left to right: Sidney Dupont, A.J. Shively, Christina Sajous, Jacob Fishel, Daren A. Herbert, and Madeline Trumble

“Shows that theater can provide not just escape but sometimes a glimpse of the divine” —TIME MAGAZINE

“Entrancing... an evening of almost magical changes, wrought through the unique imagery of theater” —CHICAGO TRIBUNE

Based on the myths of Ovid Written and Directed by Mary Zimmerman from the translation by David R. Slavitt Co-production with the Guthrie Theater STARTS JAN 24 · PEET’S THEATRE

Call 510 647-2949 · Click berkeleyrep.org SEASON SPONSORS

Untitled-1 1 11/30/18 2:14 PM 18 19 UP NEXT AT THE GEARY

JOIN OUR NEXT CHAPTER WITH NEW ARTISTIC DIRECTOR PAM MACKINNON AND NEW EXECUTIVE DIRECTOR JENNIFER BIELSTEIN

SUBSCRIBE TODAY act-sf.org/join 415.749.2228 A BUZZER-BEATING, SLAM-DUNK SPORTS DRAMA

19TH-CENTURY CLASS, 21ST-CENTURY SASS THE ABSURD IS REAL