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Home , Colman Domingo, Danny Hoch, Equus (play), Jackie Sibblies Drury, John Frykman, John Macaluso

aids in the today 25 · 4 questions for the cast 27 · The program for : A Gay Fantasia on National Themes 33

THE BERKELEY REP MAGAZINE 2017–18 · ISSUES 5–6

AG_program.indd 1 4/4/18 3:54 PM Encore spread.indd 1 2/28/18 3:55 PM Encore spread.indd 1 2/28/18 3:55 PM AG_program.indd 4 4/4/18 3:54 PM IN THIS ISSUE

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BERKELEY REP PRESENTS MEET THE CAST & CREW · 34 ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES · 33

PROLOGUE A letter from the artistic director · 7 Connect with us online!

A letter from the managing director · 8 Visit our website berkeleyrep.org facebook.com/ @berkeleyrep You can buy tickets and plan your visit, berkeleyrep watch videos, sign up for classes, donate to vimeo.com/ @berkeleyrep REPORTS the , and explore Berkeley Rep. berkeleyrep The Messenger has arrived: berkeleyrep. berkeleyrep The of theatrical flying ·13 We’re mobile! tumblr.com Crossing paths: Download our free iPhone or Google Play app —or visit our mobile site —to buy tickets, read An intergenerational conversation · 16 the buzz, watch videos, and plan your visit. June 2018, when 21 Ground Floor projects roam · 19 Considerations

FEATURES Only beverages in cans, cartons, or cups with You are welcome to take a closer look, but The Origin Story · 20 lids are allowed in the house. Food is prohibited please don’t step onto the stage or touch in the house. the props. Tinkering and tinkering: An interview with and Tony Taccone · 21 Smoking and the use of e-cigarettes is prohibited Any child who can quietly sit in their own by law on Berkeley Rep’s property. seat for a full performance is welcome at In free fall: A snapshot of aids in the mid-1980s · 23 Berkeley Rep. Please inquire if you have aids in the United States today · 25 Please keep perfume to a minimum. Many questions about content or language. All patrons are sensitive to the use of perfumes attendees must be ticketed: please, no No apologies: The life of · 26 and other scents. babes in arms.

4 questions for the cast · 27 Please make sure your cell phone or watch alarm If you leave during the performance, we may What do Prior Walter and Roy Cohn have in will not beep. Use of recording equipment or taking not be able to reseat you until an appropriate common? Artist-in-residence Stephen Spinella · 29 of photographs of the show is strictly prohibited. break. You may watch the remainder of the act on a lobby or bar . Years prophetical! · 30

CONTRIBUTORS THE BERKELEY REP MAGAZINE Foundation, corporate, and in-kind sponsors · 45 2017–18 · ISSUES 5–6 Individual donors · 46 The Berkeley Rep Magazine Editor Writers Contact Berkeley Rep is published at least seven times Karen McKevitt James Dinneen Box Office: 510 647-2949 per season. Anthony Jackson Groups (10+): 510 647-2918 Michael Leibert Society · 48 Art Director Sarah Rose Leonard Admin: 510 647-2900 For local advertising inquiries, Nora Merecicky Madeleine Oldham School of Theatre: 510 647-2972 please contact Pamela Webster at Graphic Designer Arielle Rubin Click berkeleyrep.org 510 590-7091 or ABOUT BERKELEY REP Email [email protected] [email protected]. Kendall Markley Staff, of trustees, and sustaining advisors ·50

2017–18 · ISSUES 5–6 · THE BERKELEY REP MAGAZINE · 5

AG_program.indd 5 4/4/18 3:54 PM April 2018 Volume 50, No. 5 & 6

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6 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

AG_program.indd 6 4/4/18 3:54 PM PROLOGUE from the Artistic Director

The state of our Union has always been pre- carious. American history is the history of constant struggle, between those trying to foment change and those trying to maintain some version of the status quo. The very nature of our democracy, straddling the line between giving voice to every opinion while maintaining civility and respect for the law, is always exposed to discord and upheaval. It is a precarious balance at best, and when that balance is undone, when the Marginalized are ignored or oppressed to the point of despair, polarization sets in, unleashing waves of hatred and violence. Never more so than now. Led by our President, who seems hell-bent on destroy- ing that balance, expressions of generosity towards our political opponents seem to have all but evaporated. Every new tweet from the White House brings a new outpouring of bile, accusing anyone who disagrees with the administration of being a liar, a cheat, or a traitor. Fueled by this behavior, a seismic political and cultural shift is underway, an attempt by ultra-conservative forces to assert their worldview over the entire country. Not only are the progressive ideals and legislative gains of the last 80 years under attack, but truth itself. “Fake news” has become part of our lexicon. There is no objective truth, these people tell us, save for what serves the individual. Every transaction—political, economic, sexual—is fueled primarily by the ruthless code of self-interest and the correctness of their old world order. Amidst the chaotic, day-to-day fights over various issues, another, larger struggle has emerged…a strug- gle over the definition of human nature: whether we see ourselves through the prism of our basest animal instincts or the “angels of our better nature.” Which brings me to Angels in America. My favorite play by my favorite writer. One Tony Kushner: True Great Vocalist, Knowing Mind, Tongue-of-the-Land, Seer-Head! With its fierce dissection of America’s political power, its championing of democ- racy, and its embracing of all things human, Kushner’s play is a spectacular, visionary portrait of our country. Its vast assortment of themes all emanate from the central, animating question: Can we change? In time. Before it’s too late. Do we have the vision necessary to re-imagine our democracy, the will to sustain a society built on equality and inclusion, the courage to look at our prejudices, to look beyond our personal experience and commit to the greater good? These questions are more pressing than ever. We can only hope that our answers approach the tran- scendent optimism of the play. It is a great gift to present Angels to you. We have tapped the full measure of our resources and skills to realize its astonishing, imaginative reach. Thank you for sup- porting our efforts, for actively participating in the conversation, and for being open. We love you for that….

Sincerely,

Tony Taccone

2017–18 · ISSUES 5–6 · THE BERKELEY REP MAGAZINE · 7

AG_program.indd 7 4/4/18 3:54 PM PROLOGUE from the Managing Director

As Tony Taccone has been looking toward the end of his long and successful tenure as artistic director of Berkeley Rep, there have been projects he has wanted, maybe even needed, to be able to mark as “done” and artists whom he has wanted to recognize. Angels in America is one of those undertakings that Tony absolutely needed to revisit before he left. We have talked about this remarkable American masterpiece for many years, and it is altogether fitting that in this, his penultimate season, we should finally undertake this theatrical equivalent of Mt. Everest. However, it is next season, Tony’s last, that represents so much of the thoughtfulness that has shaped our programming for 20 years. It includes the return of director Les Waters, who will helm A Doll’s House, Part 2, a wildly funny riff on Ibsen’s classic of early feminism. And we are proud to introduce you to , whose play Fairview—a fearless and fascinating exploration of race in America—was incubated in our Ground Floor Summer Residency Lab. Associate Director Lisa Peterson and her collaborator Denis O’Hare return for the first time since An Iliad with The Good Book, a timely exploration of our relationship to the Bible. And, we re-introduce you to Geoff Sobelle (who was last at Berkeley Rep with All Wear Bowlers in 2006), a terrifically exciting artist whose Home plays with form and structure in a way that we think you will love. In the tradition of our varied and always surprising adventures in music theatre, we are so proud to offer you a new musical, Paradise Square, that brings together director Moisés Kaufman (The Laramie Project), local playwright Marcus Gardley (The House that will not Stand) along with Craig Lucas (Amélie), choreographer Bill T. Jones (Spring Awakening), and lyricist Nathan Tyson (Amélie) for an epic story set during the Civil War when race and draft riots threatened to tear ’s Five Points neighborhood apart. This show brings back artists we love while introducing you to fresh new faces. It seems so right that will return with a reprise of a classic Britex is natty that may be among the most beloved plays in our history, , in as always in our which ’s stories will once again come vividly to life from primal waters set in our intimate Peet’s Theatre. And lest you wonder where will Tony be, he has yet to new location. pick his final project of the season. But, even knowing Tony as as I do, I wouldn’t predict which Tony it will reflect: the earnest, ironic, irreverent, or iconic. I just know that I’m going to want to be here to see it. Visit us. No single play embodies just one reason to take its place in Tony’s final season. But together I’d say they are quintessential Taccone. I hope you will join us as a 117 Post Street season subscriber for the 2018–19 season and help us make Tony’s final season a resounding success.

Warmly,

Susan Medak 415.392.2910

8 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

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EAP full-page template.indd 1 12/12/17 9:50 AM “It’s not only my 21st and final season as Berkeley Rep’s artistic director, but also Berkeley Rep’s 50th anniversary. People have been asking me what CELEBRATE 2018–19 kinds of plays I’ll choose to commemorate these milestones. My answer? Keep producing audacious work by masterful artists who tell Join us for our 50th anniversary season! us urgent, captivating, and entertaining stories.” —TONY TACCONE, MICHAEL LEIBERT ARTISTIC DIRECTOR Subscribe today for the best seats at the best prices Ticket packages on sale now berkeleyrep.org/sub

Metamorphoses Based on the myths of Ovid Written and directed by Mary Zimmerman A Doll’s House, Part 2 from the translation by David R. Slavitt By Lucas Hnath Main Season · Peet’s Theatre Directed by Les Waters Starts January 2019 Main Season · Roda Theatre Starts September 2018 Berkeley Rep presented Mary Zimmer- Mary man’s breathtaking Metamorphoses Zimmerman’s Welcome to A Doll’s House, Part 2—a fiercely intelligent and Paradise Square: at the turn of the millennium—it later theatrically scintillating play that delighted audiences both on received a Broadway run and gar- signature Broadway and off. A New Musical nered her a Tony Award. She’s become tour de force Who’s that knocking on the door? Nora is Main Season · Roda Theatre a Berkeley Rep favorite, enthralling au- “Smart, back in this audacious Tony Award-nomi- World premiere diences with eight gorgeous productions. nated comedy. It’s been 15 years since she Starts December 2018 Don’t miss your chance to experience her funny and slammed that same door on her marriage signature tour de force, the provocative and utterly and children in the revolutionary final -winning director Moisés Kaufman (The Laramie mesmerizing Metamorphoses. The Good Book engrossing” scene of Ibsen’s signature play. Now a Project and ), award-winning playwrights Marcus Gardley (The House that will not Stand) Dreams and reality collide with gods and mortals in Mary Zim- By Denis O’Hare and Lisa Peterson —New York Times successful yet scandalous writer, she’s merman’s ode to the power of love—and the shadows that lurk Directed by Lisa Peterson being blackmailed by a judge and needs her and Craig Lucas (Amélie), and lyricist Nathan Tysen (Amélie) return to Berkeley beneath it. From a 24-foot wading pool in our intimate 400-seat Main Season · Peet’s Theatre former husband’s help. But her family has a theatre, she summons Ovid’s classical tales of passion, betrayal, Starts April 2019 few grievances they need to air first. Rep along with Tony Award-winning choreographer Bill T. Jones to bring you hope, and transformation, inviting us into a realm of shared cul- Denis O’Hare and Lisa Peterson (the team behind An Iliad) apply No worries—familiarity with Ibsen is not required to utterly, this incredible musical based on extraor- World tural myths and beautiful, unshakable visions. their formidable creative energy to unearth the all-too-human thoroughly, and unequivocally enjoy this play. dinary real-life stories. Premiere Co-production with formation of the most influential book in Western history— Co-production with Huntington Theatre Company It’s 1863 and in a 20-block area of Man- Musical the Bible. hattan known as the Five Points, Black This powerful play weaves together three distinct yet connected and Irish Americans live side by side, work stories: a devout young man struggling to reconcile his belief together, marry, and for a brief period realize with his identity; an atheist biblical scholar trying to find meaning racial harmony. However, the intensifying Civil Home as she faces her own mortality; and the creative journey of the Fairview War soon results in the first-ever Federal draft, leading to riots as Created by Geoff Sobelle Bible itself—from ancient Mesopotamia to medieval Ireland to By Jackie Sibblies Drury Whites are called to enlist while Blacks are barred from serving. Scenic Conception by Steven Dufala suburban America—through the many hands, minds, hearts, and Directed by Sarah Benson Will the hard-won bonds of friendship, community, and family in Directed by Lee Sunday Evans circumstances that molded this incredibly potent testament to Limited Season · Peet’s Theatre the Five Points prevail or be severed forever? Original songs by Elvis Perkins the human spirit. World premiere Limited Season · Roda Theatre Calling upon a variety of musical and dance traditions including Starts March 2019 Starts October 2018 Irish step-dancing and African traditional forms (Juba dancing), as Witness the work of Jackie Sibblies Drury—one of the brightest well as new ones created from their fusion (tap dance), Paradise Straight from acclaimed performances at bam in New York and voices in American theatre today—as she tackles our thorniest Square subverts and reframes some of the most popular music venues around the world, Obie Award-winning physical theatre questions about society and race in a fully unpredictable and of the 19th century while honoring and celebrating this unique artist Geoff Sobelle and his ensemble of actors, dancers, and de- Plus one more play thrilling theatrical experience. neighborhood’s diverse inhabitants, whose passionate, moving, signers treat you to an enchanting visual and immersive spectacle. to be announced— It begins simply enough: It’s Grandma’s birthday, and Beverly and heartbreaking experiences burn in our imaginations today. Right before your eyes, a two-story house is conjured from the needs the family’s celebration to be perfect. But her husband is Paradise Square is produced by special arrangement with Garth H. Drabinsky in association shadows. Residents past, present, and future rollick through its directed by Tony Taccone! no help, her brother hasn’t arrived, and her teenage daughter may with Peter LeDonne and Teatro Proscenium Limited Partnership rooms in an impromptu dance that defies time and space, mag- be in trouble. What’s more, they are being watched…and judged. ically transforming our mundane everyday tasks into a glorious, Soon, the attitudes and assumptions of these watchers begin to intimate, and profound celebration. manifest in the family’s celebration, forcing them to fight for their A dreamlike infusion of illusion, live music, story, and ingenious SEASON SPONSORS very identities. engineering, this captivating show invites you to make its house In association with Soho Rep your Home.

AG_program.indd 10 4/5/18 9:37 AM AG_program.indd 11 4/5/18 9:37 AM “It’s not only my 21st and final season as Berkeley Rep’s artistic director, but also Berkeley Rep’s 50th anniversary. People have been asking me what kinds of plays I’ll choose to commemorate these milestones. My answer? Keep producing audacious work by masterful artists who tell us urgent, captivating, and entertaining stories.” —TONY TACCONE, MICHAEL LEIBERT ARTISTIC DIRECTOR

Metamorphoses Based on the myths of Ovid Written and directed by Mary Zimmerman from the translation by David R. Slavitt Main Season · Peet’s Theatre Starts January 2019 Berkeley Rep presented Mary Zimmer- Mary man’s breathtaking Metamorphoses at the turn of the millennium—it later Zimmerman’s received a Broadway run and gar- signature nered her a Tony Award. She’s become tour de force a Berkeley Rep favorite, enthralling au- diences with eight gorgeous productions. Don’t miss your chance to experience her signature tour de force, the provocative and mesmerizing Metamorphoses. The Good Book Dreams and reality collide with gods and mortals in Mary Zim- By Denis O’Hare and Lisa Peterson merman’s ode to the power of love—and the shadows that lurk Directed by Lisa Peterson beneath it. From a 24-foot wading pool in our intimate 400-seat Main Season · Peet’s Theatre theatre, she summons Ovid’s classical tales of passion, betrayal, Starts April 2019 hope, and transformation, inviting us into a realm of shared cul- Denis O’Hare and Lisa Peterson (the team behind An Iliad) apply tural myths and beautiful, unshakable visions. their formidable creative energy to unearth the all-too-human Co-production with Guthrie Theater formation of the most influential book in Western history— the Bible. This powerful play weaves together three distinct yet connected stories: a devout young man struggling to reconcile his belief with his identity; an atheist biblical scholar trying to find meaning Home as she faces her own mortality; and the creative journey of the Created by Geoff Sobelle Bible itself—from ancient Mesopotamia to medieval Ireland to Scenic Conception by Steven Dufala suburban America—through the many hands, minds, hearts, and Directed by Lee Sunday Evans circumstances that molded this incredibly potent testament to Original songs by Elvis Perkins the human spirit. Limited Season · Roda Theatre Starts March 2019 Straight from acclaimed performances at bam in New York and venues around the world, Obie Award-winning physical theatre artist Geoff Sobelle and his ensemble of actors, dancers, and de- Plus one more play signers treat you to an enchanting visual and immersive spectacle. to be announced— Right before your eyes, a two-story house is conjured from the shadows. Residents past, present, and future rollick through its directed by Tony Taccone! rooms in an impromptu dance that defies time and space, mag- ically transforming our mundane everyday tasks into a glorious, intimate, and profound celebration. A dreamlike infusion of illusion, live music, story, and ingenious SEASON SPONSORS engineering, this captivating show invites you to make its house your Home.

AG_program.indd 11 4/5/18 9:37 AM AG_program.indd 12 4/4/18 3:54 PM REPORT

Clockwise from top right Ellen McLaughlin and Kathleen Chalfant in For Peter Pan on her 70th The Messenger has arrived: birthday in the 2015–16 season (photo by Kevin Berne); the beginnings of the angel wings in Berkeley Rep’s costume shop; Flying by Foy staff work with Christina Sajous during a rehearsal for American The art of theatrical flying Idiot in the 2009–10 season BY ARIELLE RUBIN

In a shower of unearthly white concert tours, and television produc- From there, the aerial company starts light, spreading great opalescent gray-sil- tions worldwide. Established in 1975, to ask the technical questions about ver wings, the Angel descends through the leading theatrical flying service has the facility and the design elements. the ceiling into the room and floats above worked with Berkeley Rep on many After ascertaining the size of the the- the bed. productions, most recently For Peter atre and the available fly space, Flying The Angel crashing through the Pan on her 70th birthday in the 2015–16 By Foy can begin to shape the vision ceiling in Prior’s bedroom is perhaps season. Together the two organiza- into reality. the most iconic and memorable stage tions select the best flying systems for For Angels in America, Berkeley Rep direction in Angels in America. This each individual production. expressed an interest in multi-dimen- epic moment is all at once thrilling and “It starts with the creative end,” sional, fluid movement which provides a frightening, graceful and magical. How says Joe McGeough, director of “larger feeling of grandeur,” as Produc- does the magic happen? Berkeley Rep operations at Flying By Foy. When tion Manager Peter Dean describes it. It collaborated with longtime partner Fly- working with an organization he asks was also important that the Angel fly ing By Foy to choreograph and execute the questions, “What do you want to and control herself in an effortless man- the flying effects in Angels in America. accomplish? What is the flying like in ner to create the grandest yet safest Flying By Foy provides flying this show?” By establishing the artistic spectacle. Thus, the team determined systems and state-of-the-art automa- vision, Flying By Foy can better under- an automated system (as opposed to tion for numerous arts organizations, stand the scope of the flying needs. CONTINUED ON NEXT PAGE

2017–18 · ISSUES 5–6 · THE BERKELEY REP MAGAZINE · 13

AG_program.indd 13 4/4/18 3:54 PM CONTINUED FROM PREVIOUS PAGE a manual pendulum or pulley system) would provide the most mobility for the show. Flying By Foy’s Aereography® MEET US IN THE BAR! system is a 3D design tool that allows Join us for signature them to digitally choreograph the flying cocktails, wines, craft beer, effects for the production. Instead of and delectable treats. a 2D system that only moves up and Open before and after the show, down, or side to side, the automated and during intermission system permits a flying path that moves smoothly through space. This method also enables the company to program all the movement before even arriving in the theatre. Then, when they finally get to the space and install the equipment, they can fine tune with the director as needed. In addition to working with the director and production manager, Flying By Foy also consults performers, technicians, and designers to guar- antee cohesiveness amongst all the production elements. When consider- ing what flying equipment to use, the company talked with Scenic Designer Takeshi Kata to make sure everything fit comfortably in the space, particu- larly when the ceiling gives way during the Angel’s extraordinary entrance. Flying By Foy also communicated with Costume Designer Montana Blanco regularly, as costumes interact the most with the flying technology itself. Costumes serve an important role because they must simultaneously mask the harness without inhibiting it. The Angel wings provide an especially exciting challenge in Angels in America given their spectacular size and weight, so Montana and Flying By Foy worked together to ensure the wings interact in harmony with the flying equipment. To help actors prepare for their flying roles, Flying by Foy teaches best techniques and skills. With this training the actors gain extra confidence and are more relaxed and in control of their flight. art | garden | nature The entrance of the Angel is one of terror, but it is also one of en- chantment, creating an unforgettable $2 Off General Admission moment of exhilaration and grace. No with Code: ANGELS matter the equipment used, there is a sense of magic when a person flies through the air. Maybe this speaks to the essential human desire to connect 86 Cañada Road, Woodside, CA 94062 with the world beyond, or maybe we www.filoli.org | 650-364-8300 | [email protected] just like flying. Either way, Flying By Foy allows the magic to take flight.

