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

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.

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 summer of 1991. As we readied to open A Midsummer Night’s Dream that night, the forces of nature in Orinda seemed to be preparing all day long for Lear’s wet, blustery heath, fortunately clearing in the nick of time for the more bucolic needs of the scheduled Dream. Congratulations came from Sam Wannamaker, founder of London’s Shakespeare’s Globe project (for which he was rightly lauded in Mark Rylance’s acceptance speech in this year’s Tony awards). But who was the shadowy figure lurking in the background of the last of this summer’s Cal Shakes history series? That was Michael Addison, the man who’d made the opening at the Bruns possible. In 1987 Addison was a professor and director at UC San Diego, on sabbatical leave and looking in Berkeley for a short-term rehearsal space. He phoned Hugh Richmond, professor and board member of what was then the Berkeley Shakespeare Festival, with an inquiry about access to such. ”Yes, that’s fine,” answered Professor Richmond, “we can suit your temporary needs, but actually, would you be interested in suiting our permanent ones?” Before he knew it, Michael had given notice from his elevated position at one of the country’s prized public universities and accepted the position as the Berkeley Shakespeare Festival’s Artistic Director with the charge of finding, building, and commanding an as-yet nonexistent theater space that was nowhere near fully-funded.

What Michael found irresistible was the opportunity to take part in the creative innovation for which the Berkeley Shakespeare Festival had become famous. He admired the actors’ capacity for continuing refreshment of each other via an ongoing artistic relationship from year to year. The foundations of the Berkeley Shakespeare Festival, indeed, were just like those that Shakespeare had created in his own group, “The Lord Chamberlain’s Men,” four hundred years previously; distinct as it was from all of those other companies in London that dissolved and reformed throughout the 1590s, Shakespeare, in contrast, steadily con- solidated a company of integrated artists. Michael believed in the Festival’s vision of artistic community; and it was in his years of leadership that the crucial support of philanthropists Barclay and Sharon Simpson emerged because they, in turn, believed in the vision articulat- ed by this man who had big plans for a future in Orinda for a small company from the other side of the tunnel.

Moving from La Jolla with his wife, Susan, Michael led the actors at Hinkel Park and found them a new home. In this he had the support of the original board and the many new people who joined forces with it: George Bruns and his wife Sue (who had given the lead gift in establishing the Bruns), Carol Upshaw, Clarence Woodard, Claude Hutchinson, David Bond, Myrna Walton, Dennis DeDomenico—and others, like Ellen Dale, who had been with the company during its transition. Once the Bruns opened in the summer of 1991, there were so many novel aspects to this new and larger theater. Gone were the days when you could turn up with your sleeping bag and find a place on the ground. Now there was a need for paper tickets, reserved seating, a box office, ushers, food to be purchased, plastic weatherproof chairs, and people to clean up after each performance. Marty Froese, the unsung heroine of volunteerism, solved many of these problems, for some years organizing the hundreds of volunteers who helped all of these functions to happen. And, in the days top: michael addison; bottom: Henry IV, Part I fight prior to on-board navigation systems—when patrons would often try to find our theater only rehearsal on stage, 1995. to return home disoriented and discouraged, unable to see the banners that were hanging

1974 1984 1987

6 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG in the parking lot—board member Sharon Simpson took on the job of providing freeway signage.

In 1991 the Berkeley Shakespeare Festival was renamed the California Shakespeare Festival in order to reflect its move to new environs and its embrace of additional East HONOR Bay communities. Addison’s artistic vision for the company, however, remained steady THE PasT, right through the move from Hinkel Park to the Bruns: he wanted to showcase a language ENSURE fertilized by something other than the present. We are enlarged in our understanding of the contemporary by a penetrating experience of our past; and, in our mission statement and THE FUTURE every single performance today, the company still holds fast to this belief.

“Graves at my command/Have waked their sleepers, oped, and let ‘em forth...” with thE CAL shAkEs Artists like L. Peter Callender, James Carpenter, Domenique Lozano and Julian Lopez-Mo- rillas were bringing Shakespeare’s works to life on the magnificent Bruns stage in pro- LEgACy CiRCLE. ductions like Henry V, Richard II and Julius Caesar. And by the mid-1990s, the Bruns was flourishing, all of it except for the redwood trees, planted in the days before the grand opening to block the wind. Why weren’t they growing, even after five years? Sharon Simpson suggested that the trees be dug up, only to find that in the rush to get them in, they’d been planted in their plastic wrappers. The roots couldn’t possibly take hold through plastic, and the trees, deprived of soil, had languished all that time. They were dug up, MosConE PERMAnEnT unwrapped and planted again, and today they stand tall and strong to block the wind that would, otherwise, come roaring down the valley. EndowMEnT LEAd donoRs Ellen & Joffa Dale Michael and his small administrative and technical staff were based in an industrial build- Sharon & Barclay Simpson ing in Berkeley with five offices (before the Heinz Avenue office was acquired), planning the upcoming seasons, in consultation mainly with Julian Lopez-Morillas (who contains the LEgACy CiRCLE ChARTER MEMBERs entire works of Shakespeare in his mind more reliably imprinted than any online version); working on educational outreach programs; and building sets and costumes that were Mary Jo & Bruce Byson trucked out to the Bruns. Within this small administrative space the Festival continued to Phil & Chris Chernin expand its educational programs, as well as the annual festival touring program originally Debbie Chinn set up by leading actor and education director Lura Dolas. The company took one of its Ellen & Joffa Dale main stage productions each season to communities throughout California, Arizona, and Peter Fisher Nevada until blocked by budgetary constraints in 1996, due to the de-funding of the Douglas Hill California Arts Council. Xanthe & Jim Hopp David Ray Johnson It would be remiss of me not to mention the many non-human actors at the Bruns. When Mark Jordan your theater lease is based on “bovine units,” allowing grazing rights for cows, you’re con- Debby & Bruce Lieberman fronted with questions for which acting school might not have prepared you. What do you Tina Morgado do if cows get through the fence to the theater lobby and won’t move, as eight of them Richard Norris did one day in 1992? You bang on pans until they leave. How frequently can you expect Shelly Osborne a cow to moo, and how loud is a moo? The James & Nita Roethe outlying cows are definitely stage presences, Laura & Robert Sehr the frequency of their contributions depend- Sharon & Barclay Simpson ing on how many there are and whether they Jean Simpson are hungry. They’re even more of a presence Valerie Sopher if three cowboys come over to round them up Kate Stechschulte & David Cost, with whoops and whips, as they did one day in memory of Margaret Cost during tech for An Ideal Husband. Still today, M.J. Stephens & Bernard Tagholm Arthur Weil Continued on page 23. Carol Jackson Upshaw Jay Yamada Monique Young

inteRested in joining the ciRcle? contact [email protected] above: L. Peter Callender with photo of for more information. joe Vincent in Julius Caesar, 1995; right: Rebecca clark and terri mcmahon in Twelfth Night, 1996.

1997 2014 NExT UP: The Bruns— A New Millenium. _

. x.

They can be impassioned. Funny. Enlightening. Or inspiring. They can open doors. And build relationships. Some can even change the world. At Wells Fargo, we believe you can never underestimate the power of a conversation. It’s how we learn. How we grow. And how ideas spread. It’s at the heart of everything we do. We ask questions. We listen to your answers. We help you take the right steps to move ahead with confidence. So when the conversation turns to your financial goals, turn to us.

Call, click, or stop by to start a conversation today. WELLSFARGO.COM | TOWELLS

ad proofs.indd 1 7/18/14 11:05 AM CALIFORNIA SHAKESPEARE THEATER JONATHAN MOSCONE Artistic Director SUSIE FALK MAnAging Director

PRESENTS

GEORGE BERNARD SHAW’S

Directed by JONATHAN MOSCONE

JULY 30 – AUGUST 24, 2014 BRUNS MEMORIAL AMPHITHEATER, ORINDA

SCENIC DESIGNER ANNIE SMART COSTUME DESIGNER ANNA OLIVER SCENES LIGHTING DESIGNER STEPHEN STRAWBRIDGE SOUND DESIGNER JAKE RODRIGUEZ SCENE 1: DIALECT AND TEXT COACH LYNNE SOFFER COVENT GARDEN, AFTER THE OPERA RESIDENT FIGHT DIRECTOR DAVE MAIER SUMMER STAGE MANAGER LAXMI KUMARAN ASSISTANT STAGE MANAGER CHRISTINA HOGAN SCENE 2: ASSISTANT DIRECTOR SCOTT WALLIN HIGGINS’ STUDY ASSISTANT LIGHTING DESIGNER KRISTA SMITH THE NEXT MORNING PRODUCTION ASSISTANT CORDELIA MILLER SCENE 3: CAST MRS. HIGGINS’ PARLOR COLONEL PICKERING L. PETER CALLENDER SOME MONTHS LATER ALFRED DOOLITTLE JAMES CARPENTER MRS. PEARCE, ENSEMBLE CATHERINE CASTELLANOS SCENE 4: MRS. EYNSFORD HILL JULIE ECCLES HIGGINS’ STUDY, AFTER THE PARTY PROFESSOR HENRY HIGGINS ANTHONY FUSCO SOME MONTHS LATER MRS. HIGGINS, ENSEMBLE SHARON LOCKWOOD IRENE LUCIO ELIZA DOOLITTLE SCENE 5: FREDDY EYNSFORD HILL NICHOLAS PELCZAR MRS. HIGGINS’ PARLOR CLARA EYNSFORD HILL ELYSE PRICE THE NEXT MORNING PARLORMAID, ENSEMBLE PONDER GODDARD ENSEMBLE LIAM CALLISTER ENSEMBLE CAITLIN EVENSON ENSEMBLE CHARLES LEWIS III ENSEMBLE CATHERINE LUEDTKE

EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON, PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA PRODUCERS: DAVID & DIANE GOLDSMITH, ERIN JAEB & KEVIN KELLY, FRANK & CAREY STARN, GEORGE & KATHY WOLF ASSOCIATE PRODUCERS: VALERIE BARTH & PETER WILEY, JOSH & JANET COHEN, BARBARA E. JONES, JOHN KEMP & MARY BRUTOCAO, ASHLEY & ANTONIO LUCIO, RICHARD NORRIS & DAVID MADSEN, BARBARA SAHM & STEVEN WINKEL, SONDRA & MILTON SCHLESINGER, JULIE SIMPSON, CHARLES & HEIDI TRIAY

PRESENTING SEASON PARTNERS PARTNERS

PRODUCTION SEASON PARTNER UNDERWRITERS

Partial support for open captioning provided by Theatre Development Fund

encoreartsprograms.com 9

Pygmalion_cover+color-RK.indd 2 7/14/14 11:42 AM ON THE IN•SIDEnoun; te ier ide r rt iti “Life isn’t about ﬁ nding yourself. Life is about creating yourself.” This is one of George Bernard Shaw’s famous maxims, quoted in everything from self-help D books, to Facebook pages, to documents about the American constitution. D Shaw lived for almost an entire century in class-bound Britain. Fundamental to HA E his socialist politics was the idea that people don’t have to stay where they are

born—and that language, and the way one speaks, often provides the key to

social mobility.

It’s not difﬁ cult to ﬁ nd instances, even in recent times, of British accents being D

gentriﬁ ed in pursuit of such mobility. In the 1980s Margaret Thatcher used a voice coach to lower the register of her high-pitched accent, which had been labeled “shrewish”; while David Beckham, as a speaker of Cockney-style colloquial English, M naturally dropped 80 percent of his h’s and got them all back again once he moved to America. In a reverse accommodation, an effort to appeal to a broad demographic S

prompted English Prime Minister Tony Blair to modify his upper-class accent H H H H H H

(“Received Pronunciation”) to the more informal “Estuary English.” Old Etonian S S S S S S

Prime MinisterH H David Cameron, and even royalty, have been accused of altering

upper class accents for the same purpose. S S S S S

S S D D D D D

This—the change of public identity via a changeD D D D of accent or inﬂ ection—is at the S

heartS S S S S S S of Shaw’s ygalion, written in 1912, just before the time when “BBC En-

glish” would be established as the publicM voice of England. Sha w was a committed D S member of the Fabian humanist and socialist society (the same society that Tony Blair would join several decades later). Shaw supported the advancement of democ- S H racy in all respects, including pushing for equal pay for men and women , advocating S the abolition of private ownership of productive property,H lecturing at trade unions, and campaigning for a simpliﬁ cation and reform of the English alphabet. S Before the Industrial Revolution, English society had been divided into a caste system that practiced endogamy, the marriageH H H H of people within the same demo-

graphic. This included the hereditary transmissionS S S S of occupation, social status, and political inﬂ uence. After the nineteenth century, social mobility—created by educa-

tional reform, legal reform, and opportunities brought on by a newly travelling and market-based meritocracy—began to dismantle the structures of the BritishM M M M M M M caste system. Although class was still codifi ed, it became possible for a person of low birth, such as ygalion’s Eliza Doolittle,H to become fi nancially self-reliant and thus S socially mobile. S But people could only move up if they were willing to change their accents, shucking off their identities with the vowels and consonants of their regional birthplaces and socioeconomic positions. In the early twentieth century, half of the English popula- tion could not read or write their own language. For men and women like yga lion’s Eliza, born in the slums, a lack of education was assumed by any hint of a HMlocal dialect or accent. Changing this, Eliza realizes, can provide the key to economic opportunity, to pulling herself out of the gutter and into a fl ower shop. 10 CALIFORNIA SHAKESPEARE THEATER S WWW.CALSHAKES.ORG S Enter Henry Higgins. For Higgins (whose character is based on that of a famous voice coach, Henry Sweet, who was one of Shaw’s close friends and colleagues), women like Eliza are a curiosity, an experiment, a cold-blooded exercise in their own pow- ers of transformation. Here is the challenge Higgins sets himself: is it possible not just to do what Eliza wishes, but to transform a person’s whole being by changing them on the outside? In a hilarious “trial-scene,” Eliza suggests that this is not the case: the poor low-class (“gutter-snipe”) fl ower-girl, picked up by a famous voice coach who accepts a bet to pass her off as a Duchess within six months, accompanies Higgins to a small soiree, speaking and dressing impeccably, but with her Cockney vocabulary intact. Clearly she is not going to pass as a duchess if she changes only on the outside. She has to change on the inside as well.

But can this new Eliza actually be different from the inside out,

and does she want to be? She can only feel different on the H inside if Higgins treats her as such. Yet his own intransigence S seems entrenched—is she always to remain his servant girl, his A

experiment, his oddly quirky anomaly?

There is something rather ironic and even poignant about this A

play, ygalion. Rather like its namesake—the GreekS sculptor D who became enchanted by his own statue—the arrogant, M

self-assured HenryS Higgins does begin, in the course of the Splay,

to feel something more thanS pride in his craft. What is it that he feels? Admiration for, and even astonishment at, the new lady he’s created? Regard for someone who will bear his instruction but not D his imprint? Even the sneakingD glimmers D of attraction? Whatever the reasons we might imagine, it is clear that Eliza manages to get under Henry’s skin—but will he, in turn, go so far as to change hisel on the inside? D H Higgins’ intransigence has an autobiographical precedent in Shaw’s own relationship with both words and people. Shaw grew up with a stammer, which he learned how to conquer via the many speeches he gave to the Fabian society. In his theater-making, he craved S controlS S S and authority. Mrs. “Stella” Patrick Campbell fi rst played Eliza, and Shaw was notoriously bossy with every aspect of her performance. One can’t help but wonder, in this respect, whether Henry Higgins embodies not only the spirit of his real-life predecessor Henry Sweet,M but also the spirit of Shaw himself. Shaw had an affair with Mrs. Campbell, although speculation has not concluded as to whetherH this was physical or strictly emotional. But, as with Henry and Eliza, the relationship was impeded not so much by her limitations as by his. This is the irony of ygalion—Eliza can change, she does change: but Henry, devoted to himself and his own structured way of life, may be the transformer and not the transformed, the sculptor but not the sculpted. Will he see any need to be AS anythingS other than his own prideful self? Pride indeed plays an important part in this play. Shaw, as a great supporter of women’s rights, suggests that in his patriarchal society men fi nd change less possible than women. He compares SHAW, AS A GREAT SUPPORTER S Higgins’ privileged self-satisfaction with the pride of the street as manifested by Eliza’s father, Alfi e Doolittle. OF WOMEN’S RIGHTS, SUGGESTS

I’m one of the undeserving poor: that’s what I am. THAT IN HIS PATRIARCHAL Think of what that means to a man. It means that SOCIETY MEN FIND CHANGE he’s up agen middle class morality all the time. If there’s anything going, and I put in for a bit of it, LESS POSSIBLE THAN WOMEN. it’s always the same story: “You’re undeserving; so you can’t have it.” And yet when offered the opportunity to change his accent within three months, with a jokey guarantee that he’d be eligible to run for Parliament, Doolittle replies: Not me, Governor, thank you kindly. I’ve heard all the preachers and all the prime ministers—for I’m a thinking man and game for politics or religion or social reform same as all the other amusements—and I tell you it’s a dog’s life any way you look at it. Undeserving poverty is my line.

In the end, this is where father meets daughter. Both face the question: what happens to your inside when you change on the outside? Perhaps you renounce the legacy of who you are. Will Eliza take the leap that her father refuses? You’ll have to see.

han you to Hannah angley and Ciara Croley or sharing their thoughts on ygalion, and to ynne oer, hose speech lineage goes directly bac to Henry eet.

encoreartsprograms.com 11 from mansplaining to leaning in: sHaw’s feminismfeminism today

by kaya oakes

2008, San Francisco–based writer Rebecca Solnit wrote an essay entitled “Men Explain Things to Me.” In the essay, Solnit describes an incident at a party. A man was holding forth to her and a friend about a dazzling new in work of historical nonfi ction, but he refused to believe that the person who’d written it was standing right in front of him. He was pontifi cating to Solnit about her own book. This kind of over-confi dent, reﬂ exive propensity, Solnit writes, “[is] the presumption that makes it hard, at times, for any woman in any fi eld; that keeps women from speaking up and from being heard when they dare; that crushes young women into silence by indicating… that this is not their world.”

12 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG Higgins Has a vast understanding of pHonetics, but wHen He encounters eliza doolittle, He insists on explaining to Her tHings sHe already knows.

