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Unromantic COMEDY A DECIDEDLY unromantic COMEDY. GEORGE BERNARD SHAW’S Directed by JONATHAN MOSCONE 2014 SEASON 40TH ANNIVERSARY Pygmalion_cover+color-RK.indd 1 7/14/14 11:42 AM “ I chose City National for its proven wealth management strategies.” I wanted to free up more time to do the things I enjoy doing, and I needed somebody to take responsibility for my individual assets. I chose City National because I’ve been investing with them for 15 years and they’ve proven their ability to do well in these challenging times. City National is The way up® for me and my business. Sy Kaufman Founder of Crosslink Capital, Semi-Retired Hear Sy’s complete story at cnb.com/Proven. Experience the City National Difference.SM Call (866) 618-5242 or visit cnb.com to find a Wealth Management advisor near you. City National Wealth Management CNB MEMBER FDIC Non-deposit Investment Products: n are not FDIC insured n are not Bank guaranteed n may lose value Past performance is not an indication of future results. City National Rochdale, the investment management department of City National Bank. ©2014 City National Bank Untitled-3 1 6/19/14 11:03 AM CNB.82 Kaufman4_CalShakes_Ad PROJECT MANAGER: JOHNSON, M. ID#: 3158.87 DATE: JUNE 4, 2014 10:36 AM CAMPAIGN: TESTIMONIAL_Kaufman REVISION#: IMAGE_Coated APPROVED / OK TO PRINT REVISE / SUBMIT NEW PROOF SIZE: FP: 7.375 x 9.875 inches CATEGORY: AD COLORS: 4-color PUBLICATION: CALIFORNIA QUANTITY: PDF_ SHAKESPEARE THEATER (Encore) PROJECT MANAGER SIGNATURE CITY NATIONAL BANK CREATIVE SERVICES ROM THE ARTSTC DRECTOR ROM THE MANAGNG DRECTOR When I pro- My tenure at Cal grammed Pygma- Shakes coincides lion, somewhere with my tenure in the back of my as a parent—I’ll head, I was sure celebrate my tenth that I would be anniversary with the able to take this company this fall, play on with the two months after same confi dence my daughter, Pip- I had with Shaw’s pa’s, tenth birthday. other works—Man As a result, she’s and Superman, seen more plays Candida, and Arms than the average and the Man. But this one has proved exceedingly kid. There’s nothing greater than watching a child challenging to encompass. Perhaps it’s the over- experience those moments of sheer delight that only whelming responsibility I feel towards the character live theater can provide—the magical moment when of Eliza Doolittle. Even as I write her last name, I Ariel became free and “fl ew” off the stage of the Bruns am struck how Shaw embeds some criticism of her at the end of Jonathan Moscone’s beautiful production and her class, as he sets up the moralizing preacher of The Tempest, or the moment when the two Dromios, husband of Candida (“Morrell”); Candida herself is both played by the amazing Danny Scheie, fi nally meet named for her plain spoken truth. in Aaron Posner’s madcap Comedy of Errors. But the subversive Shaw sets up the audience’s ex- But beyond the joy, some of the most profound and pectations, only to reveal the ambiguities of identity thoughtful conversations we’ve had have been prompt- that pierce through the classifi cations assigned by ed by plays we’ve seen together—from the poignant society in order to keep everyone in their place. themes of love and loss in last season’s Romeo and Juliet and Winter’s Tale to more recent conversations But not true for Eliza. She hears her name. And she about home and family prompted by Raisin in the Sun. doesn’t stand for it. She does a lot, not a little, to And I have been continually struck by how even at a change her fate. At fi rst, her hunger is aspirational young age, Pippa developed empathy for characters to transcend her class and become “a lady.” At end, whose lives seemed so different from her own. the aspiration gives way to a consciousness of the ambiguity of her identity, and in her magnifi cently Hence, part of what makes working at Cal Shakes penned argument with Henry Higgins in the fi nal so personally fulfi lling is our deep commitment to scene, she actualizes towards a character from an educating children. As you’ll read more on page 14, Ibsen play. Like Nora, she must leave and must not Artistic Learning (AL), our education wing, is working know where she is going. Unlike Nora, however, to increase access to the arts and arts education for she is armed with words, heart, and, most of all, a children from throughout the Bay Area. Through AL, ferocious fi ght in her. thousands of kids will have access to the joy of live theater, learn to tap into their own sense of empathy, I gave away the ending, I know. But since many of and become more human—from the hundreds of kids us may see Pygmalion through the lens of My Fair who participate in our Summer