14 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

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EAP full-page template.indd 1 3/12/18 9:08 AM REPORT

Crossing paths: An intergenerational conversation EDITED BY ANTHONY JACKSON

Sumayya Bisseret-Martinez

What happens when Jim: I grew up in in a fami- she could. She didn’t throw me out we forget where we came from? What ly that was very religiously conservative. of the house. But she was totally at a happens if there is no one there to re- I came out to my parents when I was 15 loss. My parents chose to ignore it and mind us of the battles that were fought in 1973 and they chose just to completely pretend like it wasn’t happening, which and won for the freedoms we have ignore it, they wouldn’t acknowledge the was what Reagan did about the aids today? Berkeley Rep Teen Core Council fact I was gay. What was happening on crisis. We’ll just ignore it and pretend Members Uma Channer and Sumayya a national level was the same thing that that it isn’t happening. Bisseret-Martinez spoke with Angels was happening for me on a very person- in America Advisory Council members al level. We felt invisible, we felt disen- Sumayya: I find sometimes there’s a Michael Kossman and Jim Tibbs about franchised, but to some degree it felt like disconnect between my generation intergenerational issues facing the a continuation of everything that I had and yours with our understanding of lgbtq community. experienced up to that point. I didn’t lgbtq history. How did you inform really have any reason at that point in yourself as a young lgbtq person? Sumayya: In Teen Council, we were my life to expect anything different. Jim: When I was in high school, our interested as to how we talk about Michael: In fairness to our elders at school required us to do a senior thesis. the history of the aids epidemic, the time, they also didn’t have the tools I can’t believe I had the courage to do especially with many of us identifying or the cultural norms to know how to this, but I wrote my high school gradua- as young queer people, and translate deal with it either. I know when I came tion paper on male homosexuality. it to youth so they’re informed in out there were two things that were Michael: You were a pioneer! their community. During the aids presented to me by my mother, one of epidemic, there was a man in the Oval which was “Oh my god you are going to Uma: That is awesome. Office who was apathetic to the lives get sick.” That was the logical progres- Jim: You know why I did it? There of queer people; there are many par- sion, and “you can’t have children.” was no information available other than allels to the person currently in the Those were cultural norms. “You’re tell- the religious condemnation. I was so des- White House. Can you speak to these ing me this, and that means X.” Today perate for some semblance of hope that I two eras? our community has better education or went to the Cincinnati library, which was Michael: There are several words better tools to manage those things and near the town I grew up in, and I checked that characterized how it made me feel: they don’t jump to conclusions that are out every book that had anything in disenfranchised, marginalized, invisible… by definition negative. there about [homosexuality] and it was that was often the word. “We’re here Jim: My mother got married at 22, all very scientific. It was mostly books and we are queer and we are here to and my father had to tell her homo- about homosexuality from the psycho- stay.” That’s where it started. We were sexuals existed. She did not know that logical standpoint. That was really helpful kind of invisible. For a long time, we had there were people attracted to the for me writing that paper. There was a president that wouldn’t even say the same sex. She grew up in central Vir- enough positive information available word aids. You couldn’t be out, let alone ginia. So roughly 15 years after that to that I was actually able to come to terms be elected to a political office. Those find out that her son is gay, she didn’t and start accepting and loving myself. are some of the ways it made us feel know how to deal with it; she did not Michael: So when you were doing because that’s how we were treated. have the tools. She tried to do the best that, it was right around the time that

16 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

AG_program.indd 16 4/5/18 2:51 PM Jim Tibbs Uma Channer Michael Kossman

some medical books said homosexu- Michael: Unless it was the real Uma: How do you think the aids ality was an illness. And it actually got obvious person. Femme gay guy, who crisis changed the lgbtq communi- removed from those books, right? In like everyone knew was gay but was always ty, and do you think it impacts our the mid-’70s? involved in drama. community today? Jim: I wrote my paper in ’76, and Jim: I was that guy! I moved from Michael: There’s a really long list, a lot of what I was drawing on was Kentucky to San Francisco in 1981. but one of the positive things: it brought research that led to it being re-cate- There was an incredible feeling of the gay and lesbian communities to- gorized as not an illness but a human liberation where I could be open and gether in ways that they weren’t before. condition. That was my major resource I was included and I wasn’t isolated. I graduated from high school in 1982, for information, and then, of course, There was a lot of joy, even as aids then after college came back to San moving to San Francisco there were a was spreading and we were becoming Francisco. In the early part of that the lot more positive images to draw on, more aware of the magnitude of it. gay guys and the lesbians really didn’t but in the Midwest and small towns it There were thousands if not millions mingle very much. Two very separate was bleak. of people coming into the city looking communities. When the aids crisis Michael: I’m curious if you guys for a place where we could be safe and came, the communities really came encounter this at all, there was a time create a community. The revelation, together in a way that still exists today. when conversion therapy was a thing. once the magnitude of aids was known, Jim: I totally agree. People were given shock therapy and it was almost like feeling that we were sent off to treatment to live for six cursed. For me because I grew up in Sumayya: What tools and information months to therapy the gay out of you. a really strict religious background, did you wish you had and what advice that was very hard, because religion do you have for the younger lgbtq Uma: I know people whose parents had been a huge part of my life. Even community? wanted to do that to them. though I rejected a lot of it. It was Michael: In terms of the advice: not Michael: Debunking the theory of amazing that I had this voice in the back being afraid to engage in the political conversion therapy took a long time. of my head saying, “Are they right?” process, not being afraid to go to city Michael: It was very difficult to deal hall or call your representatives. I used Uma: Were you out in the ’80s? What with. You feel like you are who you are. to think none of that was accessible was it like living during such an in- We are all God’s creatures regardless of to me, like, “Who am I, don’t I need to tense period of time for queer people where you fit on the religious spectrum. know somebody to get a messages to in the U.S.? To be told you are cursed because of Nancy Pelosi’s office?” Actually, no, you Jim: I grew up in a small town. I who you are and it is putting you and don’t! You need to send emails and you don’t even know where I got the cour- other people at risk for a horrible death. need to go knock on the door and you age to come out at such a young age in There once was a time that treatment need to make phone calls. Kentucky in the ’70s. I was really asking was difficult, death was rather fast or Jim: I would say don’t take your for it. I felt completely isolated and drawn out for a long time. It is pretty freedom for granted. I feel a lot safer alone. If there were other gay people in demoralizing, that the scourge of the now, but I’m ever vigilant. I think our my high school, there was really no way earth is coming at you because of who rights have to be won and reestablished. to find out. you love. CONTINUED ON NEXT PAGE

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AG_program.indd 17 4/4/18 3:54 PM CONTINUED FROM PREVIOUS PAGE Throughout the performances of Additional special thanks I don’t think we should take anything Angels in America, Berkeley Rep Juan Ahonen-Jover for granted especially in this current partnered with 12 local service or- Ken Ahonen-Jover political climate. I think we all need to ganizations doing the work of true Kirsten Berzon be very vigilant to make sure we don’t Angels in our community. Join us Matthew Coles lose ground. in amplifying the work they do. John Cunningham Michael: Complacency aguilas Andrea Rees Davies is dangerous. Bay Area American Indian Patrick Dunlap Jim: That’s probably the best way Two Spirits (baaits) Viva Delgado to say it. Apathy and complacency are Community United Against Roger Doughty super dangerous. Violence (cuav) Joshua P Gamson Gay Asian Pacific Alliance Graduate Theological Union Uma: What are your hopes for Larkin Street Youth Services Kelly Hart younger generations of queer people? pflag Oakland/East Bay Alice Hill Hopes? Fears? Wishes? Oakland lgbt Community Center Estie Hudes Michael: My hope would be that Oasis Legal Services/Asylum for Intiman Theatre you can continue to make progress, lgbtqia+ Immigrants Joanie Juster socially. By that I mean laws can change, Pacific Center for Human Growth Xavier Johnson but people’s minds don’t change just Queer Alliance and Resource Center Diane Jones because laws change. And you have to San Francisco aids Foundation Robert Lempert continue to work on moving culture for- Spectrum Queer Media Royce Lin ward. We live in such a bubble here. You Daniel Matt don’t have to go very far to get outside Berkeley Rep would like to thank Tom Nolan of our bubble. Take marriage equality. the following individuals and Robert Rees Yes, it’s the law of the land but there is organizations who helped guide Signature Theatre certainly a county seat somewhere that our dramaturgical and outreach Craig Souza is not going to issue you a marriage li- efforts. Sandra Varner cense, and they don’t care what the law The Wilma Theater is. There is a difference in putting laws in Show consultants place and changing minds. I would hope Terri Bimes—UC Berkeley Thanks to the names Project Foun- that we continue to make progress on Marcy Fraser, RN dation, Berkeley Rep is honored to that front. Steven Leiner, NP, hiv Specialist display two panels of the aids Memo- Jim: My thought is along the same M.J. and Kathryn Pritchett— rial Quilt in the lobby of the Theatre. lines. My wish is that your generation Berkeley lds Institute of Religion The aids Memorial Quilt is composed and those that will follow can experi- Naomi Seidman—Graduate of more than 49,000 panels on 5,956 ence the feeling of true safety which, Theological Union blocks (blocks are the 12-foot square for me growing up and even now, even Mike Shriver building blocks of the Quilt seen at though we live in this incredibly amazing displays). Most blocks are composed area, I don’t know if I will ever feel com- Angels in America of eight separate panels, remember- pletely safe. I mean I grew up and was Advisory Council ing the lives of eight individuals lost bullied and beaten and bashed and I will Philip Anderson to aids. The names Project Founda- take that to my grave; I don’t know that Judy Appel tion continues to receive new panels I will ever feel completely safe. So I hope Stephen Belford throughout the year at the Founda- that your generation and those who Bernard Boudreaux tion office in , GA. follow will live in a world where they feel George Duran safe. I also hope that there is still some Rosemary Gardner sense of community, as the gay commu- Andrew Hattori Spin the world forward nity is integrated with society in general. Michael Kossman Berkeley Rep is working with our I would hope that there is still some tie Kathy Levinson 12 partners and other local organi- that binds in terms of there being some Jonathan Logan zations to distribute thousands of sense of community. I know for me that Bobby Minkler free and deeply discounted Angels has meant so much, and I would hate to Jenn Nickl in America tickets to their constitu- see that completely disappear. Stewart Owen ents. By making a gift, you can be Tom Raffin part of sharing Angels in America's Uma: Me too. Mark Ryle message of hope and inclusion with Bill Stewart young people, lgbtq communities, Jim Tibbs and those impacted by hiv/aids in Scott Walton the Bay Area. Text prior to 71777 to make your gift today. 18 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

AG_program.indd 18 4/4/18 3:54 PM June 2018, when 21 REPORT Ground Floor projects roam BY SARAH ROSE LEONARD

The Ground Floor: Berkeley examine poetry, aesthetics, In Kimber Lee’s untitled f*ck m*ss Rep’s Center for the Creation and De- and Islamophobia. s**gon project, a woman trapped in a cy- velopment of New Work will welcome Andy Bragen collaborates with cle that bleeds through time and space 21 projects to the rehearsal rooms of Ana Graham and Antonio Vega of the looks for a way out. our Harrison Street campus, the most - and Mexico City-based Leonard Madrid’s Las Arañas is a ever accepted into the Summer Resi- company Por Piedad Teatro to create play about monsters. It explores the lo- dency Lab in its seven-year history. The Summit, in which a Mexican couple and cal legend of Las Arañas, Spider-women eclectic and ambitious slate of projects a North American couple work togeth- who haunt a small New Mexican town. were selected from a record 690 sub- er to “save the world.” Baruch Porras-Hernandez’s solo missions. Over an intense four-week pe- Marisa Carr’s Punk Rock Mix Tape show Love in the Time of Piñatas wres- riod, close to 100 artists will roam our Play is a loosely autobiographical work tles with immigrant guilt, makes out halls, exchanging ideas, breaking bread, about coming of age in the punk scene with it a little, then transforms it into a and inspiring us all and each other as as a teenage girl in a brown body during hilarious show that asks: what’s at the they craft their works-in-progress. the post-9/11 Bush administration. end of the Mexican immigrant road? The Ground Floor is a top-notch Ching’s Revenge Porn exam- Baruch hopes it’s donuts. research & development facility for ines a very public investigation of a very will write the second some of the nation’s most prominent private pain. And vice versa. act of her Berkeley Rep commission, and promising theatre-makers. The Alexandra Collier, Heather currently titled Lock her up! (Becky Nurse). Summer Residency Lab aims to create Christian, and Mia Rovegno’s Together Tina Satter’s Untitled Reality a space for artists that is not influ- is a glimpse into a New York apartment Winner Project: Verbatim Transcription enced by the pressure of imminent building where connections are made stages the (almost) verbatim official public exposure, so—unlike many despite addictions to devices. transcription of the June 2017 fbi other development opportunities—it Erin Courtney’s Ann, Fran, and interrogation leading to the arrest of does not require recipients to present Mary Ann examines surviving trauma, Reality Leigh Winner, a 25-year-old a reading or performance at the end neuroscience, God, and patterns. woman from accused of leaking of their residencies. Nonetheless, Shelley Doty’s We 3 uses music, top-secret U.S. intelligence. many projects will reach a stage movement, and soliloquy to trace the Zarina Shea’s Just up the Road, where the creators request an invited common linking three women Slightly is the portrait of a marriage audience or even engage community of color living disparate lives. depicted through the lens of personal members as collaborators. Ryan J. Haddad’s Good Time tragedy and national narrative in South Charlie is a campy, heartfelt portrait of Africa’s Western Cape. 2018’S SUMMER RESIDENCY LAB gay mentorship and a family’s evolution In Joe Waechter’s Berkeley Rep ARTISTS AND PROJECTS: over 30 years. commission Breakaway, the lines Avi Amon and Julia Gytri exper- Naomi Iizuka and Paul Hodge’s between ice rink and living room collide iment with traditional Ladino folklore, Okuni is a new musical about a in a dark and hilarious study of mascu- Ottoman shadow puppetry, and 16th-century Shinto priestess who rose linity, sexuality, and fantasy in the world musical fusions of Middle Eastern and from obscurity to become a legendary of sports. electronica sounds in Salonika. erotic performer celebrated for playing Arisa White’s opera Post Pardon is Christina Anderson’s Berkeley the roles of both men and women. inspired by poet Reetika Vazirani who Rep commission, the ripple, the wave Candrice Jones’ Flex, constructed killed her 2-year-old son and then took that carried me home, examines a Black in the form of a four-quarter basket- her own life in the summer of 2003. family’s relationship to swimming and ball game, looks at the two female lifelong determination to integrate the basketball players who want to go pro public pools in their city. in rural Arkansas. Eliza Bent tells the story of a Based loosely on the 16th-centu- For announcements about group of misfits as they debate art ry story by Garci Rodríguez de public presentations or other in the basement office of an under- Montalvo, Min Kahng’s Calafia: A opportunities to interact, please sign graduate art and literature magazine Reimagining explores themes of up for our mailing list: during the 2001-2002 school year in tribalism and the tension between berkeleyrep.org/groundfloor. her play Indeed, Friend! Together they evolution and preservation.

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AG_program.indd 19 4/4/18 3:54 PM THE ORIGIN STORY In 1989, Tony Taccone, then the artistic director of Eureka Theatre Com- pany, commissioned Angels in America. The Eureka, comprised of a small group of artists in the Castro, produced scrappy political theatre. Oskar Eustis, the dramaturg at Eureka (now the artistic director of in New York City), insisted that Taccone meet an up-and-coming writer named Tony Kushner. Taccone, Eustis, and Kushner quickly learned they spoke the same language: all three were ambitious artists, fervent progressives, and obsessed with the power of words. Four years after the three met, Angels in America, Part One: Millennium Approaches, was born. What followed would take a book to unpack. (In fact, the brand new book The World Only Spins Forward by Isaac Butler and Dan Kois outlines the entire history of the play’s journey from page to stage.) The play slowly but steadily grew to be a phenomenon. Imagine Hamilton breaking into the mainstream at a pre-internet pace, without the merchandise. It received its full premiere at the Mark Taper Forum in Los Angeles, co-directed by Taccone and Eustis. It then went on to Broadway, where it swept the , and , where it played at The National Theatre. Angels in America has since become one of the most important plays in the global theatrical canon. The play regularly receives TINKERING AND TINKERING productions at professional , colleges, and high schools. It is the subject AN INTERVIEW WITH TONY KUSHNER AND TONY TACCONE of countless academic articles and books. In 2003, Mike Nichols directed a adaptation for . Angels is a touchstone of American culture. Given that history, it’s strange that Berkeley Rep has never produced Angels. Taccone secured the rights for a production years ago, but the timing never felt right. Then, shortly after the 2016 election, Taccone woke up one morning with the play in mind. At a time when our leaders have issued travel bans, deported hundreds, questioned the value of truth, and reduced language to insulting sound bites, a play that champions inclusion in rich, epic language felt exactly right. Yes, it’s long. Yes, it’s worth it. Plays like this don’t come around often.

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AG_program.indd 20 4/4/18 3:54 PM Tony Taccone (left) and Tony Kushner PHOTO BY KEVIN BERNE

THE ORIGIN STORY

TINKERING AND TINKERING AN INTERVIEW WITH TONY KUSHNER AND TONY TACCONE

Angels in America Production Dramaturg Sarah You’re still making changes to Perestroika. What’s made Rose Leonard spoke with Tony Kushner and Tony Taccone you tinker with it again? about what it has been like to work on Angels in 2018. TK: I didn’t think I would. I thought that when I pub- normal whenever the two Tonys get together, the conversa- lished the version from the Signature Theatre production in tion ranged widely, from the revision process for Perestroika to 2013 that was it. Then Marianne Elliott [the director of The post-Civil War politics to Proust. National Theatre production currently running on Broadway] called me after the first reading of Perestroika and—we’d Tony Kushner, what made you agree to this production been working on the play for year—she said, “Oh my god. It’s of Angels? so long. Can you cut any of it?” I was really annoyed by that. I TK: I do everything Tony tells me. thought, “You’ve had a year to say this and you’re gonna say [Laughter] it now when I was in the middle of ten million other things?” Tony has done pretty much everything I’ve written here at She also began to say regularly, “The Angel’s Epistle is confus- Berkeley Rep. Right? ing.” I’ve always known that it’s confusing! The Angel is not a TT: Most of it. I haven’t done Caroline, or Change. human character! TK: Yeah except for Caroline. Fuck you. [Laughter] We My nieces live in Vienna and they’d never seen Angels. have a long and really enjoyable collaboration. I love his work, I After watching the London production my niece Ciara said, “I love working with him. His support has meant a lot to me. He’s didn’t know you could write something that optimistic.” the first person to ask to do iho [The Intelligent Homosexual’s [Laughter ] Guide to Capitalism and Socialism with a Key to the Scriptures] All they’d seen is iho. outside of Oskar Eustis [artistic director of The Public Theater] TT: Right. Right. Little different. who was in on it from the very beginning. That is enormously TK: So I said to them, “I’m not quizzing you, but did you meaningful. I really love Berkeley Rep. I love the area. I love understand the Angel’s Epistle?” They’re both incredibly smart, the theatre. I love the physical plan. The staff is the best of and they said, “We didn’t get it in the moment. But it didn’t the nonprofit theatre and the happiest in a certain sense and worry us because we felt certain that we would understand the most supportive. It feels like home. And obviously this is it at some point.” By the end of the play, they both felt they where the play came from. I mean it’s a New York play, but a understood it. So I called Marianne and I said, “Well my nieces San Francisco theatre commissioned it and a lot of the writing understood it.” And she said, “Are you sure they were telling happened at the Russian River or at Cafe Flore. CONTINUED ON NEXT PAGE