Within a few years of Solnit’s online essay going eliza is clear tHat Her speecH impacts Her social viral, a new term entered the pop culture lexicon: position, and tHat’s wHy sHe wants to cHange it. “mansplaining.” In “A Cultural History of Mansplaining,” which appeared in The Atlantic, Lily Rothman defines mansplaining as “explaining without regard to the fact that the explainee knows more than the explainer,” a phenomenon not reserved solely to men, but one perhaps more typically exhibited by them. Solnit subsequently published a book of essays about mansplaining with the same title as her essay, and the concept turned into a meme. Politicians, unsurprisingly, were frequent receptors of the term. During the last election cycle, there was an entire blog devoted to “Mansplaining Paul Ryan,” and a column in GQ about Mitt Romney called “Mittsplaining.”

In Pygmalion’s Henry Higgins, we have a superb example of a mansplainer. Yes, Higgins has a vast understanding of phonetics, but when he encounters Eliza Doolittle, he insists on explaining to her things she already knows. Eliza is clear that her speech impacts her social position, and that’s why she wants to change it. But Higgins never listens to Eliza; he lectures Eliza. Higgins is so preoccupied with phonetics that it is sometimes difficult for him to hear what people are really saying. So, he explains. And explains. And explains. And Shaw merrily allows Higgins to dig himself into a hole.

For a man of his time, Shaw had a very contemporary interest in bringing three-dimensional female characters to the stage. Shaw supported Women’s Suffrage, and in Mrs. Warren’s Profession, he engaged the “woman question” of whether or not women should work outside of the home. When Pygmalion was staged in 1914, the theater manager Herbert Tree changed the ending and paired Eliza and Higgins romantically (an ending that survived into the popular musical version of Pygmalion, My Fair Lady; the film ends with Higgins demanding that Eliza fetch his slippers, which she does. That rumbling you just felt was Shaw rolling over in his grave). Shaw saw this pairing as impossible and absurd, arguing in an afterword he wrote for the play “when Eliza emancipates herself, she must not relapse. She must retain her pride and her triumph until the end.” After the romantic ending was added, pairing Eliza with the man who tricks and deceives her, Tree wrote to Shaw, “my ending makes you money. You should be grateful.” Shaw’s reply? “Your ending is damnable. You ought to be shot.”

Eliza overcomes Henry Higgins’ mansplaining when she finds her voice, but also when she realizes that Higgins is trying to reinvent her on what she believes to be a whim. Eliza discovers that she is free to stand on her own. And like Henry Higgins’ mansplaining, Eliza’s discovery of her willpower has a contemporary resonance. Facebook’s Chief Operating Officer Sheryl Sandberg’s 2013 book Lean In encourages women to stop letting men explain things to them and, instead, to speak for themselves. Sandberg admits “I still have days when I feel like a fraud. And I still sometimes find myself spoken over and discounted while men sitting next to me are not,” but she’s turned that awareness into a strength. “I know how to take a deep breath and keep my hand up,” she writes. “I have learned to sit at the table.”

Near the end of the play, tired of Higgins’ manipulation, Eliza finally leans in. “If I can’t have kindness,” she tells Higgins, “I’ll have independence.” Eliza learns that all along, she was on the same level as Higgins. Yes, he may have helped to transform her, but it is Eliza who overcomes a lifetime of mansplaining. Like many women of her time who paved the way for women’s rights, Eliza chooses her own path. Within six years of Shaw’s writing Pygmalion, The Eligibility of Women act was passed in England, allowing women to serve in Parliament. After decades of struggle and protest by Suffragettes, British women won the right to vote in 1928. Since then, women have run governments, founded businesses, gone into space, triumphed in the arts, been ordained, and have radically shifted our notions of gender. Somewhere, a man is trying to explain to a woman why this is, but, like Eliza, she’s too busy making plans for a better world to listen.

encoreartsprograms.com 13 RISESAT THE BRUNS

BY REBECCA NOVICK, the East Bay Community Foundation, we have embarked on a year-long DIRECTOR OF ARTISTIC ENGAGEMENT expansion of our initial collaboration.

In Cal Shakes’ Triangle Lab—our R&D wing—we examine how theater “The most common thing [teens] have said, when asked why they arts can be more integrated into community life. We are working to came, is: ‘I make myself numb to the pain because it’s too hard to discover ways that theater artists can take the skills of the rehearsal face it, but I’m worried that I’ll never heal if I don’t let myself feel,’” room and use them to address community needs. said Program Director Molly Raynor. “I think it takes a huge amount of self-awareness and bravery to do the emotional work they are commit- In the Fall of 2013, Cal Shakes and RAW (Richmond Artists with) ted to doing.” Talent collaborated on an intensive three-week workshop for teens called Phoenix Rysing. This workshop brought together a group of Richmond youth who had all suffered in different ways from the “I THINK IT TAKES A HUGE AMOUNT OF epidemic of gun violence in Richmond, and who were all in need of discovering ways to process and express their loss, heal their grief, SELF-AWARENESS AND BRAVERY TO DO and organize for positive change in the community. THE EMOTIONAL WORK THEY ARE RAW Talent staff led twice-weekly sessions in which 10-15 participants wrote and performed spoken-word pieces, met with grief counselors, COMMITTED TO DOING.” learned meditation techniques, and found space where it was possible to let themselves experience feelings that were too strong for every- Throughout the school year, Richmond students worked with RAW day life. At the end of the session, each participant performed one or Talent staff to develop the material created in initial workshops into a more spoken-word pieces at a culminating event. These pieces were play that commemorates their losses and celebrates their future. This also captured on video and shown at Cal Shakes’ Bruns Amphitheater summer, this talented group of youth will spend an intensive week during the run of A Winters’ Tale, a play which deals profoundly with here at the Bruns working with artist Arielle Brown (whose “Love Balm the question of how we heal from unimaginable grief. Workshop partici- for My Spirit Child” was part of our Artist-Investigator series last year) pants also attended a performance of A Winter’s Tale. to rehearse and stage their play. These youths will enjoy the outdoor beauty of the Bruns—as a retreat from their everyday lives, and a place to extend their exploration of art and healing. At the close of this project, RAW Talent staff felt that participants needed to continue the work, and committed to an ongoing weekly work- At the culmination of the students’ residency they will perform their play shop through the fall. Cal Shakes also felt that the collaboration had for friends, family, and invited guests on the stage of the Bruns on Fri- powerfully addressed our desire to fi nd ways that artists can connect day, August 8th. If you’re interested in learning more about this project, to community needs, and began to seek future funding for an ongoing please email Rebecca Novick at [email protected]. partnership. With support from our funders at the Irvine Foundation and

14 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG Expand your view of health care!

Everything about Alta Bates Summit Medical Center’s new Merritt Pavilion is designed to promote your comfort and healing, with spacious private rooms, calming colors and spectacular views of the entire Bay Area. Our skilled staff care for you with compassion and the most advanced medical technologies – committed to ensure that you and your loved ones feel welcome and cared for from the moment you step through the doors. A more expansive view of health care: it’s the latest way that we plus you.

altabatessummit.org

ad proofs.indd 1 7/2/14 2:53 PM ‘‘ “Going to Cal Shakes conservatory growing up was amazing. I got to be creative. I became more confident in we build myself and my ideas because I was character... around an amazing group of peers and a group of adults that treated me "Thanks to Cal Shakes, Zendaya like I was an adult, too.” ‘‘ had a professional understanding chrIStINa LarSON –Christina Larson, former Cal Shakes student, intern, and Comedy of Errors of theater and Shakespeare at a Production Assistant. very early age.” –Claire Stoermer, former Cal Shakes BY CLIVE WORSLEY, DIRECTOR OF ARTISTIC LEARNING House Manager and mother of ZeNDaYa actress Zendaya. Whether we are introducing students to the world of Shakespeare and live theater through our Student Discovery Matinee series, enlivening history and literature through the activated exploration of curriculum in our Classroom Residencies, or learning the techniques of professional actors in our Summer In 2013 Cal Shakes Artistic Shakespeare Conservatories, Cal Shakes Artistic Learning Programs provide Learning Programs served over students with the tools and guidance necessary to understand characters, their motivations, and their place within narratives. But there is a deeper and local elementary, middle, high more meaningful aspect to this work. school, and homeschool students. As we engage young people in these programs, we call upon them to acti- Our in-classroom residency vate their innate sense of empathy in order that they may better understand programs reached the emotional lives of the characters they explore; they are asked to see the world from another person’s perspective. By creating an environment where in young actors have to rely on each other to create a performance, we call classrooms, over 50% of which were in upon their capacity for cooperation; they learn how to work together, and Title 1 schools (those that have at least practice tolerance of others who seem nothing like them. When we intro- 40% of students below the poverty line.) duce students to what for many is new and difficult material, we challenge Over them to bring their most intelligent selves to the work; we stimulate their curiosity in reading and literature. By fostering a spirit of play, we encour- students attended age children’s natural creativity; we create safe spaces for children to our Student Discovery Matinees, express and be comfortable with themselves. 60% of whom came from Title 1 These attributes—empathy, cooperation, tolerance, curiosity, and creativity— schools. are all aspects of what we might call a person’s character. Through the work that we do here at the Bruns, in classrooms and at summer conservatories, -plus young actors discovered we aim to foster the development of the character of our young people. And their creativity through our because of the long-term relationships that we enjoy with the communities Summer Shakespeare Conservatories, of which in which we work, we are able to encounter former students as they become 15% received full or partial scholarships. young adults and begin their college lives or careers. From former intern Ra- chel Fettner, who said of her time here, “Cal Shakes helped shape my entire career as a child and family therapist. I came to understand the importance of connection and relationship building, and expand my skills working with “In order to understand the complexity of children”; to Christina Larson, who grew from student, to Artistic Learning Intern, to a career in professional stage management; to television and the characters we portray, we must first recording star Zendaya, whose time at Cal Shakes Conservatory helped pre- understand the complexity of our own selves.” pare her for a successful acting and singing career; to them and all the young –Julie Eccles, Mrs. Eynsford Hill, actor, Pygmalion people we reach, positive experiences at Cal Shakes Artistic Learning have a lasting impact on their lives.