Shakespeare Conser- Lady (in which Eliza not only only doesn’t leave but vatories; to the thousands of students who will attend must smile through Higgins’ ending request: “Where Student Discovery Matinees this season; to the 1,400 the devil are my slippers?”), I wanted those of you students who participate in our classroom residencies. who read this before seeing the show to watch how This work is only possible because of the generosity of Shaw charts Eliza’s journey towards a different, far many of you here in the audience. less aspirational, and beautifully ambiguous ending. Or beginning. So on behalf of my child, and the thousands of others whose work Cal Shakes touches, I thank you. Jonathan Moscone Susie Falk encoreartsprograms.com 3 August 2014 Volume 23, No. 3 Archer Norris Paul Heppner congratulates Cal Shakes Publisher for its inspiring work. Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love CALIFORNIA For more information contact: Design and Production Artists STATE OF MIND RICK NORRIS, Partner Mike Hathaway 925.930.6600 Advertising Sales Director [email protected] ARCHERNORRIS.COM Marty Griswold, Seattle Sales Director Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley ASHLAND 2014 Ad Services Coordinator www.encoreartsseattle.com The Tempest William Shakespeare Paul Heppner Publisher February 14 – November 2 Leah Baltus Editor-in-Chief Marty Griswold Sales Director Joey Chapman Account Executive Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Eleven Plays in Three Theatres Events Coordinator February 14–November 2 www.cityartsonline.com 1-800-219-8161 • www.osfashland.org Denis Arndt in The Tempest Paul Heppner 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway President REACH A Center for the Performing Arts • Pacific Northwest Ballet Paramount & Moore Mike Hathaway Theatres • Seattle Children’s Theatre • Seattle Men’s Vice President SOPHISTICATED Chorus • Seattle Opera • Seattle Repertory Theatre Erin Johnston • Seattle Shakespeare Company • Seattle Symphony Communications Manager AUDIENCE Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Genay Genereux Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • Accounting American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Corporate Office Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center 425 North 85th Street Seattle, WA 98103 for the Performing Arts • Pacific Northwest Ballet • Paramount PUT YOUR BUSINESS HERE p 206.443.0445 f 206.443.1246 & Moore Theatres • Seattle Children’s Theatre • Seattle [email protected] Men’s Chorus • Seattle Opera • Seattle Repertory Theatre 800.308.2898 x105 Seattle Shakespeare Company • Seattle Symphony • Seattle www.encoremediagroup.com Women’s Chorus Tacoma City Ballet • Tacoma Philharmonic Encore Arts Programs is published monthly by Encore Media • Taproot Theatre • UW World Series at Meany Hall • Village Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction www.encoremediagroup.com without written permission is prohibited. 4 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG EAP House 1-6H REV.indd 1 3/26/13 11:22 AM ©2014 UC Regents DR. PETER CARROLL IS PIONEERING CARE FOR JOHN SHOEMAKER Dr. Peter Carroll came to UCSF Medical Center to explore a less invasive treatment for prostate cancer. John Shoemaker, diagnosed with that cancer, came to the UCSF Helen Diller Family Comprehensive Cancer Center ready to go to extremes. But instead of the life-altering surgery John was bracing himself for, Dr. Carroll recommended they proactively monitor the cancer instead, leaving him living life to the fullest. At UCSF, innovative research by world-class medical professionals is woven in with patient care every day. Visit PioneeringCare.com to read more. Untitled-6 1 5/29/14 10:27 AM Client: UCSF Medical Center Print Specifications Approvals OK W/C Job Number: 429 Live: 7.375 x 9.875” Creative Director: DeeAnn Budney Ad ID: Trim: 8.375 x 10.875” Director of Services: Anne Smith Rainey Job Title: Adult Campaign Reprise Print Bleed: 8.625 x 11.125” Art Director: Tanya Spanier Copywriter: Sage Romano File Name: UCSF429 Print Encore 8.375x10.875 Carroll A2 Resolution: File Format: Adobe InDesign CS6 Project Manger: James Mills Inks: 4 C SWOP Account Manager: Emily Palmer 724 Pine Street, Vendor: Encore Notes: Assistant Account Exe.: Mike Euphrat San Francisco, CA 94108 Materials In: Studio: Jose F. Justo (415) 255-3000 Materials Due: Saved: 04/17/14 Round 1 Output at 100% Released: CELEBRATE CAL SHAKES OUR STORY: PART THREE AT LIFE AT THE BRUNS 40 BY RESIDENT DRAMATURG PHILIPPA KELLY In our second 40th anniversary article I took you to the opening of the Bruns in the sum- mer of 1991.
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