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AG_program.indd 21 4/4/18 3:54 PM CONTINUED FROM PREVIOUS PAGE you the truth because you’re their uncle, maybe they just the Angels is always the Politburo circa 1980s. These people didn’t want to hurt your feelings?” who are trying to make something run that has completely run TT: Harsh! out of gas. The people who are left in charge of it before Gor- TK: I don’t think they were lying! I think they were de- bachev arrived had no vision at all. They were literally fabulous scribing what people experience. I rewrote it so much for the and dull all at once. Bureaucrats. first Broadway production that Ellen McLaughlin [the original Angel], who’s a good friend, literally threw me out of her dress- Did that resonance surprise you? ing room because I came in and said, “I have the nineteenth TK: I have to say I was a little impressed. I was thinking, version, I just changed a couple...” She said, “You really have to “Where’d I get that from?” Immigration is a fight that’s been get out of my dressing room right now. I’m serious, you have to going on since, well forever. There was a very ugly fight in the leave.” There was a threat of physical violence. You can’t blame early ’90s, but the play was already written. her. I kept changing it every five minutes. Tinker. Tinker. Tinker. TT: This guy [Kushner] is probably the most rigorous Eventually, the Epistle became familiar to me in a way that student of American history that I’ve ever met. Certainly in can be dangerous. It’s like trying to listen to whether or not our field there’s nobody even close. He has a very rigorous the audience can understand the words of a song or a scene. dialectical materialist approach to history. He has a tendency If you know it really well your brain will supply clarity that isn’t to predict things. I remember he was on to Osama bin Laden actually there. before anyone else with his play Homebody/Kabul. When we produced it we thought, “Who is that?” Then, suddenly Osama How did they eventually get you to change it? bin Laden is headline news. So, it is unsurprising to me that TK: I stopped screaming and yelling at everybody saying, somebody who has such a penetrating view of history could “The play’s thirty-four years old and it doesn’t need cutting.” I actually imagine some of what has come to pass. sat down went through it with Antonia Grilikhes-Lasky—who’s TK: I don’t think there’s any magic about predicting or not one of my two dramaturgs, her and Oskar—and I said, “We’ll predicting stuff. The trick is just like when you’re reading a script read the scenes to each other and any time one of us hears any- to do a production, you have to be a good reader of things. You thing that seems like it’s not really necessary say something.” have to really read very carefully and notice details and you have I thought, “What if I try and shake off the influence of to say, “What are the implications of these details?” The trick James Merrill and Changing Light at Sandover and William Blake that you should develop is just to be alive in the world. Proust is and everything else that got mixed up in that?” I started to so great at proving that everything that flits through your brain, organize it more. I would send Tony every new draft. But Mar- every little shadowing feeling, is worth looking into because it’s ianne kept saying, “But I still don’t know what it means.” I kept all in reaction to something that’s really going on. Reality is so IN FREE FALL: saying, “WHY WHY DOES SHE HAVE TO! SHE’S GONNA dense and so complicated. Those little intuitions you have the A SNAPSHOT OF AIDS IN THE MID-1980S RUIN EVERYTHING!” But I kept tinkering and tinkering and minute you meet somebody, or read something, and then you tinkering for this new version. I’ll have a sense when I’ve made push away so that common sense can take over, that thing that it too clear. you pushed away is meaningful too. It’s not always correct. But it’s often telling you something that will lead you to something Did Taccone understand the Epistle rewrites? true. You need to pay attention to that kind of stuff. TT: I was part of the early incarnations of the play, so I was very attached to the mystery. The audience working does not What’s an example of how Reagan’s legacy impacts worry me. What worries me is making things obvious. us today? TK: I’m not opposed to having an audience work. They TK: What was clear, not just to me but a lot of people in have to sit for seven and a half hours. the early ’80s, was that Reagan was a huge shift in norms. Reagan and Bush started out by committing treason. They Did you have a sense that Angels would speak to the future negotiated with the Shah to hang on to the American hostag- as deeply as it does? es until the day of the inauguration so they could stage this TK: Since the day I wrote it the Epistle has been called thing. They negotiated as private citizens with a foreign power. the Anti-migratory Epistle. When I saw The National’s first Sound familiar? That was the very first thing that they did. You rehearsal it was right after ’s inauguration. The Angel could go back to the Miami Conventions in 1960 and see how was screaming about “Don’t migrate” and of course that had a Republicans were beginning to talk about a radical rejection of very different meaning. The idea’s always been that, while the one’s loyalty to anything but oneself. Which of course is going Angels are not Republicans—they’re not stupid, thought-dis- to include country. It’s the end of the thing that Lincoln kept ordered, corrupt, proto-fascist assholes like Mitch McConnell saying: you must have some kind of secular religion, a belief and Paul Ryan…and if you don’t quote me on that you can’t in the union, in the Constitution. Nothing holds us together publish anything in this interview—the Angels are reactionar- except our decision to be held together. ies. In the sense that they’re reacting to a problem and wishing We all want to believe that American democracy is 270 that the world would spin backwards. That we could retreat years old and will withstand anything. It is an old democracy from what we are doing, from the forward fluxes of time, and and has a lot of resiliency and we’re seeing it in action now, go back to something. Which is an impossibility. Which is al- but, as President Obama said as he was leaving office (I don’t ways destructive. Going forward is also destructive. But going know who he was quoting), “We have to be jealous and anx- backward produces monstrosities. That’s why my model for ious guardians of democracy at all times.”

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AG_program.indd 22 4/4/18 3:54 PM About 100 demonstrators protested on the steps of New York’s City Hall on Friday, November 15, 1985 as a City Council committee considered legislation to bar pupils and teachers with the aids virus from public schools AP PHOTO/RICK MAIMAN

IN FREE FALL: A SNAPSHOT OF AIDS IN THE MID-1980S BY SARAH ROSE LEONARD

In Angels in America, the character Prior Walter, and no large-scale government action for plwha. A diagnosis sick with aids, speaks of an ancestor voyaging to the New of aids was essentially a death sentence. World. He describes a sinking longboat, passengers thrown In the early days, theories existed about how aids spread, at random into the sea. This scene, where anyone could be but society at large knew few hard facts. People felt scared chosen to die next, describes what it felt like to be a gay man to eat at restaurants, to shake hands, to hug. Dentists started in New York City or San Francisco at the height of the aids ep- wearing gloves and masks for fear of infection. Many plwha idemic. Death devastated a newly formed, vulnerable commu- were turned away from hospitals, ignored by ambulances, and nity, while homophobia strangled government response. stranded in their apartments. Hospitals restricted same-sex Angels in America takes place between October 1985 and partners to formal visiting hours, and no hospital in New York January 1986, the heart of the aids epidemic. Between 1984 would allow them to enter the icu. In 1982, the leading cancer and 1986, scientists, medical practitioners, and activists alike hospital in New York City, Memorial Sloan Kettering, instituted made great strides in learning about hiv—the virus respon- a formal ban on treating victims of the “gay cancer.” Fear was sible for aids—and the immune system in general. This time widespread, but felt most acutely in the gay community. Men came to be known as “the period of discovery.” An extended reported combing their bodies for telltale purple lesions—Ka- feud between an American scientist and the French lab that posi’s sarcoma—or running to the doctor every time they had discovered the virus led to delays in medical advancement. a cold. Additionally, many plwha died a “social death” before President Ronald Reagan didn’t say the word “aids” until 1985, they passed: they lost their jobs, apartments, loved ones after his famous friend Rock Hudson had died. The first federal abandoned them, and the health care system was unprepared resources dedicated to hiv prevention became available short- to care for them. ly thereafter, but the medical industry responded in ways that aids stands for Acquired Immunodeficiency Syndrome. It frustrated people living with hiv/aids (plwha) by concentrat- is caused by infection with hiv, the Human Immunodeficien- ing on the virus and not the infections that killed people. In the cy Virus. hiv attacks particular cells in the immune system, U.S., the Centers for Disease Control (cdc) reported approx- leaving it unable to fight off Opportunistic Infections (OIs) imately 7,000 aids-related deaths in 1985. In the world of and certain unusual cancers. People die from the syndrome in Angels in America, there are no medications, no social support, CONTINUED ON NEXT PAGE

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AG_program.indd 23 4/4/18 3:54 PM CONTINUED FROM PREVIOUS PAGE aids, from infections, or a host of infections that a weakened Beautiful, healthy men in their 20s—the last people you would immune system cannot fight off. These OIs normally do not expect to get sick—died by the thousands. Much later, after harm people with healthy immune systems, but in a person scientists officially discovered the virus hiv, researchers went with hiv they are fatal. In Angels in America Prior and Roy back to a large bank of stored blood from 1982 and confirmed experience a host of OIs: pneumonia, mycobacterial infections, a high infection rate among gay men. In San Francisco, blood invasive fungal infections, Kaposi’s sarcoma, and non-Hod- samples from 42.6 percent of the cohort tested positive, in gkin’s lymphoma. During the period of discovery, medical New York City, 26.8 percent. Scientists determined that the professionals scrambled to address these OIs, trying a slew of virus started in the U.S. in New York, then spread to San Fran- drugs, but they worked in uncharted territory. Most of these cisco and elsewhere in the mid-1970s. The virus spread rapidly infections were rarely seen before aids, and the medical es- and invisibly; it takes hiv five to eight years to progress to an tablishment focused more on addressing the newly discovered aids diagnosis without effective treatment. virus than on developing treatments for OIs. In the early days of the epidemic, the medical field was Within the first few years after the cdc reported the first underfunded when it came to research and resources, and cases in 1981, scientists knew aids was transmitted primar- government agencies were often slowed by their own bureau- ily by sex, blood transfusions, and shared needles. Yet, that cracy. Reagan’s extreme budget cuts made the situation even information took years to make its way to the general public. worse. Additionally, Reagan received strong support from the aids ranked low on the national political agenda, mostly due Religious Right, which strongly lobbied against safe-sex educa- to rampant homophobia. Even though aids affected other tion, believing it would be worse to describe gay sex to young communities as well—such as hemophiliacs and people who people than to deprive them of the information they needed injected drugs—the gay community became the most prom- to stay healthy. Congressional staffers joked that the National inent punching bag. Many political decision makers believed Institutes of Health (nih) really stood for “Not Interested in that they wouldn’t get sick because they were straight, so they Homosexuals.” Activists and plwha derided the government’s didn’t have to pay attention to the “boutique” illness. In 1982, response to aids, calling it an utter failure. The 47,993 lives Reagan’s press secretary joked about aids in response to a lost between 1981 and 1987 demonstrate that the government reporter asking if the president knew about the rising death failed to adequately respond to the aids epidemic. toll. He said to the reporter, “I don’t have it, do you?” and pro- The process to approve drugs was, and still is, slow and ceeded to acknowledge that no one at the White House knew bureaucratic. One notable breakthrough came in 1985: azido- about it. Reagan’s sluggish response set the tone for the major- thymidine, known as azt. The drug entered clinical trials in ity of Americans: it signaled that the disease was not a major 1985, but once word got out that it extended the lives of the concern despite the thousands dying around the country. infected, activists and plwha demanded the drug’s release Due to this sort of stigmatization, aids felt far away for sale. Under pressure, the fda sped up its approval system for the rest of America. David , the author of How to and the drug went to market in 1987 at an inordinately high Survive a Plague, said, “Unless you were personally admitted price: $8,000 a year (more than $17,000 today). For the first into what Susan Sontag called ‘the kingdom of the sick,’ it was time, people felt optimistic. But the drug came with severe not hard to put the growing epidemic out of mind.” Nearly side effects: it interfered with the ability to produce new blood 600 people died before put a story on the cells, causing severe anemia. People suffered greatly on azt, front page. Few television news programs made any substan- and many still died. Later, studies showed that azt prolonged tive mention of aids. Yet, within that kingdom of the sick, aids life by an average of about two months. The drug acquired a dictated everyday life. Marcy Fraser, a San Francisco-based bad name in the hiv community once people realized how aids nurse, describes her life during the early 1980s as taking little it did. But 1985, azt symbolized hope, despite the awful care of dying people during the day, delivering food to sick side effects. friends at night, and helping clear out apartments of those In Angels, after Prior tells the story of the sinking longboat who died on the weekends. Funerals became a part of the and people pulled at random into the sea, his boyfriend Louis weekly routine for many. says, “Please get better. Please. Please don’t get any sicker.” The shock the gay community felt during the epidemic Death battered away at the consciousness of plwha and their was so pronounced partially because it came on the heels of loved ones. One of the reasons Angels in America is so notable gay liberation and the sexual revolution of the 1960s. Many is because it reacted to the epidemic from the inside. Written people could not comfortably come out in their hometowns, throughout the late 1980s, the play received its full premiere so they flocked to the safe havens of San Francisco and New in 1992 in Los Angeles, and audiences greeted it with cathar- York City, the centers of the counter-culture movement. tic recognition. Many in the lgbtq community felt the play Promiscuity became central to the identity of many gay men. articulated their unique experience of trauma. In the midst of David France notes, “The era of Gay Liberation began a pro- an epidemic, Tony Kushner, a 36-year-old gay man, shed light cess of discovery. To act flauntingly on one’s sexual appetence on the crisis engulfing his community, and America at large, was essentially an act of rebellion, but also of self-affirmation, and delivered optimism. Kushner set the play at a pivotal mo- identity exploration, and community forging. What from ment of the aids crisis: in the mid-1980s, consciousness rose the outside might have looked like pure carnal zeal was the and medical advancements happened, but at the same time rudimentary first pass for this emerging young culture.” When thousands died with no cure in sight. Progress was underway, aids took hold of this community the blow was immense. but for many it was already too late.

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AG_program.indd 24 4/4/18 3:54 PM AIDS IN THE UNITED STATES TODAY

aids continues to rage on worldwide: there were approximately 36.7 million people living with hiv/aids at the end of 2016. Yet, much progress has been made since 1985. Medical advancements hurtle ahead, sex education is more widespread, and social stigmas are greatly reduced. There is still no cure for hiv, but with effective treatment, people can live long, healthy lives. Below is a snapshot of hiv in the U.S. today.

In the United States at the end of 2015, an estimated 1.1 million people were living with hiv. Of those people, about 15 percent, or 1 in 7, did not know they were infected.

In the United States, gay and bisexual men continue to be the group most affected by hiv. According to the cdc, 1 in 6 men who have sex with men (msm) will be diagnosed with hiv in their lifetime, including 1 in 2 African American msm, 1 in 4 Latino msm, and 1 in 11 white msm. Transmission is also high among men who were born after the height of the epidemic and so weren’t exposed to the early hiv-prevention campaigns.

People who inject drugs have a much higher lifetime risk of contracting hiv than the general population.

A disproportionally high rate of infection affects the transgender community, specifically transgender women. In 2013, the percentage of transgender people who received a new hiv diagnosis was more than 3 times the national average.

Antiretroviral therapy, which prevents hiv from reproducing in the body, was first introduced in 1995. This made it possible to live long, healthy lives with aids for the first time. Today, people who take their medications regularly can achieve normal life expectancies.

In 2012, the PrEP, a prophylaxis that lowers the risk of contracting hiv, was approved by the fda. Over the past four years, an estimated 80,000 patients have filled prescriptions in the U.S. PrEP has been found to be up to 99 percent effective in preventing people who have not been infected with hiv from contracting the virus.

It was recently discovered that if an hiv-positive person has an undetectable viral load they cannot sexually transmit hiv.

There is hope within the hiv medical community that the rate of new infections could even reach zero.

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AG_program.indd 25 4/4/18 3:54 PM NO APOLOGIES: THE LIFE OF ROY COHN BY MADELEINE OLDHAM

When thinking about Roy Cohn, the first word that might come to mind is ruthless. Today’s press frequently notes that Donald Trump learned most of his bullying, hardball tactics from Cohn, who was his lawyer. Writer Sam Roberts said of Cohn, “He worked with a three-dimensional strategy, which was: 1. Never settle, never surrender. 2. Counter-attack, counter-sue immediately. 3. No matter what happens, no matter how deeply into the muck you get, claim victory and never admit defeat.” These rules help explain how Cohn’s life appears in retrospect as a mass of contradictions, and yet to Cohn, who invented his own perverse and ironclad logic about how to move through the world, absolutely straightforward. Fierce in both intelligence and drive, Cohn graduated from law school at the age of 20. His family ran in powerful circles, and he parlayed their connections into positions of influence for himself. He landed in a federal prosecutor’s office, and instantly proved a key player in some major espionage cases. One of which, the trial of Julius and Ethel Rosenberg, solidified his burgeoning reputation at a mere 24 years of age as a formidable legal acrobat. The Rosenbergs were convicted of being Russian spies and given the death penalty. Though uncertainty surrounds the role that Ethel played, most experts believe them both guilty. However, the trial strayed from the letter of the law, and contemporary sentiment holds that their executions should never have been carried out due to transgressions on the part of the prosecution. Cohn later boasted of extensive behind-the-scenes manipulation, in addition to strong-arming questionable testimony that sealed the Rosenbergs’ fates. Cohn thrived in this kind of murky legal territory: he reveled in finding and exploiting loop- holes, skirting boundaries, and intimidating opponents. His performance on the Rosenberg trial catapulted him into the national spotlight, and opened the door for Cohn to work alongside Senator Joseph McCarthy in his quest to expunge communism. The infamous McCarthy investigations employed fear-mongering, blackmail, and flagrant violations of the truth in order to elicit confessions from any public figure who caught an eye. Anyone suspected of being gay was doubly at risk, as Cohn and McCarthy conflated homosexuality and communism. Evidence didn’t matter, that could be manufactured. Cohn was in his element, machinating and designing smoke and mirrors to disguise the thin ice on which he walked. As the tide of public opinion finally turned and McCarthy, disgraced and shamed, saw his influence deteriorate and disappear, Cohn emerged virtually unscathed. Despite orchestrating the bulk of what brought about McCarthy’s fall from grace, Cohn went on to establish a private law practice representing business moguls, mafia men, assorted public figures, and even the Roman Catholic Archdiocese of New York, deepening his sway on the hidden power structures that made America run. He applied his unique brand of immoral ingenuity to politics as well, offering some shady assistance to Ronald Reagan’s successful 1980 election. It’s hard to circumvent the law for an entire lifetime, but Cohn came very close. His unscrupulousness finally caught up with him a few weeks before he died, when he was found guilty of wrongdoing on multiple counts, and at last disbarred. But no one gamed the system better than Roy Cohn. A social power player who lived with his mother until she died when he was 40, a tyrannical and merciless hardliner who possessed an utterly mag- netic and undeniable charisma, an intensely greedy man who gave generously to charity, a vehement anti-gay crusader who slept with men and died of aids, Cohn snaked his way through life with wily yet unwavering focus. Morality may have been a moving target, but the goal stayed fixed: always go out on top. He almost succeeded.