16 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG WHO’S WHO

ACTING COMPANY CATHERINE ANTHONY FUSCO* CASTELLANOS* (Professor Henry Higgins) L. PETER (Mrs. Pearce, Ensemble) At Cal Shakes: Blithe CALLENDER* Cal Shakes credits Spirit, King Lear, The (Colonel Pickering) include: The Tempest, Tempest, Arms and the At Cal Shakes: A Winter’s Much Ado About Man, The Skin of Our Tale, Lady Windermere’s Nothing, Romeo and Teeth, The Merry Wives Fan, Spunk, Romeo and Juliet (BATCC Award, of Windsor, Cymbeline, Juliet (2009), An Ideal Best Supporting Actress), and Jonathan Moscone’s Husband, King Lear, Nicholas Nickleby (Parts productions of The Man and Superman, I and II), Richard III, All’s Well That Ends Well, Importance of Being Earnest, A Midsummer As You Like It, Nicholas Twelfth Night, The Seagull, The Merry Wives of Night’s Dream, and Candida. At Berkeley Rep Nickleby, The Importance of Being Earnest, Windsor, Henry IV (Parts I and II), A Midsummer this past season: The Intelligent Homosexual’s Julius Caesar, Richard II, Twelfth Night, A Night’s Dream, Triumph of Love, and John Guide to Capitalism and Socialism with a Key Winter’s Tale. Marin Theatre Company: Seven Steinbeck’s The Pastures of Heaven. Recent Bay to the Scriptures, Vanya and Sonia and Masha Guitars, The Whipping Man, My Children! My Area credits: Sir Toby in Twelfth Night and Mary and Spike. Selected credits from thirteen years Africa!. Berkeley Rep: Major Barbara, Spunk, in Alleluia, The Road (a collaboration between Cal at A.C.T. (where he is a Resident Artist) include: Galileo, The Oresteia. At A.C.T.: A Streetcar Shakes and Intersection for the Arts, sponsored by David Mamet’s Race, November and The Voysey Named Desire, Tartuffe, Insurrection: Holding Triangle Lab). Castellanos is a company member Inheritance; Edward Albee’s At Home at the Zoo, History. Aurora Theatre: Saint Joan, Permanent with Campo Santo, appearing in more than a The Rainmaker, Hedda Gabler, and The Three Collection, The Soldier’s Tale. On Broadway: dozen world premieres. Regional credits include Sisters; Harold Pinter’s The Room, Celebration, Prelude to a Kiss. NY Public Theater: Caucasian shows at Yale Rep, La MaMa in New York, play and The Homecoming; and Clybourne Park Chalk Circle, Twelfth Night. Shakespeare Santa development through readings and workshops (directed by Mr. Moscone), Napoli!, and Dead Cruz: Taming of the Shrew, A Doll’s House. Diablo with Portland Center Stage, Arena Stage (D.C.), Metaphor. On Broadway, he appeared in Tom Actors’ Ensemble: Driving Miss Daisy (Bay Area Lensic (Santa Fe), Cherry Lane (New York), A.C.T., Stoppard’s The Real Thing and The Real Inspector Critics Award). TheatreFIRST: World Music (Bay Berkeley Rep, Magic Theatre and Shotgun Players Hound. Mr. Fusco’s Off-Broadway credits include Area Critics Award), Old Times. Thick Description: (Phaedra, Best Leading Actress nomination, The Holy Terror, Cantorial, Danton’s Death, and Richard III, Blade to the Heat. Mr. Callender is the Broadway World, Bay Area Theatre Critics Circle). A Life in the Theatre. Film roles include fleeting Artistic Director of the award-winning African- Catherine would like to extend praise and gratitude appearances in Highlander and Quiz Show, and a American Shakespeare Company and the recipient to her sons, Miles and Gabriel, for their continued juicier part in Francis Ford Coppola’s gothic thriller of several Dean Goodman awards, an Elly Award, inspiration and generosity in sharing their mom ‘Twixt. He is a graduate of The Juilliard School and SF Bay Guardian Goldie Award, and the East Bay with the theater. studied with the Barrow Group in New York. Express Best of the East Bay Award. JULIE ECCLES* SHARON JAMES CARPENTER* (Mrs. Eynsford Hill) LOCKWOOD* (Alfred Doolittle) Previously at Cal Shakes: (Mrs. Higgins, Ensemble) A longtime Bay Area Hamlet, Candida, John Ms. Lockwood’s last Cal resident and a Cal Shakes Steinbeck’s The Pastures Shakes appearance was Associate Artist, James of Heaven, Romeo and in American Night, where Carpenter’s appearance Juliet, An Ideal Husband, she played Mrs. Finney. in Pygmalion marks King Lear, As You Like Most recently, Lockwood his 30th production It, The Importance of played Sonia in the for Cal Shakes. Mr. Being Earnest, Much Alley Theatre (Houston) Carpenter last appeared Ado About Nothing, Hamlet, and Love’s Labour’s production of Vanya and Sonia and Masha and here as Lord Augustus in Lady Windermere’s Lost. Regional credits include: The House of Spike. She had previously performed the same Fan. Other Bay Area credits include shows at Mirth, Dinner at Eight, and A Christmas Carol role in the Berkeley Rep production, for which A.C.T., San Jose Rep, Aurora Theatre, Magic (A.C.T.); Our Town, An Ideal Husband, and The she received the Bay Area Critic’s Circle Award. Theatre, TheatreWorks, Marin Theatre Company, Beaux’ Stratagem (Berkeley Rep); Enchanted Previous Cal Shakes productions include Twelfth and Shakespeare Santa Cruz. He performed at April, Holiday, and Hay Fever (San Jose Rep); Night, Richard III, Restoration Comedy, All’s Berkeley Rep in over 30 productions in his twelve Far East, Tally’s Folly, and The Heidi Chronicles Well That Ends Well, Romeo and Juliet, and The years there as Associate Artist, is the honoree (TheatreWorks); The Comedy of Errors and Much Taming of the Shrew. In 2006 she appeared in of the BATCC Consistent Excellence in Theater Ado About Nothing (SF Shakespeare Festival). the world premiere of Culture Clash’s Zorro in Hell and Lifetime Achievement Awards, and was She has also worked for Seattle Rep, Huntington at Berkeley Rep and the La Jolla Playhouse (San named a 2010 Lunt-Fontanne Fellow from the Theatre, Geva Theatre, and Syracuse Stage. Diego Theater Critics Circle award, Outstanding Ten Chimneys Foundation. Out-of-town credits She received her B.A. in Drama from UC Davis, Lead Performance). Ms. Lockwood has a long include: Old Globe Theatre, Oregon Shakespeare and trained at London Academy of Music and association with Berkeley Rep, appearing in Our Festival, Yale Repertory Theatre, Intiman Theatre, Dramatic Art. Town, The Magic Fire, The Triumph of Love, and Dallas Theatre Center, Arizona Theatre Company, many others. She has also appeared frequently and The Huntington. Television: Nash Bridges. at A.C.T., most recently as Adelaide in Napoli!, Film: The Rainmaker and Metro. Independents: directed by Mark Rucker. Other credits include Singing, Presque Isle, The Sunflower Boy. many years with the San Francisco Mime Troupe, Seattle Rep, Milwaukee Rep, Old Globe, Alley Theatre, Long Wharf Theatre, as well as Seattle’s Intiman where she originated the role of Barbara in Nickel and Dimed—subsequently reprised at

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

encoreartsprograms.com 17 WHO’S WHO Circle, Tartuffe, Cloud 9, The Country Wife, Ragged Wing Ensemble; and As You Like It and Our Town, The Playboy of the Western World, The Merry Wives of Windsor with Curtain Theatre. Twelfth Night, Polaroid Stories, Don Juan in She holds an honors degree in History with a the Mark Taper Forum in Los Angeles and directed Chicago, The Star Spangled Girl, Little Murders, minor in Theatre and Performance Studies from by Bartlett Sher. Pizza Man, and Very Still and Hard To See. the University of California, Berkeley. Elyse is a graduate of the A.C.T. Master of Fine IRENE LUCIO* Arts Program, and received her BA from Queens CHARLES LEWIS III (Eliza Doolittle) College with a double major in English and (Ensemble) Irene started performing Drama, Theatre and Dance. Charles is honored to be at age 11, appearing making his Cal Shakes in school musicals PONDER GODDARD debut with Pygmalion. in San Juan, Puerto (Parlormaid, Ensemble) He is an actor, writer, Rico. She received Ms. Goddard is a native of producer, and director in her BA from Princeton the Bay Area and holds an the San Francisco Bay University, studying MA in Classical European Area theater scene. He Comparative Literature Theater from Drama has previously written and Theater, and then attended the MFA Acting Centre (London) and a and directed for San Francisco TheaterPub, Wily program at the Yale School of Drama, where BFA in acting from NYU’s West Productions, 31 Plays in 31 Days, and the she was the recipient of the Herschel Williams Experimental Theater San Francisco Olympians Festival. Though this award in Acting. Her recent New York credits Wing. She has trained at is his first production with Cal Shakes, he is a include Wit (Broadway), Love and Information Shakespeare’s Globe Theatre, the Royal Academy prolific presence on stage in the Bay Area theatre (New York Theatre Workshop), We Play for the of Dramatic Art, and the Vakhtangov Institute of scene. Companies for which he has acted include Gods (Women’s Project), and Estrella Cruz the Moscow. As a Cutting Ball Theater Associate Artist A.C.T., No Nude Men Productions, PianoFight Junkyard Queen (Ars Nova). Regional productions she has performed locally as Mother Ubu in Ubu Productions, Impact Theatre, Cutting Ball, New include Romeo and Juliet and Master Builder at Roi, Anne in Communique N. 10 and in several Conservatory Theatre Center, Playwrights Center Yale Rep; Amadeus at the Chautauqua Theater featured roles in Strindberg Cycle. She was a of San Francisco, Wily West Productions, Atmos Festival; After the Revolution and Golden Gate at founding member of the Grassroots Shakespeare Theatre, SF TheaterPub, and the San Francisco Williamstown Theater Festival; among others. She London Company, now in its fourth season. Opera. He has made nearly as many appearances is a proud member of Actors’ Equity and SAG and Favorite roles include Titania/Hippolyta with the on film and television, most recently appearing in is thrilled to be working with Cal Shakes for the Grassroots Shakespeare London Company, The a popular TV spot for the San Francisco Giants, first time. Poet in A Dream Play with 21 Limbs (London), as well as the independent filmThe Diary of a Natasha in Three Sisters at the Vakhtangov Teenage Girl alongside Kristen Wiig and Alexander NICHOLAS PELCZAR* Institute, Imogen in Cymbeline with Shakespeare’s Skaarsgard. He can also be found online, (Freddy Eynsford Hill) Globe Conservatory, and Bianca in Women condensing his more outlandish thoughts on Mr. Pelczar has appeared Beware Women at Drama Centre London. She Twitter (@SimonPatt). at Cal Shakes in Hamlet, has also performed locally with Performers Under The Tempest, The Stress, Faultline Theater, and Golden Thread. CATHERINE Taming of the Shrew, LUEDTKE Titus Andronicus, Much LIAM CALLISTER (Ensemble) Ado About Nothing, (Ensemble) Ms. Luedtke is over the Macbeth, The Life and Liam is thrilled to be moon to be working with Adventures of Nicholas making his debut with Cal California Shakespeare Nickleby, Othello, All’s Well That Ends Well, Shakes. He has previously Theater for the first time and The Importance of Being Earnest. Other Bay worked with Shotgun in Pygmalion. A native of Area credits include Major Barbara, Arcadia, War Players, Town Hall England, she has called Music, Rock ‘n’ Roll, and A Christmas Carol at Theater, Encore Theater the Bay Area home for A.C.T.; The Whipping Man, The Glass Menagerie, and Rising Phoenix over twenty years. Since returning to the stage a Othello, and boom, at Marin Theatre Company; Rep. He has a degree in year ago, her credits include: Isabella Bird/Mrs The Pitmen Painters at TheatreWorks; Hamlet Theater and Economics from Saint Mary’s College Kidd/Joyce in Top Girls (Custom Made Theatre and As You Like It at Pacific Repertory Theatre; of California, where he played leading roles in Co.), Floria in Tis Pity She’s a Whore (Bigger A Midsummer Night’s Dream at San Francisco The Imaginary Invalid, June-in-a-Box, Angels in Than a Breadbox Theatre Co.), Rachel in the Shakespeare Festival; Marius and Dublin Carol America, and Abundance. He is a 3-time Irene US premiere of My Beautiful Laundrette (New at the Aurora Theatre; and Daniel Handler’s 4 Ryan Scholarship nominee, and will be a first-year Conservatory Theatre Co.), and multiple roles Adverbs with Word for Word. He is a graduate of MFA candidate at A.C.T. in the fall. in Sheherezade New Play Festival (Wily West the A.C.T. MFA acting program. Productions). She studied acting at Studio A.C.T. CAITLIN EVENSON and attended Shakespeare Summer School at ELYSE PRICE* (Ensemble) RADA. Cat was a finalist for the 2013 Theatre Bay (Clara Eynsford Hill) Caitlin has previously Area ATLAS Titan Award. Elyse is thrilled to be worked with Cal Shakes making her Cal Shakes as an understudy for The CREATIVE TEAM debut in Pygmalion. Elyse Verona Project. Other was last seen as Sarah selected Bay Area credits JONATHAN Undershaft in A.C.T. include the Macbeth MOSCONE and Theatre Calgary’s touring production (Director, Artistic coproduction of Major with San Francisco Director) Barbara. Other theater Shakespeare Festival; Five Lesbians Eating a Jonathan Moscone is in credits include Christmas Carol (A.C.T.), The Quiche with Tides Theatre; The Rainmaker, his 15th season as artistic House Of Bernarda Alba (Moscow Art Theatre), The Farnsworth Invention, and It’s a Wonderful director of California Much Ado About Nothing, Caucasian Chalk Life with Town Hall Theatre; How to Ripen with Shakespeare Theater, where he most recently *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. directed American Night: The Ballad of Juan Repertory Theatre, Old Globe, McCarter, Arizona José in 2013. His other credits include Tribes at Theatre Company, Dallas Theater Center, B.A.M., The arts come alive at College Prep Berkeley Rep, and the world premiere of Ghost San Francisco Opera, Houston Grand Opera, New Light, which he co-created and developed with York City Opera, Canadian Opera Company, Los playwright Tony Taccone for Oregon Shakespeare Angeles Opera, and Boston Lyric Opera. Awards Festival and Berkeley Rep. In addition, he include: a 2006 Helen Hayes award nomination directed Bruce Norris’ Clybourne Park for for best costumes, Garland award, Craig Noel American Conservatory Theater. For Cal Shakes, awards, numerous Bay Area Theatre Critics’ Circle Jonathan has directed the world premiere of John awards, and Dean Goodman awards. Ms. Oliver Steinbeck’s The Pastures of Heaven by Octavio earned her BFA from California College of Art, Solis, The Life and Adventures of Nicholas 1984, and her MFA from Yale School of Drama, Nickleby, Candida, Twelfth Night, Happy Days, 1992. Much Ado About Nothing, The Tempest, and The Seagull. He is the first recipient of the Zelda STEPHEN STRAWBRIDGE Fichandler Award, given by the Stage Directors (Lighting Designer) and Choreographers Foundation for “transforming Stephen Strawbridge previously designed A the American theatre through his unique and Midsummer Night’s Dream and The Importance creative work.” His regional credits include of Being Earnest for California Shakespeare Intersection for the Arts, Huntington Theatre, Alley Theater. He has designed more than 200 Theatre, Milwaukee Repertory Theater, Goodspeed productions on and Off-Broadway and at most Musicals, Dallas Theater Center, San Jose leading regional theaters and opera houses Repertory Theatre, Intiman Theatre, and Magic across the U.S. His international credits include Theatre, among others. Jonathan currently serves major premieres in Bergen, Copenhagen, The as a board member of Theatre Communications Hague, Hong Kong, Linz, Lisbon, Munich, Group. Naples, Sao Paulo, Stockholm, and Vienna. Recent credits include Othello (Old Globe, San ANNIE SMART Diego) Henry IV Parts I and II (The Shakespeare (Set Designer) Theatre Company, Washington DC), Antony and At Cal Shakes: Lady Windermere’s Fan, Blithe Cleopatra, (Public Theater, Royal Shakespeare Spirit, Candida, Othello, The Tempest, Man and Company), Marie Antoinette (Soho Repertory The College Preparatory School Superman, An Ideal Husband, Private Lives, Theater), Proof (McCarter Theatre Center), The A private high school for grades 9-12 John Steinbeck’s The Pastures of Heaven. Ms. Happy Ones (Magic Theatre), The Dining Room Smart’s other Bay Area work includes A Doll’s (Westport Country Playhouse), The Train Driver 6100 Broadway Oakland CA 94618 510.652.4364 House, Night and Day, and Threepenny Opera and The Blood Knot (Signature Theatre Company), at American Conservatory Theater. Berkeley Rep Rigoletto (Dallas Opera), Madame Butterfly college-prep.org design credits include Big Love, Concerning (Houston Grand Opera), and Azimuth (Pilobolus Strange Devices from the Distant West, Fêtes Dance Theatre). He has received American de la Nuit, Heartbreak House, In The Next Theatre Wing, San Francisco Bay Area Theatre Room (or the vibrator play) (also on Broadway Critics Circle, Connecticut Critics Circle, Dallas- EAP 1_6 V template.indd 1 6/18/14 9:59 AM at the Lyceum Theatre), The Mystery of Irma Fort Worth Theater Critics Forum, Helen Hayes, Vep, Passing Strange, Rita Moreno: Life Without Henry Hewes Design, and Lucille Lortel awards proud Makeup, Suddenly Last Summer, Taking Over and nominations. He is co-chair of the design (also at The Public NY), Three Sisters (also at Yale department at Yale University School of Drama to support Rep), Tiny Kushners (also at the Guthrie and the and Resident Lighting Designer for Yale Repertory Tricycle Theatre in London), To the Lighthouse Theatre. cal shakes and Dear Elizabeth. She has designed shows for Center REP in Walnut Creek, Magic Theatre, San JAKE RODRIGUEZ Jose Rep, Marin TC and TheatreWorks, and many (Sound Designer) other major theaters across the US. Ms. Smart is Jake Rodriguez has carved out sound and music originally from London where she designed sets for multiple theaters across the San Francisco and costumes for Joint Stock Theatre Group, the Bay Area and beyond. Recent credits include The CST - MS 061914 meyer 1_6v.pdf National Theatre, and the Royal Court Theatre, Christians and brownsville song (b-side for tray) We applaud Cal Shakes among many others. She currently teaches at Actors Theatre of Louisville; The Orphan of costume and set design at UC Berkeley where she Zhao at A.C.T.; Tribes at Berkeley Rep; Hamlet and the creativity and will be designing Ionesco’s Rhinoceros in the Fall. at California Shakespeare Theater; Buried Child at Magic Theatre; and Emotional Creature at the artistic excellence it brings ANNA OLIVER Pershing Square Signature Center. Rodriguez is the (Costume Designer) recipient of a 2003 Bay Area Theatre Critics Circle to our community. Recent credits include: Candida, Man And Award and a 2004 Princess Grace Award. Superman, Restoration Comedy, and Nicholas Nickleby at Cal Shakes; The Lieutenant of LYNNE SOFFER* Inishmore, Heartbreak House, Pillow Man, (Dialect and Text Coach) Fräulein Else, and Magic Fire at Berkeley Rep; Ms. Soffer has been the dialect/text coach on the world premiere of Jeffrey Hatcher’s Dr. Jekyll over 240 productions for theaters including Helen & John Meyer and Mr. Hyde, Iphigenia in Aulis, and Major A.C.T., Berkeley Rep, Seattle Rep, San Jose Rep, Barbara at San Jose Rep; The Devil’s Disciple, Old Globe (San Diego), Dallas Theater Center, Trojan Women, Dear Master, Saint Joan, A Place Arizona Theater Co., Magic Theatre, Marin Theatre with Pigs, Glass Menagerie, and others at Aurora Company, TheatreWorks, Aurora Theatre, Word for Theatre; The Constant Wife, The House of Mirth, Word, and PCPA Theaterfest; the world premiere and The Guardsman at A.C.T. Her work has also of Moisés Kaufman’s The Laramie Project at been seen at the Welsh National Opera, Seattle the Denver Center, New York, and Berkeley; and