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AG_program.indd 26 4/4/18 3:54 PM NO APOLOGIES: When did you first encounter Angels THE LIFE OF ROY COHN in America? Lisa Ramirez (The Angel): I went BY MADELEINE OLDHAM to one of the first readings at the Eureka Theatre. The actress who originated the role of The Angel, Sigrid Wurschmidt— we just became friends and I just started acting—invited me to the first reading. (Prior Walter): The play came out when I was in high school. I was a theatre nerd, I read whatever theatre magazines there were. So I read about it before it came to Broadway. I remember there was a pbs special where they interviewed George C. Wolfe and Tony Kushner and you saw the actors rehearsing scenes. I then saw the original Broadway cast. I was a gay kid, and it was a really important legitimizing of my experience. Carmen Roman (Hannah Pitt): I understudied the role of Hannah for the National Tour in 1994. In the audi- tion Tony Taccone said, “What role did you cover?” I said, “This one.” And he goes, “But you’re just now old enough to play it!” Francesca Faridany (The Angel): I never got to see it. When it was done at act in 1994 I was across the Bay at Berkeley Rep doing An Ideal Husband. I could never make the show because I was onstage at the same time. Bethany Jillard (Harper Pitt): In theatre school someone did the Harper/ Joe “I burned your dinner” scene. It was such a fantastic scene, so I read the play. I didn’t grow up during the aids epidemic, so I was struck by what that was like for the first time. Also, I was Canadian. So the fantasia extended to being American. Danny Binstock (Joe Pitt): In drama school someone was assigned the courthouse steps scene (“crazy cold 4 QU ESTIONS sun…”). But I didn’t read the play cover to cover until my audition for this. I was shocked at how much of it was familiar. FOR THE CAST At different times I was just rocked, BY SARAH ROSE LEONARD time and time again; I still cannot read the last page of the play by myself with- out weeping. Top row Randy Harrison, Lisa Ramirez, and Caldwell Tidicue; Middle row Bethany Jillard, Stephen Spinella, and Francesca Faridany; Bottom row Benjamin T. Ismail, Carmen Roman, and Danny Binstock CONTINUED ON NEXT PAGE

2017–18 · ISSUES 5–6 · THE BERKELEY REP MAGAZINE · 27

AG_program.indd 27 4/4/18 3:54 PM CONTINUED FROM PREVIOUS PAGE If you try to tie it or manipulate it, it’s not going to work. You Ben Ismail (Louis Ironson): I didn’t read it until my first have to go with the flow of the language. year of college. I wrote my final project on the aids plays of Caldwell: My first thought was that I’ll play like my- the ’90s, focused on The Normal Heart and Angels in America. self—I’m a black drag queen and he’s a black ex-drag queen, so Caldwell Tidicue (Belize): The hbo version. It struck me I’ll just do it like me! But I’ve realized Belize is not just Caldwell that it’s a show about aids, but also about love, loyalty, friend- post-drag. He’s watching his best friend die. He wants his ship, desperation… friend to be able to enjoy what might be his last days on earth. Randy: It’s a reality that’s easy to gloss over, but when What initially drew you to your role? you play this part, you have to really sit with the feelings Francesca: I find the language so delicious! I’m a big clas- of being betrayed by your body and confronting death, the sical actress. I love to get big, live in huge emotion, but keep it complete unknown. real at the same time. It’s that great pull between two things, Ben: I was afraid of having to justify and advocate for the Stephen Spinella (right) and Michael Ornstein in the Eureka Theatre and the opportunity to do that doesn’t come along often. guy that’s leaving his lover. I didn’t have to research very long production of Angels in America, Part One: Millennium Approaches Caldwell: A lot of plays and movies have a tendency to before the terror sank in—aids was decimating the already STEVE RINGMAN / SAN FRANCISCO CHRONICLE / POLARIS create these mystical Negro characters who never do wrong. small community. Anybody could be next. In talking with peo- Belize is a lot more fully realized than that. ple who were experiencing this, that’s the thing that has stuck Randy: I was always scared of Prior. When I first discov- out the most to me and that’s what’s made it playable. It’s not ered the show, I related strongly to Louis. What scared me merely selfish, it’s— about the play initially was the reality of hiv and aids. Sick- Randy: It’s preservation, in a way. ness and death were something that I wanted as far away from my own person as possible—as everybody does, to an extent. What has this play taught you? But now, having experience with people who’ve been sick and Randy: I’m astounded at how quickly people forget about people who’ve died, I’m recognizing the stuff you face when things. This community was shaped by this disease. I’ve talked you face mortality. It’s astounding to play this character who to gay guys who haven’t heard of this play. That’s the privilege is facing the extreme reality of his mortality at a really young of where we are now, as far as managing the disease. People age—and on top of that he’s been abandoned by any kind of don’t understand the cost that an entire generation of people societal support he had as an American gay man in the ’80s— went through. It’s shocking to me. Even myself, in doing the and to watch the way that he rises, how he grows through research, realizing “Oh yeah, this was a time where if you have facing these experiences. KS, you’re going to be lucky to live two more months. You’re Ben: I related to Joe initially. I’m not the Marlboro Man dead.” It’s important that we not forget about this. at all so I knew I would never play him. But Louis was scary. Ben: While there are many great advancements in the I thought, “Why are you doing the things that you’re doing? gay community that we’ve made, it’s the same political shit How could you possibly leave him?” Well, you don’t have to we were dealing with 30 years ago. It seems fatalistic to say deal with death every day, Ben. Maybe you’d be a little more there will always be oppression to fight, but that’s what it’s empathetic if you did. underlining for me. It seems like we didn’t learn anything, yet I Louis has much of the social anxiety that I’ve dealt with in know we did because my life’s better than it would have been Stephen Spinella as Prior in the Eureka Theatre production of Angels in America, Part One: Millennium Approaches my own life and I love his intelligence. At the same time, he’s 30 years ago. KATY RADDATZ / SAN FRANCISCO CHRONICLE / POLARIS this heart-gushing, weeping wad of love. It’s great to play the Caldwell: I like to consider myself a learned homosexual, tension between those qualities. so I have learned a lot about the virus and what it entails. The Danny: I skated over a lot of Joe’s politics initially, which play has also taught me about interpersonal relationships. allowed me to see his struggle without any judgement. He You’d think I’d know more about interpersonal relationships wants things that are at odds with each other, which was considering they’ve been on my mind longer than the hiv very playable. virus has, but I will say this—even though they say the virus Carmen: All of these characters feel close to me. Every transforms a lot, interpersonal relationships are transforming a single one. They all share a thing that I have, which is a prag- whole lot faster. matism. I have that in my life, maybe to a fault sometimes. Lisa: That there are always other things at work besides the human experience. There is a mythical quality to every- How has your understanding of your character changed one’s life. since rehearsals started? Francesca: The issue of change is so crucial. It’s breath- Bethany: Tony has helped me explore the element of taking how much that idea is sewn into the play. You wouldn’t Harper that is a type of Cassandra; she is a kind of prophet in necessarily think about that if you were watching the play for this play too. I think it’s not a coincidence that she and Prior the first time, but once you get that little light inside your head match up in the dream sequence and in heaven. They encoun- you can’t forget it. ter each other in those moments where revelation is the most Bethany: There are times when you just want to weep necessary and they each need something to go on. for the state of politics in this country. And yet, working with Lisa: I think that The Angel is actually really funny. And this group of people and doing this play, you feel like there are The Angel’s language is so daunting! Tony keeps saying, enough of us on the side of hope to try and swing it that way. “Follow the language. You don’t really have to do much as an The play is teaching me in the current moment about trying to actor.” Shakespeare’s the same way. It’s like a galloping horse. live on the side of hope.

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AG_program.indd 28 4/4/18 3:54 PM WHAT DO PRIOR WALTER AND ROY COHN HAVE IN COMMON? ARTIST-IN-RESIDENCE STEPHEN SPINELLA BY SARAH ROSE LEONARD

Stephen Spinella is one of Tony Kushner’s primary muses. He originated roles in almost all of Kushner’s plays, and Kushner wrote the role of Prior Walter with Spinella in mind. Spinella played Prior for almost five years on Broadway, earning two Stephen Spinella (right) and Michael Ornstein in the Eureka Theatre production of Angels in America, Part One: Millennium Approaches Tony Awards for his performances. Now, Spinella steps into the role of Roy Cohn. He STEVE RINGMAN / SAN FRANCISCO CHRONICLE / POLARIS is also an artist-in-residence at Berkeley Rep during the run of Angels, teaching classes and participating in public events. In between rehearsing scenes Spinella sat down with Production Dramaturg Sarah Rose Leonard to discuss performing a play he knows so well from a whole new perspective.

You met Tony Kushner in grad school. What drew you to each other initially? I saw a project he did with a number of students, all women. It was small and messy and very challenging. The audience didn’t sit in chairs, we sat on the floor. It was a first-year project about feminism and I think they talked about vaginas and it was all so radical. I didn’t understand all of it, but it was so completely innovative. Then he asked me to do a project. I did this thing from Moby-Dick, this long speech about all the different kinds of whales. It was all very high concept.

And then you started small companies together. I don’t remember what the first company was called. The second company was called 3 P Productions. 3 P’s for the three P’s of theatre: politics, poetry, and pop- corn. The popcorn was Brecht, saying, “Look, if you’re not having any fun, they’re not having any fun.”

What was it like to play Prior for so long? It was great! I did a New York Times interview when it was on Broadway, and I said, “Look, it took me five years to figure out this part.” This is a hard, hard part. I Stephen Spinella as Prior in the Eureka Theatre production of wish I had five years to work on everything. I was a very slow actor. I’ve gotten much Angels in America, Part One: Millennium Approaches KATY RADDATZ / SAN FRANCISCO CHRONICLE / POLARIS faster in my decrepitude.

When did the idea of playing Roy first occur to you? Tony Kushner called me and said, “Tony Taccone is going to call you, and he’s going to ask you to play Roy Cohn next year in Angels.” And I was like, “Roy Cohn? You told me years ago that I didn’t have a Jewish bone in my body.” He said, “I never said that.” And I said, “Yes you did. You just never remember the things you said to me that now you regret.” I didn’t want to play him.

Why not? Because I hate being in hospital beds. And he seemed so unpleasant and so ugly and gross.

What finally appealed to you? I got a text from Kushner saying—all I really remember is one word—“vital.” That Roy is incredibly vital. I had already gone back and read all the Roy scenes, and it really hit me. That’s the fun of playing this guy who is dying. He is fighting it tooth and nail. It’s this knockdown, drag-out fight with this person who has this incredible will to live. It’s different than Prior, who in a way is running from his own death. Roy is just trying to get his ducks in a row and he’s fighting the disease. He loses constantly, yet he keeps coming back. He is unrelenting, and that appeals to me. I’m not going to be in that hospital bed until I am ready to die. The hospital bed is going have to grab Stephen Spinella, 2018 PHOTO BY CHESHIRE ISAACS me and pull me into it.

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AG_program.indd 29 4/4/18 3:54 PM YEARS PROPHETICAL! BY JAMES DINNEEN

30 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6 The angel Moroni delivering the plates of The Book of Mormon to Joseph Smith

AG_program.indd 30 4/4/18 3:54 PM In Judeo-Christian traditions, the return widespread slave revolt. William Miller, another important, if of the Messiah to rule a paradise on Earth for 1,000 years is largely forgotten, homegrown doomsayer, made the rookie called the Millennium. Millenarianism is the belief in the immi- mistake of preaching a specific date for the End of the World: nent approach of that Millennium. In secular contexts, mille- October 22, 1844. The Millerites’ “Great Disappointment” narianism is any view of history that expects the advent of an when the sun rose on October 23 led to recalculations and era of peace and prosperity, often after a slide into decadence lasting reformations like the Seventh-day Adventists and and doom. Millenarian themes and images figure prominently Jehovah’s Witnesses. 1844 also saw the presidential bid and in Angels in America. Every character in the play, religious and subsequent murder of Joseph Smith, the original Prophet, secular, left and right, real and imagined, expresses a vision of Seer, and Revelator of the American millenarian creed most a paradise that will come after the apocalypse of the 1980s. central to Angels: Mormonism. aids, political crises, natural and nuclear disaster, even the Born in 1805, Smith, like Miller, came of age in the region approach of the year 2000 seem to be omens of the End of of upstate New York known as the “Burned-over District” for the World or something like it. To invoke this millenarianism its evangelical zeal. Overwhelmed by the crowd of proselytiz- for the ’80s, Angels draws from the long and colorful history of ers competing for his faith, so the story goes, the 14-year-old millenarian prophecy, especially as it manifested itself in 19th Smith had a vision of God and Jesus who assured him that he century America. should not join any of the existing denominations. Three years Millenarian ideas in Christianity are offspring of the messi- later, an angel named Moroni visited Smith and told him that a anic tradition in Judaism. The Old Testament prophesized that book written on golden plates containing the true Gospel was the Messiah, God’s anointed son, would restore the Kingdom buried in a nearby hillside. After unearthing the plates several of David in Jerusalem after a period of trial and subjugation. years later, Smith interpreted them using a special pair of stone Early Christians were Jews who believed Jesus was that Mes- spectacles to dictate The Book of Mormon which, along with siah. His appearance and martyrdom therefore initiated the the Bible, forms the sacred text of Mormonism. process by which the world would end. The vivid descriptions Mormons believe that Jesus will return to Earth to rule His of angels, plagues, earthquakes, deluges, and deserts in Mat- Kingdom during the Millennium. But in contrast to versions thew, the Epistles of Paul, and the Revelation of John described of the Millennium in which Jesus would return regardless of what would happen just before Christ returned to establish His what people did, the Mormon Millennium is partly contin- Kingdom on Earth for 1,000 years. Many early Christians, ea- gent on the right action of people. Before Jesus will return to ger for an end to their persecution by Romans and non-Chris- personally rule the Kingdom of God, Mormons must prepare tian Jews, expected He’d be back within their lifetimes. the way through evangelism and good works. Distinctively, The Christian theologian St. Augustine, reflecting in the Mormons also believe that the Kingdom will be ruled from a fifth century on the not-yet-come Second Coming, counseled New Jerusalem, called Zion, to be built in America. Violence that disappointed believers adopt a more spiritual interpreta- and prejudice thwarted early Mormon efforts to build Zion in tion of scripture. Apocalypse and Millennium were allegories Independence, , and subsequent efforts to build the for the eternal spiritual struggle between good and evil, not Kingdom in Nauvoo, ended with Smith’s murder. The descriptions of actual events to come. Though people could exodus of Mormon believers from Nauvoo following those do good in life to gain after death, the City of God years of persecution as religious outsiders was, in part, moti- could only exist in heaven. On Earth, the Millennium had vated by the sense of living in the latter days before Christ’s arrived with Jesus and was sustained by the Church through return to this continent. The founding of Salt Lake City and the which He ruled. This otherworldly vision of millennium, establishment of a Mormon theocracy at the conclusion of the which influenced centuries of Catholic theology, is very trek west in 1847 was a hugely fulfilling step in that millenari- different from the more fleshly vision that would take root in an mission. As Harold Bloom writes in The American Religion, America in the 19th century. “The entire burden of Joseph Smith’s prophecy was that the Millenarian thinking has played a role in American history Kingdom of God was destined to be set up in America, and since Columbus sailed west with ambitions of achieving the that only a Chosen People could rely upon themselves enough universal conversion to Christianity that would usher in the to be able to organize the Kingdom.” Day of Judgement. Puritans fleeing persecution in Europe saw Written in the 1980s, Angels in America is in conversation their settlement in New World as an opportunity to establish with this old millenarian tradition. As in previous centuries, a New Jerusalem. The American Revolution heralded its own nightmares of economic, social, and environmental apoca- share of patriot prophets. But the 19th century saw the largest lypse stir dreams of a paradise to come after the cataclysm. and most spectacular awakening of American millenarians. “It’s 1986 and there’s a plague,” shouts Prior Walter. A hole is A sense of revival and egalitarian possibility in the fledg- opening up in the sky. A voice from heaven announces that the ling republic produced a new breed of radical, common-man millennium approaches. Whether it does, what it would bring, preachers. Social issues like slavery, poverty, and alcoholism and to whom it would bring it are questions that, to say the made for potent subjects in apocalyptic sermons. Abolition- least, remain open. In Angels, we are confronted with the ques- ists like Nat Turner and John Brown—whose failed raid at tions of millennium as they stood at the end of the last century Harpers Ferry and subsequent execution contributed to the when, as Walt Whitman put it at the end of his, “No one knows outbreak of the Civil War—were both inspired to violent ac- what will happen next, such portents fill the days and nights; tion by the prospect of initiating the Millennium by initiating Years prophetical!”

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AG_program.indd 31 4/4/18 3:54 PM NEXT AT BERKELEY REP What the Constitution Means to Me

BY Heidi Schreck DIRECTED BY Oliver Butler

STARTS MAY 3 PEET’S THEATRE

SEASON SPONSORS

Heidi Schreck PHOTO BY CHRISTIAN PEACOCK

AG_program.indd 32 4/4/18 3:54 PM Berkeley Repertory Theatre presents BERKELEY REPERTORY THEATRE TONY TACCONE, MICHAEL LEIBERT ARTISTIC DIRECTOR SUSAN MEDAK, MANAGING DIRECTOR

NEXT AT BERKELEY REP

A Gay Fantasia on National Themes PART ONE: MILLENNIUM APPROACHES PART TWO: PERESTROIKA

CAST What the BY Tony Kushner (IN ORDER OF APPEARANCE) DIRECTED BY Tony Taccone Hannah Pitt/Rabbi Isidor Chemelwitz/ Carmen Roman Henry/Ethel Rosenberg/ APRIL 17–JULY 22, 2018 Aleksii Antedilluvianovich Prelapsarianov Constitution RODA THEATRE · MAIN SEASON Roy M. Cohn/Prior 2 Stephen Spinella Joseph Porter Pitt/Prior 1/ Danny Binstock Part One has two 15-minute intermissions. The Eskimo/The Father Part Two has two 15-minute intermissions. Harper Amaty Pitt/Martin Heller Bethany Jillard Belize/Mr. Lies Caldwell Tidicue Means to Me Angels in America is made possible thanks to Louis Ironson Benjamin T. Ismail the generous support of Prior Walter/The Man in the Park Randy Harrison SEASON SPONSORS The Angel/Emily, A Nurse/ Francesca Faridany Jack & Betty Schafer Sister Ella Chapter/A Homeless Woman/ Lisa Ramirez BY Heidi Schreck Michael & Sue Steinberg Mormon Mother The Strauch Kulhanjian Family DIRECTED BY Oliver Butler PRODUCTION STAFF Scenic Design Takeshi Kata Costume Design Montana Blanco STARTS MAY 3 LEAD SPONSORS Lighting Design Jennifer Schriever PEET’S THEATRE Frances Hellman & Warren Breslau Stewart & Rachelle Owen Sound Design Jake Rodriguez/Bray Poor Projection Design Alexander V. Nichols Composer Andre Pluess Fight Direction U. Jonathan Toppo

EXECUTIVE SPONSORS Casting Amy Potozkin, csa Paul Haahr & Susan Karp Tara Rubin Casting, csa Guy Tiphane Production Dramaturg Sarah Rose Leonard Kelli & Steffan Tomlinson Flying Flying By Foy SPONSORS Special Effects Design Jeremy Chernick Maria Cardamone & Paul Matthews David & Vicki Cox Production Stage Manager Michael Suenkel James C. Hormel & Michael P. Nguyen Assistant Stage Manager Leslie M. Radin Michael H. Kossman Sandra & Ross McCandless The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Additional support provided by the Partners of Angels in America. MILLENNIUM APPROACHES was first performed in a workshop production presented by Center Theatre Group/Mark Taper Forum, May 1990 The world premiere was presented by the Eureka Theatre Company, May 1991 SEASON SPONSORS Opened in London at the of Great Britain, January 1992 Opened in New York at the in April 1993 The first production of ANGELS IN AMERICA, Parts One and Two was presented at the Mark Taper Forum

PERESTROIKA was first performed as a staged reading by the Eureka Theatre Company in May 1991 The world premiere was presented by the Mark Taper Forum in November 1992 The play was presented by /Tisch School of the Arts in April 1993 The play opened in London at the Royal National Theatre of Great Britain in November 1993 Opened in New York at the Walter Kerr Theatre in November 1993

Affiliations ANGELS IN AMERICA, PART ONE: MILLENNIUM APPROACHES is produced The director is a member of the Society of by special arrangement with Broadway Play Publishing Inc, NYC www.broadwayplaypub.com Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in ANGELS IN AMERICA, PART TWO: PERESTROIKA is produced lort Theatres are represented by United by special arrangement with Broadway Play Publishing Inc, NYC Heidi Schreck Scenic Artists Local usa-829, iatse. www.broadwayplaypub.com PHOTO BY CHRISTIAN PEACOCK

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AG_program.indd 33 4/4/18 3:54 PM BERKELEY REP PRESENTS profiles

Danny Binstock appeared on TV in Homeland, Law & Order, Bethany Jillard JOSEPH PORTER PITT/PRIOR 1/ Law & Order: svu, True Crime: Menendez, Fall- HARPER AMATY PITT/ THE ESKIMO/THE FATHER ing Water, E.R., and Deadline. Francesca trained MARTIN HELLER Danny is making his in London at The Drama Centre. Bethany is thrilled to Berkeley Rep debut. He be making her debut recently starred in the Randy Harrison with Berkeley Rep. As a world premiere of The PRIOR WALTER/ company member with Man in the Ceiling (Bay THE MAN IN THE PARK the Stratford Festival of Street Theatre) based Randy is making his Canada for five seasons, on Jules Feiffer’s book. Berkeley Rep debut. her credits include A His New York credits His New York cred- Midsummer Night’s include the Broadway its include Wicked Dream, The Beaux’ Strat- production of Breakfast (Broadway), Harbor agem, Othello, The Three at Tiffany’s and Bones in the Basket for the (Primary Stages), Edward Musketeers, , Much Ado About Nothing, Araca Group’s off-Broadway festival. He per- the Second ( Bull Richard III, The Little Years, Dangerous Liaisons, formed in director Ivo Van Hove’s production Theater), Antony and and Peter Pan. Regional credits include of (Ahmanson Theatre, Cleopatra (Theatre for Disgraced (Cincinnati Playhouse); Othello (Chi- Kennedy Center). His recent regional credits a New Audience), and cago Shakespeare Theater); , Gone include The Music Man (Guthrie Theater), The The Singing Forest (The Public Theater). He with the Wind (world premiere), and After Miss Imaginary Invalid (Fisher Center at Bard), The toured nationally as the Emcee in Round- Julie (Royal Manitoba Theatre Centre); How It Last Match (City Theatre), Pop! (Yale Reperto- about Theatre Company’s . His recent Works, The Little Years, and Cake and Dirt (Tar- ry Theatre), The May Queen (Geva Theatre), regional credits include Sunday in the Park with ragon Theatre); My Name Is Rachel Corrie (The- Assassins (PlayMakers Rep), and Titus Andron- George and The Glass Menagerie at Guthrie atre PANIK); A Man of No Importance (Musical icus (Shakespeare Theatre Company). On Theater, Red at Cleveland Playhouse, The Habit Stage Co.); That Face (Nightwood/Canadian television, Danny has appeared on The Blacklist of Art at Studio Theatre in DC, Stage); and Tough! (Factory Theatre). Her film (nbc) and Codes of Conduct (hbo). His at Shakespeare Theatre Company, Pop! at Yale and television credits include If I Were You include A Good Marriage, Good Friday, and No Repertory Theatre, and six seasons at Berk- with Marcia Gay Harden (Paragraph), Murdoch Pay, Nudity. Danny is a graduate of the Yale shire Theatre Festival (, , Mrs. Mysteries (Shaftesbury), Bloodletting... (tmn), School of Drama mfa program and earned his Warren’s Profession, Ghosts, , Rookie Blue (abc), and I Love You... But I Lied bfa from the University of . and The Who’s Tommy). Randy’s TV credits (Lifetime). She is a graduate of the University include Mr. Robot, Bang Bang You’re Dead, and of and the Birmingham Conservatory Francesca Faridany Queer as Folk. He made his directorial debut for Classical Theatre Training. THE ANGEL /EMILY, A NURSE/ with the web series New York is Dead, which SISTER ELLA CHAPTER/A HOMELESS won best comedy at the New York Television Lisa Ramirez WOMAN/MORMON MOTHER Festival and is available on Funny or Die. THE ANGEL /EMILY, A NURSE/ Francesca played the SISTER ELLA CHAPTER/A HOMELESS title role in her own Benjamin T. Ismail WOMAN/ MORMON MOTHER adaptation of Arthur LOUIS IRONSON Lisa is a nationally Schnitzler’s Fräulein Benjamin is thrilled to produced playwright Else at Berkeley Rep be making his official and actor who has per- (also Sundance Theatre Berkeley Rep debut formed with numerous Lab, , with Angels in America, Bay Area theatres, , though he did appear including Ubuntu and McCarter Theatre for a week as an under- Theater Project, Magic Center). Her Broadway study in 2015’s Tartuffe. Theatre, Marin Theatre credits include The Curious Incident of the Dog Select regional credits Company, Actor’s The- in the Nighttime, Macbeth, Man and Boy, The 39 include The Invisible atre, Crowded Fire, and Steps, and . Her off-Broadway Hand (American Stage Campo Santo. In New York Lisa has performed credits include This Day Forward, The NY Idea, Theatre Company); Disgraced, Speech & De- at the Atlantic Theater Company, the Cherry Orlando, and The Stronger. Francesca received bate, , and The Santaland Diaries (Capital Lane Theatre, Working Theater, 3-Legged Dog, the 2013 Best Actress Award for Stage); Peter Pan and The Secret Garden (Play- Intar, the Ontological-Hysteric Theater, and Strange Interlude (Shakespeare Theatre, DC). house on the Square); Cloud 9, The Pillowman, New York Theatre Workshop. Lisa’s first play, Other highlights include Julia in Albee’s A The Submission, and Compleat Female Stage Exit Cuckoo (nanny in motherland) was first pre- Delicate Balance (McCarter Theatre), Narrator Beauty (Big Idea Theatre); and The Mystery of sented off Broadway by the Working Theater in the Sitwell/Walton Façade (Caramoor Music Irma Vep and Cinderella (Sacramento Theatre and toured in various theatres throughout Festival), Cassandra in Agamemnon opposite Company). He comes to Berkeley Rep direct- the U.S. and Europe. Other writing credits Tyne Daly (Getty Villa), and the many pro- ly from his residency at American Stage in include To the Bone, Art Of Memory, Invisible ductions with director Stephen Wadsworth, St. Petersburg, FL, where he directed, acted, Women-Rise, All Fall Down, Pas De Deux (lost including As You Like It, The Oresteia, Don Juan, and designed several shows in 2017. He is my shoe), and Down Here Below. Design for Living, An Ideal Husband, Changes former artistic director of Big Idea Theatre in of Heart, and The Game of Love and Chance. Sacramento and a proud member of Actors’ Her film credits include Black Panther, Love Equity Association. After Love, The Audition, and Conceiving Ada. She voiced Lady Macbeth and Titania for the WordPlay Shakespeare series, and her radio credits include Quartermain’s Terms (bbc). She

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AG_program.indd 34 4/4/18 3:54 PM Carmen Roman Tuck, and Alias. He’s had recurring roles on Culture Clash, Rinde Eckert, David Edgar, HANNAH PITT/RABBI ISIDOR The Education of Max Bickford, 24, Desperate Danny Hoch, Geoff Hoyle, Itamar Moses, CHEMELWITZ/HENRY/ Housewives, Royal Pains, and Steven Soderber- and Lemony Snicket. He directed two shows ETHEL ROSENBERG/ALEKSII gh’s The Knick. that transferred to London, Continental Divide ANTEDILLUVIANOVICH and Tiny Kushner, and three that landed on PRELAPSARIANOV Caldwell Tidicue Broadway: Bridge & Tunnel, Wishful Drinking, Carmen understudied BELIZE/MR. LIES and Latin History for Morons. Prior to work- the national tour of Caldwell, popularly ing at Berkeley Rep, Tony served as artistic Angels in America known as Bob the director of Eureka Theatre, which produced 24 years ago. Her Drag Queen, is the the American premieres of plays by Dario off-Broadway credits winner of the Emmy Fo, Caryl Churchill, and David Edgar before include The Iphigenia Award-winning reality focusing on a new generation of American Cycle (Theater for a New show RuPaul’s Drag Race writers. While at the Eureka, Tony commis- Audience from Court Season 8. His standup sioned Tony Kushner’s legendary Angels in Theatre in ) and special, Suspiciously America and co-directed its world premiere. The Mysteries (Classic Large Woman, pre- He has collaborated with Kushner on eight Stage Company). Regionally she performed miered on logo TV this plays at Berkeley Rep, including Brundibar and in Native Son at ; The past summer. Film credits include Rough Night, The Intelligent Homosexual’s Guide to Capitalism Audience at TimeLine Theatre; , Black Snow, Cherry Pop, Words—a Documentary, and and Socialism with a Key to the Scriptures. Tony’s and Brutality of Fact (Goodman Theatre); Straight Outta Oz. Television credits include regional credits include Actors Theatre of (Steppenwolf Theatre); The Price hbo’s High Maintenance and Playing House. Louisville, , Center Theatre Group, (Syracuse Stage and Geva Theatre Center); The Caldwell is currently working on a documenta- the Eureka Theatre, the Guthrie Theater, Importance of Being Earnest (Center Stage in ry titled A Queen for the People. Visit the Huntington Theatre Company, ); and Sonia Flew (Huntington The- BobTheDragQueen.com. #PurseFirst Shakespeare Festival, the Public Theater, and atre). Film & TV credits include Chicago P.D. Seattle Repertory Theatre. As a playwright, (Susan Williams), Betrayal (Connie Mrozek), Tony Kushner he debuted Ghost Light, Rita Moreno: Life Boss (Dr. Gabriella Reyes, recurring), Law & PLAYWRIGHT Without Makeup, Game On, written with Dan Order (Judge Einhorn, recurring), Law & Order: Tony Kushner’s plays include A Bright Room Hoyle, and It Can’t Happen Here, written with svu and Criminal Intent, and Savages. She is a Called Day; Angels in America, Parts One and Bennett S. Cohen. In 2012, Tony received the company member of American Blues Theater, Two; Slavs!; Homebody/Kabul; the musical Margo Jones Award for “demonstrating a Chicago. Carmen was a 2002 Fox Fellow, and Caroline, or Change; and the opera A Blizzard significant impact, understanding, and affirma- received the Sarah Siddons Award, Florence on Marblehead Neck, both with composer tion of playwriting, with a commitment to the Herscher Award, and Joseph Jefferson Awards Jeanine Tesori. He has adapted and translated living theatre.” for Master Class and Wit. Pierre Corneille’s The Illusion, S.Y. Ansky’s The Dybbuk, Bertolt Brecht’s The Good Person of Takeshi Kata Stephen Spinella Szechwan and Mother Courage and Her Chil- SCENIC DESIGNER ROY M. COHN /PRIOR 2 dren, and the English-language libretto for the Takeshi designed The Last Tiger in Haiti at Stephen won two Tony opera Brundibár by Hans Krasa. He wrote the Berkeley Rep. Recent New York credits include Awards and two Drama screenplays for Mike Nichols’ film of Angels Office Hour (The Public Theater), Man From Desk Awards for the in America, and for ’s Munich Nebraska (), The Profane original Broadway and Lincoln. His books include Brundibar, (), Derren Brown: Secret productions of Tony with illustrations by Maurice Sendak; The Art (Atlantic Theater Company), Forever (New Kushner’s epic Angels of Maurice Sendak, 1980 to the Present; and York Theatre Workshop), and Gloria (Vineyard in America plays, which Wrestling With Zion: Progressive Jewish-Ameri- Theatre). Regional work includes designs for marked his Broadway can Responses to the Palestinian/Israeli Conflict, the Alley Theatre, American Players Theatre, debut. He has since co-edited with Alisa Solomon. Tony Kushner Theater Center, Ford’s Theatre, Geffen starred on Broadway is the recipient of a Pulitzer Prize, two Tony Playhouse, Goodman Theatre, Hartford Stage, in the Tony Award-winning musical Spring Awards, three Obie Awards, two Evening La Jolla Playhouse, Long Wharf Theatre, Mark Awakening; revivals of A View from the Bridge, Standard Awards, an Olivier Award, an Emmy Taper Forum, Nashville Opera, Old Globe, Electra, and (with Paul Newman); Award, two Oscar nominations, and the Resident Ensemble Players, Steppenwolf The- and James Joyce’s The Dead, for which he won a Steinberg Distinguished Playwright Award, atre, and Yale Repertory Theatre. Takeshi has third , as well as an Outer among other honors. In 2012, he was awarded won an Obie Award and has been nominated Critics Circle Award, and was again a Tony a National Medal of Arts by President Barack for Drama Desk, Barrymore, Connecticut nominee. His most recent Broadway credit Obama. He lives in with his hus- Critics Circle, and Ovation Awards. He is an is The Velocity of Autumn, co-starring Estelle band, Mark Harris. assistant professor at the usc School of Dra- Parsons. Off Broadway Stephen won an Obie matic Arts and has an mfa from Yale School for Love! Valour! Compassion! He also appeared Tony Taccone of Drama. in An Iliad ( and Obie Awards), DIRECTOR/MICHAEL LEIBERT alongside in The Seagull directed ARTISTIC DIRECTOR Montana Blanco by Mike Nichols, and in Tony Kushner’s The In- Tony is celebrating his 20th anniversary sea- COSTUME DESIGNER telligent Homosexual’s Guide to Capitalism and son. During Tony’s tenure as artistic director Montana is returning to Berkeley Rep after Socialism with a Key to the Scriptures. Among of Berkeley Rep, the Tony Award-winning having designed An Octoroon last season. His his feature film credits: Alfonso Cuarón’s nonprofit has earned a reputation as an inter- off-Broadway credits include The Death of Great Expectations, Tim Robbins’ The Cradle national leader in innovative theatre. In those the Last Black Man in the Whole Entire World Will Rock, Gus Van Sant’s award-winning Milk, 20 years, Berkeley Rep has presented more (Lucille Lortel nomination) and In the Blood Quentin Dupieux’s cult hit Rubber, and Steven than 70 world, American, and West Coast (Signature Theatre); Pipeline ( Spielberg’s Lincoln. He will appear this fall premieres and sent 23 shows to New York, two Theater); Ghost Light and War (Lincoln Center in Can you ever forgive me? starring Melissa to London, and one to Hong Kong. Tony has Theater/LCT3); Red Speedo and Nat Turner in McCarthy. Stephen has guest-starred on Will staged more than 40 plays in Berkeley, includ- Jerusalem (New York Theatre Workshop); The and Grace, , Heroes, Grey’s Anatomy, Nip/ ing new work from Julia Cho, John Leguizamo, Last Match (Roundabout Theatre Company);

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AG_program.indd 35 4/4/18 3:54 PM BERKELEY REP PRESENTS profiles

Hamlet, Teenage Dick, and Pretty Hunger Thousand Splendid Suns at American Conser- inations, multiple Joseph Jefferson Awards (The Public Theater); O, Earth (the Found- vatory Theater and Theatre Calgary; Hamlet and Citations, and an LA Ovation Award for ry Theatre); and Orange Julius (Rattlestick (2012) at California Shakespeare Theater; the composition and sound design. Playwrights Theater). Regional credits include world premieres of Bruja and Oedipus el Rey The Bluest Eye (Guthrie Theater), War (Yale at Magic Theatre; and The Events at Shotgun U. Jonathan Toppo Repertory Theatre), Measure for Measure (San- Players. Jake is the recipient of a 2004 Princess FIGHT DIRECTOR ta Cruz Shakespeare/California Shakespeare Grace Award. Jonathan’s New York credits include Sweat (on Theater), and Side Show and Our Country’s Broadway at and also at The Public Good (Brown/Trinity Repertory Company). Alexander V. Nichols Theater), for which he received the Drama Upcoming: Is God Is and Fairview (Soho Rep), PROJECTION DESIGNER Desk Award for Outstanding Fight Choreogra- He Brought Her Heart Back in a Box (Theatre Alexander returns to Berkeley Rep for his 33rd phy. His regional credits include Pericles at the for a New Audience), The House that will not production. Broadway credits include Wishful Guthrie Theater, Mojada at Portland Center Stand (New York Theatre Workshop), and Drinking, Back on Broadway, Stage, Pirates of Penzance at Portland Opera, Lempicka (Williamstown Theatre Festival). Nice Work If You Can Get It, and Latin History and at Seattle Repertory Theatre. Training: Yale School of Drama, mfa; Brown For Morons, and off-Broadway productions He has been the resident fight director at Or- University, MA; Oberlin College, BA; Oberlin of Los Big Names, Horizon, Bridge & Tunnel, egon Shakespeare Festival since 2007, where Conservatory of Music, BM. Visit Taking Over, Through the Night, In the Wake, he has worked on ; Shakespeare montanaleviblanco.com. In Masks Outrageous and Austere, and Ernest in Love; Hamlet; Richard II; ; Shackleton Loves Me!. Regional theatre credits Fingersmith; The Happiest Song Plays Last; Jennifer Schriever include designs for American Conservatory The Comedy of Errors; Water by the Spoonful; LIGHTING DESIGNER Theater, the Mark Taper Forum, the Oregon Richard III; Into the Woods; The Taming of the Jennifer is a lighting designer based in New Shakespeare Festival, Arena Stage, Hunting- Shrew; A Streetcar Named Desire; King Lear; York City. Her Broadway credits include ton Theatre Company, La Jolla Playhouse, The Unfortunates; The Liquid Plain; Cymbeline; Eclipsed and John Leguizamo’s Ghetto Klown and Seattle Repertory Theatre. Dance credits ; Animal Crackers; All the Way; (also filmed for hbo). Her off-Broadway include resident designer for Henry V; August: Osage County; Henry IV, Part credits include Bobbie Clearly and On the Ballet, Hartford Ballet, and American Rep- Two; The Pirates of Penzance; To Kill a Mocking- Exhale (Roundabout Theatre Company); The ertory Ballet. He was the lighting supervisor bird; Cat on a Hot Tin Roof; ; and Henry Amateurs (); In the Body of the for American Ballet Theatre and has been IV, Part One. World (); School Girls, the resident visual designer for the Margaret or the African Mean Girls Play (mcc Theatre); Jenkins Dance Company. His designs are in Amy Potozkin, csa Strange Interlude (Transport Group); …Discord the repertory of San Francisco Ballet, DIRECTOR OF CASTING/ (Primary Stages); Today is my Birthday (Page Ballet, Alvin Ailey American Dance Theater, ARTISTIC ASSOCIATE 73); The Moors (Playwrights Realm); Bright Half and Hubbard Street Dance Chicago, among This is Amy’s 28th season at Berkeley Rep. Life (Women’s Project); Eclipsed, ToasT, and others. Recent projects include Elizabeth Cree Through the years she has also had the plea- A Second Chance (The Public Theater), Night at Opera , Nixon in China at the sure of casting plays for act (Seattle), is a Room (Signature Theatre Company); and LA Philharmonic, and Bluebeard’s Castle for the Theatre Company, Aurora Theatre Company, B Sunset Baby (Labyrinth Theater Company). Cleveland Symphony Orchestra. Street Theatre, Bay Area Playwrights Festival, Regionally, she has designed at Goodman , Marin Theatre Com- Theatre, Center Stage, American Reperto- Andre Pluess pany, the Marsh, San Jose Repertory Theatre, ry Theatre, Oregon Shakespeare Festival, COMPOSER Social Impact Productions Inc., and Traveling Goodspeed Opera House, Studio Theatre in Andre has worked with Berkeley Rep on Jewish Theatre. Amy cast roles for various DC, Shakespeare Theatre Company, Studio numerous shows: after the quake, The Arabian independent films, including Conceiving Ada, Theatre, Woolly Mammoth, South Coast Nights, Argonautika, Blue Door, Ghost Light, starring Tilda Swinton; Haiku Tunnel and Love Repertory, and Williamstown Theatre Festival. Honour, Metamorphoses, The Secret in the & Taxes, both by Josh Kornbluth; and Beyond Her opera credits include Die Fledermaus and Wings, Treasure Island, and The White Snake. Redemption by Britta Sjogren. Amy received Pearl Fishers (Metropolitan Opera); Faust, A His Broadway credits include 33 Variations, The her mfa from Brandeis University, where she Midsummer Night’s Dream, and La Traviata Clean House, , and Meta- was also an artist in residence. She has been (Mariinsky Theatre in Russia); and The Pearl morphoses. His other credits include many an audition coach to hundreds of actors and a Fishers (English National Opera in London). productions for About Face Company (artistic presentation/ communication coach to many Jennifer is an adjunct professor at Purchase associate), Court Theatre, Goodman The- businesspeople. Amy taught acting at Mills College. Visit jenschriever.com. atre, Lookingglass Theatre Company (artistic College and audition technique at Berkeley associate), Northlight Theatre, Steppenwolf Rep’s School of Theatre, and has led work- Jake Rodriguez Theatre Company, shops at numerous other venues in the Bay SOUND DESIGNER (resident designer), and other Chicago and Area. Prior to working at Berkeley Rep, she Jake is a sound designer and composer based regional theatres. His more recent projects was an intern at Playwrights Horizons in New in the San Francisco Bay Area who last worked include Cymbeline at the Shakespeare Theatre, York. Amy is a member of csa, the Casting with Berkeley Rep on the world premiere of Equivocation at Arena Stage, Ghost Light and Society of America, and was nominated for Imaginary Comforts, or The Story of the Ghost at Oregon Shakespeare Artios Awards for Excellence in Casting for The of the Dead Rabbit. His regional credits include Festival, Macbeth and Titus Andronicus at Intelligent Homosexual’s Guide to Capitalism An Octoroon and the world premieres of X’s California Shakespeare Theater (where he is an and Socialism with a Key to the Scriptures; One and O’s: A Football Love Story; Troublemaker, artistic associate), Palomino at Center Theatre Man, Two Guvnors; and An Octoroon. or The Freakin Kick-A Adventures of Bradley Group, Sex with Strangers at Steppenwolf, and Boatright; Girlfriend; and at Stage Kiss at the Goodman, as well as the score Tara Rubin Casting, csa Berkeley Rep; The Christians at Actors Theatre for the film The Business of Being Born. Andre CASTING of Louisville, Playwrights Horizons, and the received a Barrymore Award, a Drama Critics Tara Rubin Casting’s most recent Berkeley Rep Mark Taper Forum; the world premiere of A Circle Award, Drama Desk and Lortel nom- credits are Ain’t Too Proud—The Life and Times