encoreartsprograms.com 19

Untitled-4 1 6/19/14 1:05 PM WHO’S WHO

Extraordinary for several films. She has both acted with and Entertainment. coached dialects and text for Cal Shakes in the past including Titus Andronicus, Macbeth, Mrs. Exceptional Warren’s Profession, Private Lives, Pericles, An Setting. Ideal Husband, Nicholas Nickleby, Restoration Comedy, and Man and Superman. She currently teaches at A.C.T., and works as an actor at many Bay Area theaters as well as directing productions Shakespeare’s Enchanting Romantic Comedy of Wilde and Coward plays for Stanford Repertory Theater.

LAXMI KUMARAN* (Stage Manager) Ms. Kumaran is enjoying her fourth season at Cal Shakes where she has stage-managed A Raisin in the Sun, A Winter’s Tale, Lady Windermere’s Fan, American Night, Hamlet, Spunk, Candida, and Titus Andronicus. In the Bay Area, Ms. Kumaran By William Shakespeare has also stage-managed for San Jose Rep and Directed by Edward Morgan Center REP. Before moving to the Bay Area, Ms. Kumaran stage-managed in Chicago for a variety of theaters, including the Goodman Theatre and July 11 - August 24 the Court Theatre. Some of the directors with Sand Harbor State Park whom she has had the pleasure of working include Patricia McGregor, Liesl Tommy, Joel Sass, Jonathan Moscone, Rick Lombardo, Christopher LakeTahoeShakespeare.com | 800.74.SHOWS Liam Moore, Timothy Near, Amy Glazer, Richard Seer, John McCluggage, Kirsten Brandt, Barbara Damashek, Michael Butler, Robert Falls, Mary Support Zimerman, David Ira Goldstein, JoAnne Akalaitis, Provided By: Robert Woodruff, Karin Coonrod, Gary Griffin, and David Cromer. Ms. Kumaran has taught stage management classes at UC Santa Cruz; San Jose State; Northern Illinois, DePaul and Northwestern universities; and currently teaches at the University EAP 1_3 S template.indd 1 6/9/14 10:41 AM of California Berkeley. LOCAL BANKERS CAL SHAKES PROFILES SUSIE FALK (Managing Director) LOCAL DECISIONS Ms. Falk came to Cal Shakes as Marketing Director in 2004, and was appointed Managing Director in 2009, overseeing the company’s administration and operations. She previously worked at Berkeley Rep, American Conservatory Theater, Seattle Rep, and Berkshire Theatre Festival. She served for seven years on the board (four as vice president) of Theatre Bay Area, the local service organization for theater companies and theater workers. She is a graduate Jim Wim-Kees Colleen Doug Kevin Tom of Vassar College and completed course work Griffin van Hout Benatar Maggi Louie Rodriguez in organizational psychology at JFK University. She lives in Berkeley with her husband, lighting designer York Kennedy, and their daughter Pippa.

REBECCA NOVICK (Director of Artistic Engagement) Ms. Novick was the founder of Crowded Fire Theater Company and served as its artistic director Walnut Creek | 590 Ygnacio Valley Rd., Suite 101 | 925.944.0180 for 10 years, growing the company from an all- Also in San Jose at 2001 Gateway Place, Suite 135E, 408.573.7710 volunteer group to one of San Francisco’s most scottvalleybank.com respected small theaters. She has developed and directed new plays for many theaters in the Bay Area and elsewhere. Her directing work has been