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AG_program.indd 36 4/4/18 3:54 PM of The Temptations and Macbeth. Selected Kung Fu, Big Love, and The Wayside Motor Inn ism and Socialism with a Key to the Scriptures. Broadway credits include Prince of Broadway, (Signature Theatre); and The Hotel Colors (the Among his favorite shows at Berkeley Rep are Bandstand, Indecent, Sunset Boulevard, Miss Bushwick Starr). Sarah Rose has workshopped Execution of Justice, Endgame, Pentecost, The Saigon, Dear Evan Hansen, A Bronx Tale, Cats, new plays with , Kate E. Ryan, Composer is Dead, and Taking Over. Falsettos, Disaster!, School of Rock, Gigi, Bullets and Mia Chung at The Ground Floor: Berkeley Over Broadway, Aladdin, Les Misérables, The Rep’s Center for the Creation and Develop- Leslie M. Radin Heiress, How to Succeed in Business Without ment of New Work. ASSISTANT STAGE MANAGER Really Trying, Billy Elliot, Shrek, Young Fran- Leslie is very pleased to be back at Berkeley kenstein, Mary Poppins, Spamalot, The Annual Jeremy Chernick Rep after most recently stage managing An Putnam County Spelling Bee, The Producers, SPECIAL EFFECTS DESIGNER Octoroon, Aubergine, Head of Passes, and Trou- Mamma Mia!, Jersey Boys, and The Phantom Jeremy Chernick and his associate Lillis Meeh blemaker, or The Freakin Kick-A Adventures of of the Opera. Off-Broadway credits include have partnered on special effect design for Bradley Boatright. She started at Berkeley Rep The Band’s Visit; Here Lies Love; and Love, Loss, more than five years and on many produc- as the stage management intern in 2003 and and What I Wore. Regional credits include Yale tions. Together they have dumped blood, has also worked at American Conservatory Repertory Theatre, Paper Mill Playhouse, La smoke, snow, freight, and fun onto shows all Theater, Aurora Theatre Company, Califor- Jolla Playhouse, the Old Globe, and Asolo Rep. over the globe. Highlights include American nia Shakespeare Theater, Center Repertory Psycho on Broadway, Rocky The Musical on Company, and Santa Cruz Shakespeare. She Sarah Rose Leonard Broadway, Let the Right One In for the National has traveled with Berkeley Rep productions PRODUCTION DRAMATURG/ Theatre of Scotland, Guards of the Taj for the to the Hong Kong Arts Festival and the New LITERARY MANAGER Atlantic Theater Company, A Christmas Carol Victory Theater in New York. Her favorite past Sarah Rose is the literary manager at Berkeley for the McCarter Theatre, and Punk Rock, as productions include Aubergine, Wittenberg, Rep. Before returning to the Bay Area, where well as multiple productions with mcc The- Sisters Matsumoto, In the Next Room (or the she grew up, she was the literary associate at ater, the New Group, Lincoln Center Festival, vibrator play), Passing Strange, The Lieutenant of Signature Theatre in New York City. In New and Signature Theatre. Inishmore, and The Secret in the Wings. York she held positions as the associate agent at AO International, Next Generation Fellow Michael Suenkel Susan Medak at the Martin E. Segal Theatre Center at the PRODUCTION STAGE MANAGER MANAGING DIRECTOR cuny Graduate Center, literary resident at Michael began his association with Berkeley Susan has served as Berkeley Rep’s managing Playwrights Horizons, and literary associate Rep as the stage management intern for the director since 1990, leading the administra- at Page 73. She has dramaturged productions 1984–85 season and is now in his 24th year as tion and operations of the Theatre. She has of Ain’t Too Proud—The Life and Times of The production stage manager. For Mr. Kushner served as president of the League of Resident Temptations (Berkeley Rep); Iron Shoes (Shot- and Mr. Taccone, he stage managed Hydrio- Theatres (lort) and treasurer of Theatre Com- gun Players); A Tale of Autumn and You For Me taphia, Slavs!, Homebody/Kabul, Brundibar, and munications Group (tcg), organizations that For You (Crowded Fire); A Particle of Dread, The Intelligent Homosexual’s Guide to Capital- represent the interests of nonprofit theatres

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AG_program.indd 37 4/4/18 3:54 PM BERKELEY REP Connect with us PRESENTS

facebook.com/ vimeo.com/ profiles berkeleyrep berkeleyrep across the nation. Susan chaired panels for the Arts Council and has also served on program panels for Arts Midwest, @berkeleyrep instagram.com/ the Joyce Foundation, and the National En- berkeleyrep dowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berke- ley Association (dba). She is the founding chair of the Berkeley Arts in Education Steer- ing Committee for Berkeley Unified School District and the Berkeley Cultural Trust. Susan serves on the faculty of Yale School of Drama and is a member of the International Women’s Forum and the Mont Blanc Ladies’ Literary Guild and Trekking Society. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund and the 2017 Vi- sionary Leadership Award by tcg. During her time in Berkeley, Susan has been instrumental in the construction of the Roda Theatre, the Nevo Education Center, the renovation of the Peet’s Theatre, and in the acquisition of the Harrison Street campus. Theresa Von Klug GENERAL MANAGER Before joining Berkeley Rep, Theresa had over 20 years of experience in the New York not-for-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Her previous positions include the interim general manager for The Public Theater; general manager/line producer for Theatre for a New Audience, where she opened its new state-of- the-art theatre in and filmed a major motion picture of the inaugural production of ’s A Midsummer Night’s Dream, released June 2015; production manager at the Performing Arts Center and , including the famous Encores! Great American Musicals in Concert; and field representative/ lead negotiator for the Association of Theatrical Press Agents and Managers. She holds a MS in Labor Relations and Human Resources Management from Baruch College. Peter Dean PRODUCTION MANAGER Peter began his Berkeley Rep career in 2014, and since then some his favorite productions include Party People, X’s and O’s (A Football Love Story), Monsoon Wedding, and Aubergine. Previously, he served as production manager at The Public Theater, where favorite works in- clude Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also helped Alex Timbers develop Rocky the Musical, The Last Goodbye, and the cult classic

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AG_program.indd 38 4/4/18 3:54 PM Dance Dance Revolution the Musical. Other favorites include working with to remount The Sandbox and The at their original home at the Cherry Lane Theatre, working on Little Flower of East Orange directed by the late Philip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has worked with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shake- speare, Trinity Rep, Hasty Pudding Theatricals, Ballet, Central City Opera, and the Center Theatre Company. Peter is a graduate of Otterbein University. Madeleine Oldham RESIDENT DRAMATURG/ DIRECTOR, THE GROUND FLOOR Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and De- velopment of New Work and the Theatre’s resi- dent dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Aubergine, The House that will not Stand, Passing Strange, and In the Next Room (or the vibrator play), among others. As literary manager and asso- ciate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary man- ager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Mad- eleine served for four years on the executive committee of Literary Managers and Drama- turgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Proud Supporter of Berkeley Rep Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage. Lisa Peterson ASSOCIATE DIRECTOR Lisa is a two-time Obie Award-winning writer and director whose previous projects at Berke- ley Rep include Office Hour (2018); Watch on the Rhine (2017); It Can’t Happen Here (2016); Madwoman in the Volvo (2016); An Iliad (2012), Business of Pride Award Winner as a Top LGBTQ-Owned Company which Lisa co-wrote with Denis O’Hare and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). Coldwell Banker Berkeley Other recent West Coast productions include You Never Can Tell (California Shakespeare Locally Grown, Globally Known Theater), Hamlet (Oregon Shakespeare Fes- tival), and Chavez Ravine (Ovation Award for 1495 Shattuck Avenue, Berkeley Best Production— Center Theatre Group). She 510.486.1495 | ColdwellBankerHomes.com has directed world premieres by many major californiahome.me | /cbcalifornia American writers, including Tony Kushner, , , José Rivera, David Henry Hwang, Luis Alfaro, Marlane Meyer, Naomi Wallace, Basil Kreimendahl, and many others. She regularly works at the

Guthrie Theater, Actors Theatre of Louisville, ©2017 Coldwell Banker. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company and Equal Housing Opportunity. Each Coldwell Banker the Mark Taper Forum, La Jolla Playhouse, Residential Brokerage Office is Owned by a Subsidiary of NRT LLC. Real Estate Licensees affiliated with Coldwell Banker Residential Brokerage are Independent Contractor Sales Associates and are not employees of NRT LLC., Seattle Repertory Theatre, Arena Stage, and Coldwell Banker Real Estate LLC or Coldwell Banker Residential Brokerage. CalBRE License #01908304.

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AG_program.indd 39 4/4/18 3:54 PM BERKELEY REP PRESENTS profiles

New York Theatre Workshop. Lisa and Denis Oakland Children’s Hospital. They have three Guy Tiphane are working on a new play about faith called college-age children. EXECUTIVE SPONSOR The Good Book and a commission for McCarter Guy Tiphane blogs at Theatre Center titled The Song of Rome. Lisa Frances Hellman & Warren Breslau guytiphane.wordpress.com. is also writing a new music-theatre piece with LEAD SPONSORS Todd Almond called The Idea of Order, co-com- Warren and Frances are avid watchers of live David & Vicki Cox missioned by La Jolla Playhouse, Berkeley Rep, theatre, which includes Berkeley Rep and an SPONSORS and Seattle Rep. annual pilgrimage to London’s West End. Hav- Dave and Vicki have been active in the the- ing loved Berkeley Rep for years and previous atre world for nearly 30 years, first with the Jack & Betty Schafer Tony Kushner plays (both at Berkeley Rep Guthrie Theater, where Dave was at one time SEASON SPONSORS and in London!), they are thrilled to sign on as chair of the board, and now with Berkeley Rep, Betty and Jack are proud to support Berkeley sponsors of Angels in America. They are very where he is a board member. Vicki, a wom- Rep. Jack just rotated off the Theatre’s board proud of the cutting-edge exceptional theatre en’s rights activist, is a past national board and is now on the boards of San Francisco that Berkeley Rep continuously produces. member of Americans for the UN Population Opera and the Straus Historical Society. He is Frances’ day job is as professor of physics and Fund and Planned Parenthood. The retired an emeritus trustee of the San Francisco Art dean of mathematical and physical sciences ceo of Cowles Media, Dave pursues interests Institute and the Oxbow School. Betty is on at UC Berkeley and Warren is a machinist and in media and environmental causes. Previous- the board of EarthJustice, the Jewish Commu- welder at 5th Street Machine Arts. ly, he was the board chair of Earthjustice and nity Center of San Francisco, and Sponsors of Link Media. The Coxes love Berkeley Rep’s Educational Opportunity. In San Francisco, Stewart & Rachelle Owen dedication to risk-taking and its emphasis on she is engaged in the launch of Wise Aging, a LEAD SPONSORS contemporary plays, as well as its commit- program for adults addressing the challenges Rachelle and Stewart are honored to sponsor ment to developing theatre works and artists. of growing older. They have three daughters Angels in America. Rachelle is a former social and eight grandchildren. worker and serves on the board of Bay Area James C. Hormel & Community Services. Stewart is a former vice Michael P. Nguyen Michael & Sue Steinberg chairman of Young & Rubicam and partner/ SPONSORS SEASON SPONSORS owner of mcgarrybowen. He serves as pres- Appointed U.S. Ambassador to Luxembourg Michael and Sue have been interested in the ident on the Berkeley Rep board and on the by President Bill Clinton, James Catherwood arts since they met and enjoy music, ballet, boards of a number of startups through his Hormel was the first openly gay United and live theatre. Michael, who recently retired investment company, Roble Partners. States ambassador. In 1981, he co-founded as chairman and chief executive officer of the Human Rights Campaign and in 1995, he Macy’s West, served on Berkeley Rep’s board Jonathan Logan Family Foundation funded the creation of the James C. Hormel of trustees from 1999 to 2006 and currently LEAD SPONSOR Gay and Lesbian Center at the San Francisco serves on the board of directors of the Jewish The Jonathan Logan Family Foundation Public Library. He holds leadership positions Museum. Sue serves on the board of the supports nonprofit organizations that advance on numerous boards and councils around the World of Children. The Steinbergs have always social justice by empowering world-changing country. James was one of the first funders enjoyed regional theatre and are delighted to work in the arts, investigative journalism, docu- of the original Angels in America production sponsor Berkeley Rep this season. mentary film, education. They are a catalyst for (1990–91). Dedicated to civic and social ideas and actions that illuminate the world and justice, and an animal and environmental The Strauch Kulhanjian Family create positive change. Some of the programs welfare advocate, Michael Peter Nguyen SEASON SPONSOR the Foundation supports include The Logan works alongside James on their charitable Roger Strauch is a former president of Berke- Nonfiction Program, the Center for Investi- giving foundation and has served on the San ley Rep’s board of trustees and is currently gative Reporting/Reveal, Chicago’s Invisible Francisco Public Library Commission for two vice president of the board. He is chairman of Institute, the Logan Media Center of the Logan terms. A musician, choreographer, writer, and The Roda Group (rodagroup.com), a venture Center for the Arts, and the International Con- trustee of the American Conservatory Theater, development company based in Berkeley. The sortium of Investigative Journalists. The Foun- Michael is profoundly passionate about the Roda Group is a lead investor in new bat- dation is committed to increasing community arts and humanities. tery, carbon capture, and water remediation access to theatre, music, and film. Jonathan technology companies based in Silicon Valley Logan previously chaired the Center for aids Michael H. Kossman and , Canada. Roger is chairman Services in Oakland and founded the lgbtq SPONSOR of the board of directors of Cool Systems, family organization, Our Family Coalition. He Michael is thrilled to deepen his involvement the manufacturer of Game Ready, a medical is also a Berkeley Rep trustee, board member with Berkeley Rep by sponsoring Angels in physical therapy system. He is also chairman (former chair) of the Center for Investigative America as well as being a member of the pro- of the board of trustees for the Mathematical Reporting, and advisory board member of the duction’s Advisory Council. Michael’s theatre Sciences Research Institute. He is a member ucb Graduate School of Journalism. involvement goes all the way back to an ele- of the UC Berkeley Engineering Dean’s college mentary school production of Peter Rabbit in advisory board; a member of the board of Target 1971. He has appeared in various productions Northside Center, a mental-health services LEAD SPONSOR around the Bay Area, including Jesus Christ agency based in Harlem, New York City; and -based Target Corporation serves Superstar (College of Marin) and Brigadoon a co-founder of the Program guests at 1,826 stores—including 67 stores (the Mountain Play), as well as having spent in Armenian Studies at Cal. Roger also leads in the Bay Area—and at Target.com. Since two years as a supernumerary with the San the Mosse Art Restitution Project, which 1946, Target has given 5 percent of its profit to Francisco Opera. Michael has spent significant searches for family art illegally confiscated communities, which today equals millions of time with numerous Bay Area nonprofits, during ’s Third Reich. His wife, Julie dollars a week. Target first supported Berkeley most recently as a board member at Frame- A. Kulhanjian, is an attending physician at Rep in 1988. line, and March 31, 2000 was declared Michael

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AG_program.indd 40 4/4/18 3:54 PM Kossman Day in San Francisco in recognition of his contributions to the city and its people. His day job keeps him busy as the Chief Op- erating Officer of Aspiriant, an independent wealth management firm serving affluent families across the country. Sandra & Ross McCandless SPONSORS Sandra is a long-standing Berkeley Rep board member who has served as co-chair of the corporate committee and as a member of the executive and compliance committees. Sandra represents management in employment matters as a partner of the global law firm Dentons. She is also a neutral arbitrator for the American Arbitration Association. Sandra has been named one of the Most Influential Women in Bay Area Business by the San Fran- cisco Business Times. She is also a leader of the American Bar Association, the largest profes- sional services organization in the world, and has served on its board of governors and chair of its finance committee. Ross teaches science and mathematics at Mount Diablo High School and is an avid dancer and birdwatcher. The McCandless’ love of theatre dates back to Sandra and Ross’ joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter Phyra McCandless, son-in-law Angelos Kottas, and granddaughter Hyonia are also enthusiastic members of the Berkeley Rep family. BART SEASON SPONSOR Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can find discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun! Peet’s Coffee SEASON SPONSOR Peet’s Coffee is proud to be the exclusive cof- fee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming. Peet’s is honored to support Berkeley Rep’s renovation with the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed® Gold certi- fied roaster in the nation.

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AG_program.indd 41 4/4/18 3:54 PM BERKELEY REP PRESENTS

profiles

Wells Fargo SEASON SPONSOR Wells Fargo is proud to support the award-winning Berkeley Repertory Theatre as a season sponsor for the last 12 years because of its dedication to artistic excellence and community engagement. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, COMING UP NEXT AT AURORA mortgage, and consumer and commercial finance. The bank is committed to building better every day to meet our customers’ financial goals. For more information, please visit wellsfargo.com. Y AREA PREMIERE WORLD PREMIERE BA

By JONATHAN SPECTOR By SARAH BURGESS Directed by JOSH COSTELLO Directed by JENNIFER KING STARTS APR 13 STARTS JUN 22

TICKETS AND MORE INFORMATION: 510.843.4822 | AURORATHEATRE.ORG YOUR ACT IS RELEVANT Classes for all levels berkeleyrep.org/classes 510 647-2972

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AG_program.indd 42 4/4/18 3:54 PM ADDITIONAL STAFF Associate director Scene shop Will Detlefsen James Chandler Proud to Associate sound designer Jennifer Costley Madeleine Oldham Erica Engel Will Gering Support Associate special effects designer Chance Grable Lillis Meeh ET Hazzard Assistant scenic designer Carl Martin Berkeley Rep Se Oh Sean Miller Costume shop Scenic artists April Bonasera Kristen Augustyn Nelly Flores Kate Fitt Milena Geary Katie Holmes Alea Gonzales Lassen Hines Personal attention Andrea Phillips Chris Jee Anna Slotterback Anya Kazimierski thoughtful litigation Kennedy Warner Video programmer final resolution Deck AV Ahren Buhmann Our goal is to preserve our LAW FAMILY Jorge Cortes Video technicians client’s dignity and humanity. Deck crew CC Gruber Gabriel Holman Lauren Wright James McGregor Wardrobe Matt Reynolds Andrea Phillips Kourtney Snow Anna Slotterback FA M I LYLAW G R OUP, P. C . Dialect coach Kennedy Warner Jessica Berman Wings—Craftsperson 575 Market Street, Suite 4000 Draper Kelly Koehn San Francisco, CA 94105 Alex Zeek Wings—Technician 415.834.1120 www.sflg.com Electrics Margaretta Grazier Spencer Dixon Additional projection equipment from Joshua van Eyken WorldStage Inc. Zach Fischer Cicily Clare Gruber Medical consultation for Berkeley Rep Chris Hartzell provided by Cindy J. Chang, MD, ucsf Gabriel Holman Clinical Professor, and Steven Fugaro, MD. Want to take Bradley Hopper Angels in America Melissa Ramirez Minerva Ramirez home with you? Sarina Renteria Corey Schaeffer Nathanael C. Schiffbauer Pick up a script, jacket, Andrea J. Schwartz or book in our gift shop! Kourtney Snow Ericka Sokolower-Shain Followspot operators/Deck electricians Sarina Renteria Spencer Dixon Hair & makeup designer Amy Bobeda Production assistant Sofie Miller Props Lisa Mei Ling Fong Zoe Gopnik-McManus Anya Kazimierski Noah Kramer Dara Ly Baz Wenger

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AG_program.indd 43 4/4/18 3:54 PM 50 BERKELEY REP’S YEARS AND GLOWING JOIN US!

Join us as we toast Berkeley Rep’s past, present, and future at a HONORARY COMMITTEE Hope Alexander-Willis spectacular evening at the Ritz-Carlton San Francisco honoring 50 Todd Almond seasons of spectacular theatre. Tony Amendola & Judith Marx Mikhail Baryshnikov The Honorable Tom Bates & Berkeley Rep’s OVATION—50 Years and Glowing—is a night of the Honorable Loni Hancock celebration. It’s also a night to support the Theatre’s innovative work both Joy Carlin James Carpenter on and off stage, from its productions and new play development program The Honorable Keith Carson & Maria Carson to nurturing the next generation of theatre-makers and theatre-goers. Kathleen Chalfant Adam Chanler-Berat Reconnect with luminary artists and friends, from Berkeley Rep’s earliest Dean Colman Domingo days to the present, over a sumptuous and celebratory feast. Get ready to Paul Dresher & Philippa Kelly bid on one-of-a-kind getaways and vip experiences. And be prepared for a Eve Ensler Steven Epp surprise or two during this theatrically festive evening. Oskar Eustis Mona Golabek Daniel Handler & Lisa Brown Geoff Hoyle Linda Lee Johnson SATURDAY, JUNE 9, 2018 · 6:00PM Moisés Kaufman The Ritz-Carlton San Francisco · 600 Stockton Street, San Francisco Maxine Hong Kingston The Honorable Barbara Lee Delroy & Nasha Lindo Sharon Lockwood Flicka McGurrin Rita Moreno TICKETS START AT $750 PER PERSON Bill Rauch Proceeds from OVATION support all of the work on Berkeley Rep’s stages, Emma Rice Ken Ruta as well as the Theatre’s arts education and new play development programs. Mitzi Sales & John Argue Anna Deveare Smith Joe Spano Stephen Spinella Sir Patrick Stewart RSVP Anne Swift Julia Starr at 510 647-2901 or [email protected] Michael Tilson Thomas & Joshua Robison Stephen Wadsworth & Francesca Faridany Or visit berkeleyrep.org/ovation Tom Waits & Kathleen Brennan Alice Walker Alice Waters Les Waters & Annie Smart Mary Zimmerman

AG_program.indd 44 4/4/18 3:54 PM We thank the many institutional partners who enrich our community by BERKELEY REP championing Berkeley Rep’s artistic and community outreach programs. THANKS We gratefully recognize these donors to Berkeley Rep, who made their Institutional Partners gifts between January 2017 and February 2018.

LEGEND Ground Floor donor

GIFTS OF $100,000 AND ABOVE GIFTS OF $25,000–49,999 GIFTS OF $5,000–9,999 The William & Flora Hewlett Foundation Anonymous Anonymous The Shubert Foundation BayTree Fund Distracted Globe Foundation Time Warner Foundation, Inc. The Ira and Leonore S. Gershwin Philanthropic Fund Ann and Gordon Getty Foundation Wallis Foundation Reinhold Foundation GIFTS OF $50,000–99,999 Walter & Elise Haas Fund The Reva and David Logan Foundation Woodlawn Foundation GIFTS OF $1,000–4,999 Jonathan Logan Family Foundation Joyce & William Brantman Foundation Koret Foundation GIFTS OF $10,000–24,999 Civic Foundation National Endowment for the Arts Anonymous jec Foundation The Bernard Osher Foundation Berkeley Civic Arts Program Karl & Alice Ruppenthal Foundation for the Arts The Harold and Mimi Steinberg Charitable Trust Ramsay Family Foundation rhe Foundation 50 BERKELEY REP’S Tournesol Project YEARS AND GLOWING JOIN US! CORPORATE SPONSORS

SEASON SPONSORS SPONSORS BUSINESS MEMBERS Join us as we toast Berkeley Rep’s past, present, and future at a HONORARY COMMITTEE Mechanics Bank Wealth Management Aspiriant Wealth Management Hope Alexander-Willis The Morrison & Foerster Foundation BluesCruise.com spectacular evening at the Ritz-Carlton San Francisco honoring 50 Todd Almond Cooperative Center Federal Credit Union seasons of spectacular theatre. Tony Amendola & Judith Marx CORPORATE PARTNERS Field Paoli Architects, in memory of Mikhail Baryshnikov Armanino llp John & Carol Field The Honorable Tom Bates & Deloitte Perforce Foundation McCutcheon Construction tmg Partners, in memory of John & Carol Field Berkeley Rep’s OVATION—50 Years and Glowing—is a night of the Honorable Loni Hancock LEAD SPONSORS Panoramic Interests celebration. It’s also a night to support the Theatre’s innovative work both Joy Carlin Schoenberg Family Law Group James Carpenter on and off stage, from its productions and new play development program The Honorable Keith Carson & Maria Carson PERFORMANCE SPONSORS to nurturing the next generation of theatre-makers and theatre-goers. Kathleen Chalfant Bayer Adam Chanler-Berat Boston Properties, in memory of John & Carol Field Reconnect with luminary artists and friends, from Berkeley Rep’s earliest Charles Dean Gallagher Risk Management Services days to the present, over a sumptuous and celebratory feast. Get ready to Colman Domingo Macy’s Paul Dresher & Philippa Kelly EXECUTIVE SPONSORS bid on one-of-a-kind getaways and vip experiences. And be prepared for a Eve Ensler Steven Epp American Express Is your company a corporate sponsor? Berkeley Rep’s Corporate Partnership program offers excellent surprise or two during this theatrically festive evening. Oskar Eustis opportunities to network, entertain clients, reward employees, increase visibility, and support the arts Mona Golabek and arts education in the community. Daniel Handler & Lisa Brown For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904. Geoff Hoyle Linda Lee Johnson SATURDAY, JUNE 9, 2018 · 6:00PM Moisés Kaufman The Ritz-Carlton San Francisco · 600 Stockton Street, San Francisco Maxine Hong Kingston The Honorable Barbara Lee Delroy & Nasha Lindo IN-KIND SPONSORS Sharon Lockwood EXECUTIVE SPONSORS Flicka McGurrin TICKETS START AT $750 PER PERSON Rita Moreno Bill Rauch MATCHING GIFTS Proceeds from OVATION support all of the work on Berkeley Rep’s stages, Emma Rice Ken Ruta The following companies have matched their as well as the Theatre’s arts education and new play development programs. employees’ contributions to Berkeley Rep. Please Mitzi Sales & John Argue SPONSORS Au Coquelet La Note contact your company’s HR office to find out if your Anna Deveare Smith Hafner Vineyard Aurora Catering Lucia’s of Berkeley company matches gifts. Joe Spano Latham & Watkins llp Autumn Press ocho Candy Accenture · Adobe Systems Inc. · Apple · Applied Stephen Spinella Mayer Brown llp Bare Picante Sir Patrick Stewart Materials · Autodesk Inc. · Bank of America · Chevron mcgarrybowen Bobby G’s Pizzeria PiQ Corporation · Clorox · Dolby · Electronic Arts RSVP Anne Swift Ramsay Winery Brown Sugar Kitchen Platano Salvadoran Cuisine Outreach · Farallon Capital Mangement · Fremont Julia Starr at 510 647-2901 or [email protected] Michael Tilson Thomas & Joshua Robison Rhoades Planning Group Comal Revival Bar + Kitchen Group Foundation · Gap Foundation · Genentech · Stephen Wadsworth & Francesca Faridany Robert Meyer’s Mangia/Nosh Corison Winery Suya African Carribbean Grill Google · ibm Corporation · Intel Corporation · John & Or visit berkeleyrep.org/ovation Tom Waits & Kathleen Brennan Catering Company Donkey & Goat Winery Sweet Adeline Bakeshop Maria Goldman Foundation · Johnson & Johnson · Alice Walker Semifreddi’s East Bay Spice Company Tigerlily Lawrence Livermore National Laboratory · Levi Alice Waters Whole Foods Market Eureka! Triple Rock Brewery Strauss & Co. · Microsoft · Morrison & Foerster · Les Waters & Annie Smart Viks Chaat & Market five Venus norcal Mutual Insurance Company · Oracle Mary Zimmerman Gather Restaurant Zut! Tavern on 4th St. Corporation · Pixar Animation Studios · Salesforce · PARTNERS gio’s Pizza & Bocce Shell Oil · Sidley Austin llp, San Francisco · Union act Catering Hugh Groman Catering Hotel Shattuck Plaza is the Bank, The Private Bank · Varian Medical System · Almare Gelato Jazzcaffè official hotel of Berkeley Rep. visa u.s.a., Inc. · Workday Angeline’s Kitchen La Méditerranée

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AG_program.indd 45 4/4/18 3:54 PM We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands BERKELEY REP of young people every year. We gratefully recognize these donors to Berkeley Rep, who THANKS made their gifts between January 2017 and February 2018. Individual Donors To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.

SPONSOR CIRCLE SEASON SPONSORS Jean & Michael Strunsky Patricia Sakai & Richard Shapiro Ms. Wendy E. Jordan Jack & Betty Schafer Guy Tiphane Joan Sarnat & David Hoffman Rosalind & Sung-Hou Kim Michael & Sue Steinberg Kelli & Steffan Tomlinson Liliane & Ed Schneider Ted & Krumland The Strauch Kulhanjian Family Gail & Arne Wagner Nick & Laura Severino Peter & Melanie Maier Barry Lawson Williams & Helen M. Marcus LEAD SPONSORS SPONSORS Lalita Tademy Dale & Don Marshall Edward D. Baker Anonymous (2) Felicia Woytak & Steven Rasmussen Phyra McCandless & Yogen & Peggy Dalal Maria Cardamone & Paul Matthews Angelos Kottas Bruce Golden & Michelle Mercer David & Vicki Cox ASSOCIATE SPONSORS Martin & Janis McNair Frances Hellman & Warren Breslau Thalia Dorwick Anonymous (2) Ed Messerly & Sudha Pennathur Jonathan Logan & John Piane Robin & Rich Edwards Shelley & Jonathan Bagg Steven & Patrece Mills M Jane Marvin/Peet’s Coffee Cynthia A. Farner Edith Barschi Norman & Janet Pease Stewart & Rachelle Owen David & Vicki Fleishhacker Neil & Gene Barth Peter Pervere & Cassel Mary Ruth Quinn & Scott Shenker Paul Friedman & Diane Manley Valerie Barth Barbara L. Peterson Jill & Steve Fugaro The Battle Family Foundation Gary & Noni Robinson EXECUTIVE SPONSORS Karen Galatz & Jon Wellinghoff Ben Brown & Louise Rankin Cynthia & William Schaff Anonymous Scott & Sherry Haber Brook & Shawn Byers Emily Shanks M Barbara Bakar James C. Hormel & Lynne Carmichael Pat & Merrill Shanks Michelle Branch & Dale Cook Michael P. Nguyen Julie & Darren Cooke Shirlen Fund, in memory of Susan Chamberlin Jerry & Julie Kline Robert Council & Ann Parks-Council Shirley and Philip Schild John Dains Jack Klingelhofer Paul Daniels, in honor of Ed & Ellen Smith Bill Falik & Diana Cohen Suzanne LaFetra Peter Yonka Karen Stevenson & Bill McClave Kerry Francis & John Jimerson Sandra & Ross McCandless William Espey & Lisa & Jim Taylor Paul Haahr & Susan Karp Dugan Moore Margaret Hart Edwards Wendy Williams Wayne Jordan & Quinn Delaney Pam & Mitch Nichter Tracy & Mark Ferron Linda & Steven Wolan Lata Krishnan & Ajay Shah Leonard X & Arlene B. Rosenberg Steven Goldin Martin & Margaret Zankel Monica Lopez & Sameer Gandhi Sheli & Burt Rosenberg, in honor of Hitz Foundation Marjorie Randolph Len & Arlene Rosenberg Christopher Hudson & Rummi & Arun Sarin kbe Joe Ruck & Donna Ito Cindy J. Chang, MD K

ARTISTIC DIRECTOR’S CIRCLE

PARTNERS Beth & David Sawi Don Campbell and Family M Hilary & Tom Hoynes Linda Protiva Anonymous (4) Jackie Schmidt-Posner & Ronnie Caplane Paula Hughmanick & Lawrence Prozan Tarang & Hirni Amin Barry Posner Leslie Chatham & Kathie Weston Steven Berger Bill Reuter & Ruth Major Stephen Belford & Bobby Minkler Joyce & Jim Schnobrich Betsey & Ken Cheitlin Lynda & Dr. J. Pearce Hurley Maxine Risley, in memory of Jennifer Chaiken & Sam Hamilton Neal Shorstein, MD & Paul Collins K Roxanna Jackman, in honor of James Risley Barbara & Rodgin Cohen Christopher Doane Constance Crawford Mary & Norman Jackman Deborah Romer & William Tucker Karen & David Crommie Stephen & Cindy Snow James Cuthbertson Bill & Lisa Kelly David S. H. Rosenthal & Lois M. De Domenico Audrey & Bob Sockolov Barbara & Tim Daniels M Duke & Daisy Kiehn Vicky Reich Thomas W. Edwards & Rebecca Vickie Soulier Richard & Anita Davis Stephen F. Kispersky Boyard & Anne Rowe Parlette-Edwards Deborah Taylor Barrera Francine & Beppe Di Palma Jean Knox Enid & Alan Rubin Nancy & Jerry Falk Susan West Corinne & Mike Doyle Michael Kossman Lisa Salomon & Scott Forrest Kimberley Goode Barry Williams Linda Drucker John Kouns & Anne Baele Kouns Monica Salusky & Nelson Goodman Patricia & Jeffrey Williams Bill & Susan Epstein Lucy Kuntz, in honor of John K. Sutherland Ms. Teresa Burns Gunther & Sheila Wishek Merle & Michael Fajans The Cage Players Jeane & Roger Samuelsen Dr. Andrew Gunther Sally Woolsey Lisa & Dave Finer Woof Kurtzman & Liz Hertz Jackie & Paul Schaeffer Richard & Lois Halliday Ann & Shawn Fischer Hecht Randy Laroche & David Laudon Linda & Nathan Schultz Earl & Bonnie Hamlin BENEFACTORS Linda Jo Fitz Sherrill Lavagnino & Brenda Buckhold Shank, M.D., Ph.D. Peter & Florence Hart, in memory Anonymous (6) Patrick Flannery Scott McKinney Dave & Lori Simpson of John L. Field Roy & Judith Alper Thomas & Sharon Francis Andrew Leavitt & Catherine Lewis Sherry & David Smith Bonnie & Tom Herman Peggy & Don Alter Lisa Franzel & Rod Mickels Nancy & George Leitmann, in Valerie Sopher Kathleen & Chris Jackson Pat Angell, in memory of Donald & Dava Freed memory of Helen Barber Sally & Joel Spivack Barbara E. Jones, in memory of Gene Angell Herb & Marianne Friedman Henry Lerner, in honor of Gary & Jana Stein William E. Jones Martha & Bruce Atwater James Gala Joanne Levene Lerner Alison Teeman & Seymour Kaufman & Naomi Auerbach & Ted Landau Kevin & Noelle Gibbs Ellen & Barry Levine Michael Yovino-Young Kerstin Edgerton Nina Auerbach Dennis & Susan Johann Gilardi Suzanne & William Lingo Susan Terris Duke & Daisy Kiehn Linda & Mike Baker Marjorie Ginsburg & Howard Slyter Dixon Long Sam Test Wanda Kownacki Michelle L. Barbour Daniel & Hilary B. Goldstine Vonnie Madigan Sushmita Vij Louise Laufersweiler & Warren Sharp Leslie & Jack Batson Mary & Nicholas Graves Elsie Mallonee Jonathan & Kiyo Weiss Eileen & Hank Lewis Don & Gerry Beers M Robert & Judith Greber Lois & Gary Marcus Beth Weissman Sumner & Hermine Marshall David Beery & Norman Abramson Anne & Peter Griffes Charlotte & Adolph Martinelli Wendy Willrich Miles & Mary Ellen McKey Michael S. Berman, in memory of Garrett Gruener & Amy Slater Rebecca Martinez Steven Winkel & Barbara Sahm Susan Medak & Greg Murphy John & Carol Field Migsy & Jim Hamasaki Jill Matichak Sam & Joyce Zanze Toby Mickelson & Donald Brody Caroline Beverstock Bob & Linda Harris Kirk McKusick & Eric Allman Mark Zitter & Jessica Nutik Zitter Janet & Clyde Ostler Naomi Black Vera & David Hartford Dan Miller Jane & Mark Zuercher Sandi & Dick Pantages Cynthia & David Bogolub Ruth Hennigar Andy & June Monach Rezwan & Azarmeen Pavri Caroline Booth Christina Herdell, in memory of Scott Montgomery & Marc Rand Kermit & Janet Perlmutter Bernard Boudreaux Vaughn & Ardis Herdell Judith & Richard Oken LEGEND Pure Dana Fund Linda Brandenburger Richard N. Hill & Nancy Lundeen Sheldeen Osborne K in-kind gift Sue Reinhold & Deborah Newbrun Eric Brink & Gayle Vassar M Elaine Hitchcock Judy O’Young, MD & Gregg Hauser M matching gift Timothy Rempel K Broitman-Basri Family Bill Hofmann & Robbie Welling M Bob & MaryJane Pauley K We are pleased to recognize first-time donors to Gregg Richardson & Lee Mingwei Don & Brown Don & Janice Holve, in memory of Mary Ann Peoples, in memory of Berkeley Rep, whose names appear in italics. Jaimie Sanford & Ted Storey Tracy Brown & Greg Holland Daisy & Paul Persons Lou Peoples

46 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

AG_program.indd 46 4/4/18 3:54 PM BERKELEY REP THANKS Individual Donors

CHAMPIONS memory of John & Carol Field · Pier & Barbara Harry & Susan Dennis · Jerome & Thao Mendelson · Aliza & Peter Metzner · Marlene & Anonymous (4) · Fred & Kathleen Allen · Oddone · Carol J. Ormond · Lynette Pang & Dodson · Kathy Down & Greg Kelly · Kristen Stephen Miller · Jeff Miner · The Morris Family: Elisabeth Andreason & Melissa Allen · Marcia Michael Man · Gerane Wharton Park · Regina Driskell · David Drubin · Anita C. Eblé · Jessica & Susan, Kathy, Karen, Steve & Jaxon · Ronald & George Argyris · Ross E. Armstrong · Jolie Phelps · Malcolm & Ann Plant · Gary & Jean Michael Eisler, in memory of John & Carol Field · Morrison · James & Katherine Moule · Aki & Emi Baumgardner · Susan Benzinger, in memory Pokorny · David & Bobbie Pratt · David & Mary Alan Entine · Gini Erck & David Petta · Michael Nakao · Ron Nakayama · Sharon Noteboom · of Zan Gray Bealmear · Robert Bransten, in Ramos · Kent Rasmussen & Celia Ramsay · Evanhoe · Sheilah & Harry Fish · Brigitte & Louis Judy Ogle · Suzette S. Olson · Eddie & Amy memory of John & Carol Field · Davis Reuben, Junius & Rose, llp, in memory of John Fisher · Martin Fleisher · Michael & Vicky Flora · Orton · Frederick Oshay · Todd Parr · Brian D. Carniglia & Mary-Claire Baker · John Carr · & Carol Field · Audrey & Paul Richards · Helen Jacques Fortier · Mary & Stan Friedman · David Parsons · P. David Pearson & Barbara Paula Carrell · Anthony J. Cascardi · Sumir Richardson · John & Jody Roberts · Galen Gaskin & Phillip McPherson · Karl & Kathleen Schonborn · Bob & Toni Peckham, in honor of Chadha · Ed & Lisa Chilton · Richard & Linnea Rosenberg & Denise Barnett · Martha Ross · Geier · Tim Geoghegan · Gwendolyn Goldsby, in Robert M. Peckham, Jr. · James & Susan Penrod, Christiani · John & Izzie Crane · Ilana DeBare & Dace P. Rutland · Teddy & Bruce Schwab · memory of Angela Paton · Barry & Erica Goode · in honor of Dale & Don Marshall · Lewis Perry · Sam Schuchat · David Deutscher · Burton Andrew & Marva Seidl · Beryl & Ivor Silver · Gail Gordon & Jack Joseph · Gene Gottfried · James F. Pine M · F. Anthony Placzek · Charles Peek Edwards · Susan English & Michael Cherida Collins Smith · Alice & Scott So · Rico & Maya Green · Sheldon & Judy Greene · Pollack & Joanna Cooper · Susie & Eric Poncelet · Kalkstein · Paul Feigenbaum & Judy Kemeny · Douglas Sovern & Sara Newmann · John St. Don & Becky Grether · Ken & Karen Harley · Roxann R. Preston · Paula B. Pretlow · Rich Martin & Barbara Fishman · Frannie Dennis & Roy Anati · Monroe W. Strickberger · Paula Hawthorn & Michael Ubell · Clifford Price · Laurel & Gerald Przybylski · Sheldon & Fleishhacker · James & Jessica Fleming · Pate & Judy Thomson · Michael Tubach & Hersh · Dixie Hersh · Doug & Leni Herst, in Catherine Ramsay · Teresa L. Remillard · Rick & Samuel Fogleman, in memory of Zan Gray Amrita Singhal · Larry Vales · William van Dyk honor of Susie Medak · Fran Hildebrand · Alex Stephanie Rogers · Deborah Dashow Ruth, in Bealmear · Don & Janie Friend, in honor of Bill & Margi Sullivan · Jennifer M. Van Natta · Ingersoll & Martin Tannenbaum · Mr. & Mrs. memory of Leo P. Ruth · Dorothy R. Saxe · & Candy Falik · Chris R. Frostad M · Ann Pamela Gay Walker/Ghost Ranch Harold M. Isbell · Ann L. Johnson · Reese & Laurel Scheinman · Bob & Gloria Schiller · Dr. Harriman, in memory of Malcolm White · Dan Productions · William R. Weir · Elizabeth Margaret Jones · Claudia & Daly Jordan-Koch · David Schulz · Seiger Family Foundation · Marc & Shawna Hartman Brotsky · Rick Hoskins & Werter & Henry Trevor · Susan & Harvey Kaarel Kaljot · Pat Kelly & Jennifer Doebler · & Jane Seleznow · Sarah E. Shaver · Steve & Lynne Frame · Dean Francis · Howard Hertz & Wittenberg · Charles Wolfram & Peter Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle · Susan Shortell · Joshua & Ruth Simon · William & Jean Krois · The Hornthal Family Foundation, Wolfram · Ron & Anita Wornick Christopher Killian & Carole Ungvarsky · Jack & Martha Slavin · Carra Sleight · Suzanne Slyman · in honor of Susie Medak · Marilyn & Michael Birthe Kirsch · Deborah & David Kirshman, in Jerry & Dick Smallwood · Sigrid Snider· Robert & Jensen-Akula · Randall Johnson · Corrina ADVOCATES memory of John & Carol Field · Jeff Klingman & Naomi Stamper · Herbert Steierman · Annie Jones · Fred Karren, in memory of Beth Anonymous (18) · Abbey Alkon & Jonathan Deborah Sedberry · Susan Kolb · David & Joan Stenzel · Carol Sundell · Tracy Thompson · Karen Karren · Dennis Kaump · Lynn Eve Komaromi, Leonard · Emily Arnold · Steven & Barbara Komaromi · Kenneth Kulander · Wayne Lamprey Tiedemann & Geoff Piller · Henry Timnick · Amy in honor of the Berkeley Rep Staff · Janet Aumer-Vail · Susan & Barry Baskin · Stephanie & Dena Watson-Lamprey · Robert Lane & Tom Tobin & Scott Jacobson · Lynn Tolin, in Kornegay & Dan Sykes · Craig Labadie · Beach · Richard & Kathy Berman · Ed & Kay Cantrell · David & Mari Lee · Glennis Lees & memory of John & Carol Field · Mike & Ellen Susilpa Lakireddy · Helen E. Land · Jane & Mike Blonz · Karen Bowen & Beth Gerstein, in honor Michael Glazeski · Ray Lifchez · Julianne Turbow · Dean Ujihara · Sharon Ulrich & Larkin, in memory of Jerry & Marilyn Ungar · of Donald Trump · Marilyn Bray · Peter Brock · Lindemann & Michael Weinberger · Jennifer S. Marlowe Ng · Sarah Van Roo · Mr. Leon Van Barbara & Thomas Lasinski · Marcia C. Linn · Craig Broscow · John H. Buckman · Jane Lindsay · Deidre & Loren Lingenfelter, in Steen · Gerald & Ruth Vurek · Louise & Larry Sidne S. Long · Jay & Eileen Love · Naomi & Buerger · Dr. Alan Burckin & Carol Olmert · memory of Zan Bealmear · Jacqui & Terry Long · Walker · Robert & Sheila Weisblatt · Sallie Bruce Mann · Match Vineyards · John E. Laura Chenel · Terin Christensen · Karen Loveable Feast, in memory of Zan Bealmear · Weissinger · Dr. Ben & Mrs. Werner · Matthews · Erin McCune · Karen & John Clayton & Stephen Clayton · Jane & Tom Gerry & Kathy MacClelland · Paul Mariano · Robert T. Weston · Dick & Beany Wezelman · McGuinn · Harry Mixon Esq · Geri Coulter · Carolyn & Phil Cowan · Michael & Charles Marston & Rosa Luevano · Igor Sharon & Kenneth Wilson · Laura & Ernest Monheimer, in honor of Sharon Kinkade · Denise Coyne · Ed Cullen & Ann O’Connor · Maslennikov · Caroline McCall & Eric Martin · Winslow · Dorothy Witt · Margaret Wu & Brian & Britt-Marie Morris · Jerry Mosher · Pam & Mike Crane · Sheila Cullen · Sharon & Ed Daniel & Beverlee McFadden · John G. Ciara Cox · Lee Yearley & Sally Gressens Marvin & Neva Moskowitz · Patricia Motzkin Cushman · Jill & Evan Custer · Brett D’Ambrosio · McGehee · Brian McRee · George & Jeri Medak, & Richard Feldman · Daniel Murphy · Jane & Kathleen Damron · Pat & Steve Davis · ddl in memory of Alexandra Victoria Gray- Bill Neilson · Christina & Geoffrey Norman, in Productions, in memory of Zan Bealmear · Bealmear · Ruth Medak · Ralph & Melinda