20 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

SVB 041114 local 1_3s.pdf

ad proofs.indd 1 4/11/14 4:37 PM recognized with a Goldie Award for outstanding DAVE MAIER the organization. The Cal Shakes Vietnam-era local artist, among other awards. Ms. Novick has (Resident Fight Director) production of Julius Caesar in 1995 was their son held a number of arts management and consulting Mr. Maier is an award-winning fight director who Aaron’s introduction to Shakespeare. The creativity positions including serving as interim arts program has composed violence for many Cal Shakes and contemporary immediacy of that production officer for the San Francisco Foundation, project productions including A Raisin in the Sun, sparked his enthusiasm for Cal Shakes. And last coordinator for the Wallace Foundation Cultural Hamlet, Spunk, Titus Andronicus, Macbeth, summer, the Bruns Amphitheater was the location Participation Initiative in the Bay Area, and Romeo & Juliet, King Lear, Richard III, A of their daughter’s wedding, the first such event director of development and strategic initiatives Midsummer Night’s Dream, and As You Like in over a decade. Leah married Adam Branson on for Theatre Bay Area. She regularly writes and It. His recent credits include Showboat (San the Cal Shakes stage—a very happy ending—and speaks on issues relating to the arts sector; recent Francisco Opera); Pericles (Berkeley Rep); Tales a wonderful memory for the whole family. publications include contributions to 20under40, of Hoffmann and The Gospel of Mary Magdalene the GIA Reader, Counting New Beans, and (SF Opera); and Reasons to Be Pretty (SF ERIN JAEB & KEVIN KELLY Theatre Bay Area Magazine. Ms. Novick has a Playhouse). His efforts have been seen on many (Producers) BA from the University of Michigan in drama and Bay Area stages including American Conservatory Erin Jaeb and Kevin Kelly were drawn to the anthropology. Theater, San Jose Rep, Shakespeare Santa Cruz, Cal Shakes community via their eldest child and Shotgun Players, among others. He is a Full who relished seven summers participating in CLIVE WORSLEY Instructor of Theatrical Combat with Dueling Arts the Cal Shakes Summer Conservatory. They are (Director of Artistic Learning) International and a founding member of Dueling subscribers and donors to the theater. Erin is Clive Worsley assumed the reins as Director of Arts San Francisco. He is currently teaching serving her second term on the board. They’ve the Cal Shakes Artistic Learning Department in combat-related classes at Berkeley Rep School of focused most of their giving on Artistic Learning’s August of 2013, and has been one of Cal Shakes’ Theatre and Saint Mary’s College of California. In-School Residencies, supporting arts education premiere Teaching Artists since 2002. He was in multiple schools and communities of the East instrumental in developing some of the first PRODUCERS Bay. integrated arts public school residency programs, and is the moderator of our popular Student ELLEN & JOFFA DALE OUR CORPORATE PARTNERS Discovery Matinee program. Clive is familiar to all (Executive Producers) age groups at our popular Summer Shakespeare Long-time subscribers and donors, Ellen and Joffa BART Conservatories as both a Master Class Instructor Dale live in Orinda. Ellen is serving her second (Presenting Partner) and Director. From 2008–2013, Mr. Worsley also stint on Cal Shakes’ Board of Directors; she The Bay Area Rapid Transit District (BART) served as Artistic Director of Town Hall Theatre was also on the board in 1991 when the Bruns is a 104-mile, automated rapid transit system in Lafayette, where he brought about both artistic Amphitheater first opened. While Ellen and Joffa serving over three million people. Forty-four BART and fiscal success. As an award-winning actor he thoroughly enjoy picnics and performances at stations are located in Alameda, Contra Costa, San has appeared on many Bay Area stages including the Bruns, the primary focus of their donations Francisco, and San Mateo counties, and serve to Cal Shakes, Berkeley Rep, TheatreWorks, Marin is Artistic Learning. They believe that the lives truly connect the Bay Area. BART’s mission is to Theatre Company, Magic Theatre, Center REP, of children reached by Cal Shakes’ education provide a safe, reliable, economical, and energy- Shotgun, and others. Mr. Worsley brings to the programs are enormously enriched and that these efficient means of transportation. company a holistic philosophy and longstanding children are the artists and audiences of the With gas prices climbing ever higher and passion for arts education. He believes strongly in future. Ellen and Joffa also helped establish the everyone looking to green their commute, BART the power of theater to educate and enrich people Moscone Permanent Endowment and are charter expects a lot more people will be looking to BART, regardless of age or background and looks forward members of the Cal Shakes Legacy Circle. as riders get the equivalent of 250 miles to the to building upon the great success of the Artistic gallon. Don’t forget that you can BART to Bard— Learning programs. MAUREEN & CALVIN KNIGHT Cal Shakes offers a free BART shuttle from the (Executive Producer) Orinda BART station. BART... and you’re there! PHILIPPA KELLY Maureen & Cal Knight are recent transplants to (Resident Dramaturg) the Bay Area from Seattle. Cal came to join the MEYER SOUND LABORATORIES Dr. Kelly’s work has been supported by many team at John Muir Health, where they met former (Presenting Partner) foundations and organizations, including the Cal Shakes Board Member David Goldsmith and Family-owned and operated since 1979, Fulbright, Rockefeller, and Walter and Eliza Hall his wife Diane. The Goldsmiths introduced the Meyer Sound Laboratories, Inc. designs and Foundations. She publishes widely, from books Knights to Cal Shakes and it was love at first play. manufactures high-quality, self-powered sound on Shakespeare (her latest being The King and I, Maureen’s experience on the Board of the Seattle reinforcement loudspeakers, digital audio systems, Arden Press, 2010, a meditation on Australian Rep qualified her for a seat on the Board at Cal active acoustic systems, and sound measurement identity through the lens of King Lear), to papers Shakes, where she is about to start her second tools for the professional audio industry. Founded on dramaturgy and topics of cultural engagement term. Both Cal and Maureen believe strongly that by John and Helen Meyer, the company has (her most recent discussion of dramaturgy can be the arts make for vibrant, strong communities, grown to become a leading worldwide supplier found in the Cambridge Journal of Postcolonial and are committed to help ensure that Cal Shakes’ of systems for theaters, arenas, stadiums, theme Inquiry, Spring 2014). Besides her work for Cal artistic and education programs are accessible to parks, convention centers, houses of worship, Shakes, Dr. Kelly has also served as production everyone. and touring concert sound-rental operations. dramaturg for the Oregon Shakespeare Festival Meyer Sound systems are installed in many of the and Word for Word Theater Company. For the DAVID & DIANE GOLDSMITH great venues of the world, including the Berlin 2013–2014 academic year she has been (Producers) Philharmonie and Estonia’s Nokia Concert Hall; practicing and teaching dramaturgy at the For more than twenty years, the Goldsmiths and in several well-loved Bay Area venues, such University of California, Berkeley. She also teaches have been coming to Cal Shakes to enjoy plays as The Fillmore, Yoshi’s, Berkeley Rep, and Freight regularly for the Osher Lifelong Learning Institute by Shakespeare and other playwrights. Over the & Salvage Coffeehouse. Celine Dion, Metallica, in Berkeley. For most of the summer she can be years, they have shared their enthusiasm for this and countless other artists use Meyer Sound’s found here at Cal Shakes, where she is a regular unique venue and the many amazing productions equipment on tour. Meyer Sound’s main office pre-show Grove Talk speaker. She is married to there with friends and family. David served on and manufacturing facility are located in Berkeley, composer Paul Dresher and mother to Cole. the Cal Shakes Board for a number of years, and California, with additional satellite offices located both he and Diane continue to financially support around the world.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

encoreartsprograms.com 21 SAVE THE DATES! WHO’S WHO Meet the artists, save money on MCROSKEY MATTRESS COMPANY (Production Partner) tickets, sample local food and SAN FRANCISCO MAGAZINE Locally made. Universally adored. Founded in drink, and more during the runs of (Presenting Partner) San Francisco in 1899, McRoskey Mattress San Francisco magazine is proud to celebrate Pygmalion and A Midsummer Night's Company has focused on the well-being of their 40 years of award-winning coverage of the Bay customers by providing a good night’s sleep night Dream. Area lifestyle—from food, fashion, and culture after night! At its two retail showrooms—Palo Alto to politics, trends, and trendsetters. Through its and San Francisco—McRoskey customers enjoy history, San Francisco has been honored with the experience of selecting the perfect comfort EVENTS PYGMALION DREAM more than 50 awards for editorial and design because they know McRoskey builds their own excellence. In 2010, it won the most coveted beds locally! Using only the finest materials, award in the magazine industry, the General their skillfully constructed mattresses and box Inside Scoop 8/18 Excellence award given by the American Society Free Panel discussion springs provide the best of benefits of a good bed: 6:30pm at featuring directors N/A of Magazine Editors—and has been nominated enduring comfort, cool sleep, and supple support. and artists. Orinda Library again this year. This recognition substantiates Stop by a showroom today. And call McRoskey San Francisco’s passion and commitment to to schedule a factory tour. Discover the secrets of Lower-Priced publish the Bay Area’s best magazine—as well a well-made bed! www.McRoskey.com. Previews as one of the nation’s best. 7/30, 7/31, 9/3, 9/4, Be a part of the process AFFILIATIONS by seeing the show before 8/1 9/5 CITY NATIONAL BANK opening, at a discounted price. (Season Partner) Founded in California 60 years ago, City Opening Night! National Bank supports organizations that contribute to the economic and cultural vitality Mingle with cast and 8/2 9/6 creative team at a free of the communities it serves. City National has This Theater operates under an agreement post-show party. grown to nearly $30 billion in assets, providing between the League of Resident Theatres banking, investment, and trust services through and Actors’ Equity Association, the Union of Meet the Artists 77 offices, including 16 full-service regional 8/3 & 9/7 & Professional Actors and Stage Managers in the Matinees centers in the San Francisco Bay Area, Southern Post-show chat with cast 8/17 9/21 United States. The Directors and Choreographers & creative team. California, Nevada, New York City, Nashville, are members of the Stage Directors and Tennessee, and Atlanta, Georgia. The corporation Choreographers Society, an independent national Open-Captioned and its wealth management affiliates oversee labor union. The scenic, costume, and lighting Performances more than $64 billion in client investment designers are represented by United Scenic Performances featuring 8/6 9/10 assets, and has been listed by Barron’s as one of Artists, Local USA-829 of the IATSE. California open captioning for the nation’s top 40 wealth management firms for Shakespeare Theater is an Equal Opportunity patrons who are deaf or the past 13 years. City National Bank provides hard-of-hearing. Employer. entrepreneurs, professionals, their businesses, and their families with complete financial Teen Nights 8/12 & 9/16 & A special pre-show event solutions on The way up®. for youth ages 13-18. 8/21 9/25 LAFAYETTE PARK HOTEL & SPA Fridays in the Grove (Season Partner) A pre-show performance 8/1, 8/8, 9/5, 9/12, The Lafayette Park Hotel & Spa is pleased to of the Bay Area’s best support Cal Shakes and serve as “home away musicians, storytellers, 8/15, 9/19, spoken word artists in the from home” for Cal Shakes artists. With its Upper Grove. Included in 8/22 9/26 French Chateau architecture, legendary service, the ticket price. plush accommodations, award-winning cuisine, and full-service spa, the Lafayette Park Hotel Complimentary & Spa provides one of the only Four Diamond Tuesday Tastings 8/5, 8/12, 9/9, 9/16, experiences in the East Bay. Enjoy amazing Enjoy pre-show samples 8/19 9/23 cuisine at the Park Bistro Restaurant before from local purveyors. the show, or stop by the Bar at the Park for a drink afterwards. The Hotel features more InSight Matinee than 10,000 square feet of indoor and outdoor Post-show talk with the 8/10 9/17 dramaturg. meeting space and is the ideal location for social events and corporate meetings. To be sure, the Camper Night most elegant and memorable events are held at Students from our this “Crown Jewel of the East Bay.” prestigious Summer Conservatories are 8/15 9/19 PEET’S COFFEE & TEA invited to come together for pre-show activities (Season Partner) and picnicking. Peet’s Coffee & Tea is proud to be the exclusive coffee sponsor of California Shakespeare Maker Workshop Theater’s 2014 season. Peet’s Coffee & Tea has Tap into your creativity earned an international reputation for quality at our monthly Maker 8/23 9/13 since its founding in Berkeley in 1966. Peet’s Workshops. Suitable for aspiring artists of all ages. has also been a valued supporter of California Shakespeare Theater since 2001. Peet’s salutes For complete descriptions of these and Cal Shakes on another wonderful season of reimagining the classics and bringing new works other events, click calshakes.org/events. to the stage.