We gratefully recognize SUPPORTERS CONTRIBUTORS FRIENDS Celia Bakke · Bruce Carlton · Joshua Dapice · Anonymous (3) · Mark Amaro · Dale Barnes, Anonymous · Corwin & Margaret Booth · the following donors Debashis Dhar & Devyani Biswas M · in honor of John Jimerson & Kerry Francis · James M. Brown · John E. Caner · Robin & Geoffrey & Shawn Haynes · Al Hoffman & Jeffry & Diane Bernstein · Melissa Ryszard Chetkowski · Deborah Collins · Jim & whose contributions were David Shepherd · George & Leslie Hume · Cadwallader & William E. Kramer · Mrs. Jeanette Cottle · Jediah Craig · Elizabeth Anne Anne & Douglas Jensen · Kathleen Robert Force · Mary & Doug Fraser · Daniel & Doyle, in memory of John Doyle · Carol Field · received from January 11 to Quenneville & Diane Allen · Hugh & Aletha Kate Funk · John & Diane Gossard · Nina G. Gilbert & Sally Gradinger · Dr. & Mrs. Alan Silcox · Arthur Weil · Ann Willoughby · Bob & Green · Bill & Judy Hein · Adrienne Hirt & Harley · Laurence Lange · Paul & Barbara February 23, 2018 Judi Yeager M Jeffrey Rodman · Ron & Virginia Iverson · Jane Liston · Jo & Joe Macaluso, in memory of our Kaplan · Landis Communications Inc. · Julie sons David & John Macaluso · Martin & Ruth Montanari & David Pearson · David & Patsy Malkin · John & Rosemary Merchant · John R. Newhouse · Wendy Polivka & Evan Painter · Petrovsky · Charleen Raines · Ms. Mary Tom Raffin, in honor of Woof Kurtzman · Paco Rudser · Gretchen Saeger · Steven Saxe · Anne Ramirez · Carolyn Ramsey · Ruth Rosen & Shanto · Carole Sheft · Donna Smith-Harrison David Galin · Ellen Rosenfield · Dana Smith · & Samuel Harrison, in memory of Nancy & Kara & Mark Theiding M · Carol Verity · Rossi · Lydia Stack · Henry & Susan Veit · Karen Robert Visser Yoshioka

Special thanks to Marjorie Randolph for establishing The Marjorie Randolph Professional Development Fund, which supports the Berkeley Rep staff.

2017–18 · ISSUES 5–6 · THE BERKELEY REP MAGAZINE · 47

AG_program.indd 47 4/4/18 3:54 PM BERKELEY REP THANKS Donors to the Annual Fund

Sustaining members Dr. Harvey & Deana Freedman Miles & Mary Ellen McKey Phillip & Melody Trapp as of February 2018: Joseph & Antonia Friedman Margaret D. & Winton McKibben Janis Kate Turner Anonymous (7) Paul T. Friedman Ruth Medak Dorothy Walker Norman Abramson & Dr. John Frykman Susan Medak & Greg Murphy Weil Family Trust— David Beery Laura K. Fujii Stephanie Mendel Weil Family Sam Ambler David Gaskin & Toni Mester Karen & Henry Work Carl W. Arnoult & Phillip McPherson Shirley & Joe Nedham Martin & Margaret Zankel Aurora Pan Marjorie Ginsburg & Theresa Nelson & Bernard Smits Ken & Joni Avery Howard Slyter Pam & Mitch Nichter Gifts received by Nancy Axelrod Mary & Nicholas Graves Sheldeen G. Osborne Berkeley Rep: Edith Barschi Elizabeth Greene Sharon Ott Anonymous Neil & Gene Barth Don & Becky Grether Amy Pearl Parodi Estate of Suzanne Adams Susan & Barry Baskin Richard & Lois Halliday Barbara L. Peterson Estate of Helen Barber Linda Brandenburger Julie & Paul Harkness Regina Phelps Estate of Fritzi Benesch The society welcomes the Broitman-Basri Family Linda & Bob Harris Margaret Phillips Estate of Carole B. Berg following new member: Bruce Carlton & Fred Hartwick Marjorie Randolph Estate of Nelly Berteaux Paula Carrell Richard G. McCall Ruth Hennigar Bonnie Ring Living Trust Estate of Jill Bryans Stephen K. Cassidy Douglas J. Hill Tom Roberts Estate of Nancy Croley Paula Champagne & Hoskins/Frame Family Trust David Rovno Estate of Carol & John Field David Watson Lynda & Dr. J. Pearce Hurley Tracie E. Rowson Estate of Rudolph Glauser Terin Christensen Robin C. Johnson Deborah Dashow Ruth Estate of Zandra Faye LeDuff Andrew Daly & Jody Taylor Bonnie McPherson Killip Patricia Sakai & Estate of John E. & M. Laina Dicker Lynn Eve Komaromi Richard Shapiro Helen A. Manning Thalia Dorwick Scott & Kathy Law Betty & Jack Schafer Estate of Richard Markell Rich & Robin Edwards Ines R. Lewandowitz Brenda Buckhold Shank, Estate of Gladys Thomas W. Edwards & Dot Lofstrom M.D., Ph.D. Perez-Mendez Rebecca Parlette-Edwards Helen M. Marcus Kevin Shoemaker Estate of Margaret Purvine Bill & Susan Epstein Dale & Don Marshall Valerie Sopher Estate of Leigh & Ivy Robinson William Espey & Sumner & Hermine Marshall Michael & Sue Steinberg Estate of Stephen C. Schaefer, in Margaret Hart Edwards Rebecca Martinez Dr. Douglas & Anne Stewart honor of Jean and Jack Knox Dr. Stephen E. Follansbee & Suzanne & Charles Jean Strunsky Estate of Peter Sloss Dr. Richard A. Wolitz McCulloch Henry Timnick Estate of Harry Weininger Kerry Francis John G. McGehee Guy Tiphane Estate of Grace Williams

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s board-designated endowment funds, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year. For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected].

Spin the World Forward

Berkeley Rep is partnering with local service organizations to distribute thousands of free and deeply discounted Angels in America tickets to their constituents. Make a gift today to share the transformative power of theatre with our community.

Text PRIOR to 71777 berkeleyrep.org/prior PHOTO BY CHESHIRE ISAACS Benjamin Ismail T. and Randy Harrison

48 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

AG_program.indd 48 4/4/18 3:54 PM AMERICAN CONSERVATORY THEATER PRESENTS

A NEW AMERICAN

BEGINS APR 25 Father Comes Home From the Wars Parts 1, 2 & 3 by Suzan-Lori Parks Directed by Liz Diamond A coproduction with Yale Repertory Theatre

A WORLD–PREMIERE MUSICAL | BEGINS JUNE 6

DIRECTED by MUSIC AND LYRICS by BOOK & ADDITIONAL BASED ON HER SHERYL KALLER PAUL SCOTT GOODMAN LYRICS by SCREENPLAY PAMELA GRAY A WALK ON THE MOON

ACT-SF.ORG 415.749.2228

Untitled-1 1 3/30/18 12:11 PM BERKELEY REP STAFF BOARD OF TRUSTEES Michael Leibert Artistic Director Managing Director Tony Taccone Susan Medak President General Manager Theresa Von Klug Stewart Owen Vice Presidents ARTISTIC Tailor Audience Development Manager Hurteau · Anthony Jackson · Kasey Carrie Avery Kathy Kellner Griffith Director of Casting & Samanta Cubias Klem · Krista Knight · Julian López- Richard M. Shapiro First Hand Morillas · Dave Maier · Reid McCann · Artistic Associate Webmaster Roger A. Strauch Amy Potozkin Janet Conery Christina Cone Patricia Miller · Alex Moggridge · Edward Morgan · Jack Nicolaus · Slater Wardrobe Supervisor Jean Z. Strunsky Director, The Ground Floor/ Video & Multimedia Producer Penney · Greg Pierotti · Lisa Anne Barbara Blair Resident Dramaturg Benjamin Michel Porter · Diane Rachel · Rolf Saxon · Treasurer Madeleine Oldham Program Advertising Elyse Shafarman · Arje Shaw · Joyful Felicia Woytak Literary Manager ELECTRICS Pamela Webster Simpson · Cleavon Smith · M. Graham Sarah Rose Leonard Smith · Elizabeth Vega · James Wagner · Secretary Master Electrician Front of House Director Dan Wolf Leonard X Rosenberg Artistic Associate Frederick C. Geffken Kelly Kelley Katie Craddock Teaching Artists Production Electricians Front of House Manager Chair, Trustees Committee Amber Flame · Carla Pantoja · Dave Associate Director Christine Cochrane · Kenneth Coté Debra Selman Jill Fugaro Lisa Peterson Maier · Elena Wright · Jack Nicolaus · SOUND AND VIDEO House Managers Lindsey Schmeltzer · Radhika Rao · Chair, Audit Committee Artist in Residence Elizabeth Anne Bertolino · Elle Black · Salim Razawi · Simon Trumble · Teddy Kerry L. Francis Stephen Spinella Sound Supervisor Aaron Eaves · Aleta George · Spencer · Andre San-Chez · Bryan Artists under Commission James Ballen Kimberly Harvey-Scott · Tuesday Ray · Quinn · Shannon Davis · Zoe Board Members Todd Almond · Christina Anderson · Sound Engineers Debra Selman Swenson-Graham · Daryl Harper · Edward D. Baker Michelle Branch Jackie Sibblies Drury · Dave Malloy · Angela Don · Annemarie Scerra Lead Concessionaires Miriam Ani David Cox Lisa Peterson · Sarah Ruhl · Tori Molly Conway · Nina Gorham · Teen Core Council Amar Doshi Sampson · Joe Waechter ADMINISTRATION Kimberly Harvey-Scott · Neo Barnes · Jesias Burrell · Robin Edwards Lucca Troutman · Emily Weiss Controller Uma Channer · Adin Gilman-Cohen · Lisa Finer PRODUCTION Suzanne Pettigrew Concessionaires Mirabel Connor · Miya Drain · Devin Karen Galatz Production Manager Chloe Auletta-Young · Jessica Bates · Elias · Anna Granados · Fiona Bruce Golden Associate Managing Director/ Deane-Grundman ·Alecia Harger · Peter Dean Manager, The Ground Floor Will Flanagan · Lorenz Gonzales · Steven Goldin Autumn Goodman-Torrez · Katie Kayla Hansen · Kyla Henderson · Zoe Interim Assistant Production Sarah Williams Scott Haber Holmes · Serene LaBue-Deshais · Larkin · Avery Martin · Sumayya Manager David Hoffman Associate General Manager Luci Liss · Johnny Lloyd· Krista Posell · Bisseret-Martinez · Lucy Urbano · Zoey Russo Jonathan C. Logan Amanda Williams O’Steen Win Wallace Alana Walker · Hannah Williams · Jane Marvin Company Manager Sophia Villamor Yale Management Fellow Ticket Services Director Sandra R. McCandless Jean-Paul Gressieux Jaime Totti Geo Haynes Docent Co-Chairs Susan Medak Matty Bloom, Content Pamela Nichter Executive Assistant Subscription Manager STAGE MANAGEMENT Kate Horton Joy Lancaster, Recruitment Sudha Pennathur Laurie Barnes Selma Meyerowitz, Off-Sites Laura Severino Production Stage Manager Bookkeeper Michael Suenkel Box Office Supervisor and Procedures Emily Shanks Kristine Taylor Julie Gotsch Tony Taccone Stage Managers Angels in America Docents Associate Controller Box Office Agents Matty Bloom, Lead Docent Kelli Tomlinson Molly Meg Legal · Leslie M. Radin · Eric Ipsen Gail Wagner Kathy Rose · Karen Szpaller · Chris Gabrielle Boyd · Carmen Darling · Selma Meyerowitz, Lead Docent Waters · Kimberly Mark Webb Payroll Administrator Jordan Don · Katherine Gunn · Jim Brown · Beth Cohen · Miles Drawdy · Past Presidents Katie Riemann Lian Ladia · Jaden Pratt Monica Fox · Helen Gerken · Production Assistants Helen C. Barber Tessitura User Interaction Jodi Grigas · Mark Liss · Dale Marshall · A. George Battle Bradley Hopper · Hana Kadoyama · Ellen Kaufman · Dee Kursh · Richard Amanda Mason · James McGregor · Administrator OPERATIONS Carole B. Berg Destiny Askin Lingua · Joan Sullivan · Susan Wansewic · Robert W. Burt Sofie Miller · Betsy Norton Facilities Director Steve Wolan · Ron Zak Mark Morrisette Shih-Tso Chen Information Technology Manager Narsai M. David Dianne Brenner STAGE OPERATIONS Facilities Coordinator 2017–18 BERKELEY REP Thalia Dorwick, PhD Stage Supervisor Andrew Susskind FELLOWSHIPS Nicholas M. Graves Julia Englehorn DEVELOPMENT Building Engineer Bret C. Harte Directing Fellow Richard F. Hoskins Director of Development Thomas Tran Nicholas Kowerko Jean Knox Robert M. Oliver PROPERTIES Lynn Eve Komaromi Building Repair Technician Company Management Fellow Marjorie Randolph Associate Director of Development Kevin Pan Properties Supervisor Alice Stites Harlan M. Richter Daria Hepps Jillian A. Green Facilities Assistants Costume Fellow Richard A. Rubin Assistant Properties Supervisor Director of Individual Giving Theresa Drumgoolie · Sophie Li · Kiara Montgomery Edwin C. Shiver Laura Fichtenberg Mendoza · Guy Nado · Jesus Amelia Burke-Holt Development Fellow Roger A. Strauch Rodriguez · LeRoy Thomas Properties Artisan Stewardship Officer Ariana Johnson Martin Zankel Samantha Visbal Woof Kurtzman Sustaining Advisors BERKELEY REP Education Fellow Institutional Giving Manager Rena Bransten SCHOOL OF THEATRE Ky’Lend Adams SCENE SHOP Julie McCormick Martha Conte Director of the School of Theatre Graphic Design Fellow Technical Director Thalia Dorwick, PhD Individual Giving Coordinator Rachel Hull Kendall Markley Jim Smith Kelsey Scott William T. Espey Associate Director Harry Weininger Sound Fellow William Falik Associate Technical Director Special Events Manager MaryBeth Cavanaugh Cecilia Pappalardo David Fleishhacker Matt Rohner Lauren Shorofsky Paul T. Friedman Program Manager, Training and Lighting/Electrics Fellow Shop Foreman Nicholas M. Graves Development Database Community Programs Domino Mannheim Sam McKnight Coordinator Richard F. Hoskins Anthony Jackson Marketing/Digital Carole Krumland Master Carpenter Jane Voytek Education Communications and Communications Fellow Dale Rogers Marshall Jamaica Montgomery-Glenn Development Associates Partnerships Manager Arielle Rubin Julie McCray Maddie Gaw · Julia Starr Carpenters Marcela Chacón Peter F. Sloss Literary/ Helen Meyer Patrick Keene · Read Tuddenham Data and Tessitura Analyst Dramaturgy Fellow Dugan Moore M ARKETING & Katie Riemann James Dinneen Peter Pervere SCENIC ART COMMUNICATIONS Marjorie Randolph Community Programs Administrator Production Management Fellow Charge Scenic Artist Director of Marketing and Hayley Rowland Patricia Sakai Communications Modesta Tamayo Lisa Lázár Jack Schafer Peter Yonka Faculty Properties Fellow William Schaff Bobby August Jr. · Erica Blue · Jon Mara Ishihara Zinky Michael Steinberg COSTUMES Director of Public Relations Tim Etheridge Burnett · Rebecca Castelli · Eugenie Scenic Art Fellow Michael Strunsky Costume Director Chan · Iu-Hui Chua · Jiwon Chung · Chrissy Curl Martin Zankel Maggi Yule Art Director Sally Clawson · Deborah Eubanks · Nora Merecicky Scenic Construction Fellow Associate Costume Director/ Susan Garner · Christine Germain · William Ebeler Communications & Digital Nancy Gold · Gary Graves · Marvin Hair and Makeup Supervisor Stage Management Fellow FOUNDING DIRECTOR Amy Bobeda Content Director Greene · Susan-Jane Harrison · Michael W. Leibert Karen McKevitt Gendell Hing-Hernández · Melissa Tait Adams Hillman · William Hodgson · Andrew Producing Director, 1968–83

50 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUES 5–6

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