22 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG UP NEXT: OUR STORY: PART THREE WILLIAM SHAKESPEARE’S liFe at the BRuns A MIDSUMMER Continued from page 7. although there are now fewer “bovine units” grazing on the hills, the occasional “moo” is NIGHT’S DREAM a living metaphor for the unpredictable magic of theater. Night after night, theater is a live MADNESS AND MIRACLES event. Someone may fall or forget their lines, SEPTEMBER 3-28 or be interrupted by a moo. Or by the hooting of an owl, or the lonely cry of a coyote. Or the romantic gobble of wild turkeys. DIRECTED BY Shana Cooper MOVEMENT BY ERIKA CHONG SHUCH Another summer contributor to the Bruns is the carnivorous yellow jacket wasp, lured with her followers by the picnics consumed in the grove, where, before performances, guests are treated to a free Grove Talk. For many years the yellow jackets swarmed into the grove, and, after our fi rst decade in Orinda, a professor from UC Berkeley came to the theater in April before the queens starting scouting for new nests, setting traps to move them away from the picnic space. This had limited success, and JAMES CARPENTER DAN CLEGG TRISTAN CUNNINGHAM LAUREN ENGLISH we continue to do battle for proprietorship of Egeus Lysander Hermia Helena the picnic tables. And while the yellow jackets have fought for the food on the tables, the deer easily won in the gardens nearby, systemati- cally eating their way through the roses, thyme and rosemary that were planted in honor of what would have been an Elizabethan garden. Eventually, during the 2009-10 renovation, the company replaced the re-graded Elizabethan garden with meadow. Will’s Weeders, a group MARGO HALL CRAIG MARKER NICK PELCZAR DANNY SCHEIE of volunteers founded by Midge Zischke in the Bottom Flute, Snout Demetrius Puck, Snug, Philostrate 1990s, continues to maintain the beautiful outdoor premises to this day.

In 1997 Michael Addison left the Bay Area for Boonville in Mendocino. Mourning his depar- ture, the company was somewhat cheered by the appointment of popular veteran actor Joe Vincent as Artistic Director for four years. Says Board Member Sharon Simpson of Vincent:

ERIKA CHONG SHUCH DAISUKE TSUJI LIAM VINCENT “Joe had a beautiful voice and was very enter- Titania, Hippolyta Oberon, Theseus Peter Quince taining and charming. People adored him.” Joe resigned in 1999 to focus on acting and The madness and the miracles of love and mistaken identity are the subjects of directing after a season in which he played A Midsummer Night’s Dream, brought to Cal Shakes by award-winning director Prospero in the company’s production of The Shana Cooper. Tempest and Shylock in The Merchant of Venice. Mark Booher was appointed Interim “Love looks not with the eyes but with the mind,/And therefore is wing’d Cupid painted Artistic Director while the board conducted blind!” Thus speaks Helena, spurned lover and hopeful bride. A Midsummer Night’s Dream a nationwide search that culminated in the has three interlocking plots, all involving marriages, all involving mayhem. One of Shake- appointment of Jonathan Moscone, who would speare’s most intriguing plays, it starts off with four young lovers en route to disappointment lead the company into the new millennium. and even tragedy, and, through some hilarious exploits in the forest, ends up as the most charming of comic romances. What is this strange thing called love? A Midsummer Night’s Dream opens up a whole world of possibilities. What we do in the name of love might seem PhiliPPa Kelly’s histoRy seRies unconscionable in the cold light of reason, but we fi nd ourselves doing it anyway! Love is continues in the PRogRam FoR ouR tender, love is capricious, love is delicious, love is an ass! neXt SHoW, A MIDSUMMER NIGHT’S DREAM. iF you missed PaRts one and tWo from oUr PreVioUS ProGramS, YoU Call 510.548.9666 or visit www.calshakes.org can Find them online at to get your tickets today. CALshAkEs.oRg/BLog. Feel pampered while taking care of your health.

At our conveniently located women’s health center, you get the Location: care you need to maintain your good health. Our services include

Women’s Health Center in Lafayette digital mammography screening, pelvic health physical therapy, 3595 Mt. Diablo Blvd., Suite 350 nutrition consultation, lactation support, and personal counseling. (925) 962-9129

We accept many insurance plans. It’s another way we plus you. Call to find out if we accept yours.

altabatessummit.org/lafayette

Untitled-3 1 4/21/14 9:45 AM THANKS TO OUR DONORS INDIVIDUALS These contributors made gifts between June 1, 2013 and May 31, 2014. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at the Benefactor level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Renee Gholikely at 510.899.4834 or [email protected] so that we may correct our records.

$25,000 and above Yvonne & Angelo Sangiacomo Joe & Nicole Carberry Deborah O’Grady & John Adams Ellen & Joffa Dale◊ Alan Schnur & Julie Landres Steven & Karin Chase Candace & Dick Olsen Erin Jaeb & Kevin Kelly◊ Debbie Sedberry & Jeff Klingman Debbie Chinn in honor of the Staff Eleanor Parker Helen & John Meyer Julie Simpson of the Carmel Bach Festival, Dr. & Mrs. Irving Pike Nicola Miner & Robert Mailer Charles & Heidi Triay Susie Falk, and Megan Barton Pauline Proffett & Matthew Fabela Anderson◊ David & Maria Waitrovich Michael & Sandra Cleland Rachel Rendel Michael & Virginia Ross◊ Frank Clifford Velma & Hugh Richmond Jean Simpson◊ $2,500-$4,999 Alice Collins & Len Weiler Maria & Danny Roden Sharon & Barclay Simpson◊ Anonymous Tony Cone & Wendy Rader Lesah & Jeffrey Ross The Estate of Grace Williams Ann & Clifford Adams Craig Congdon* Claire Roth Jay Yamada◊ Ann Appert Debra Crow Rob & Eileen Ruby Philanthropic Mr. & Mrs. Richard Bertero Diana & Ralph Davisson Fund of the Jewish Community $10,000–$24,999 Jeff Bharkhda Lois De Domenico Foundation of the East Bay Anonymous (3) Nina & David Bond Pam & Wayne Dewald Patricia & Glenn Rudebusch James N. Cost Foundation◊ Wai & Glenda Chang Ellen Dietschy & Alan Cunningham in Barbara & Jerry Schauffler Henry & Vera Eberle◊ Ron & Gayle Conway honor of Philippa Kelly Martha G. Schimbor Nancy & Jerry Falk◊ Andrew Ferguson & Kay Wu Linda Drucker & Lawrence Prozan in Cathleen Sheehan & Kenneth Sumner Harvey & Gail Glasser◊ Vincent Fogle & Emily Sparks honor of Maureen & Cal Knight Jo Schuman Silver David & Diane Goldsmith◊ Patrick W. Golden & Susan Overhauser Barbara Duff in memory of George Duff Jennifer & Will Sousae Maureen & Calvin Knight◊ Jan Deming & Jeff Goodby Susie Falk & York Kennedy Sue & Terry Stiffler Craig & Kathy Moody◊ Ardice Hartry & Paul Covey Mimi & Jeff Felson Paul & Susan Sugarman Nancy Olson◊ Randy & Bev Hawks Shelley & Elliott Fineman Mr. & Mrs. Richard Thieriot Shelly Osborne & Steve Tirrell Craig & Margaret Isaacs Kevin Fitzgerald Nancy Thomas Peter & Delanie Read◊ Jean & Jack Knox Sally & Michael Fitzhugh Barbara & Rich Thompson Arthur & Toni Rembe Rock Lisa & Scott Kovalik Dale & Jerry Fleming James Topic & Terry Powell Monica Salusky & John Sutherland in Gina & David Larue Jessica & James Fleming Drs. Oldrich and Silva Vasicek memory of Riley Goodness Bill & Carol Leimbach Stanlee Gatti Beth Ann & Michael Ward in honor of Miriam & Stanley Schiffman Debby & Bruce Lieberman◊ in honor of Kathleen & Karl Geier Sharon & Barclay Simpson Sondra & Milton Schlesinger◊ Sharon & Barc Simpson William & Vanessa Getty Anne & Paul Wattis William & Nathalie Schmicker Walter Moos & Susan Miller◊ Carol & Richard Gilpin Muriel Fitzgerald Wilson Frank & Carey Starn*◊ Carol & Mark Penskar Judith & Alexander Glass Prentiss & Janice Wilson Teresa & Patrick Sullivan Mary Prchal Robert J. Gleeson Drs. Bonnie Zell & Manuel Torres Buddy & Jodi Warner◊ Paul A. Renard & John A. Blytt Werner Goertz & Elizabeth Harvey Midge & Peter Zischke George & Kathleen Wolf Noralee & Tom Rockwell Pamela & John Goode Patti & Rusty Rueff $750–$999 $5,000-$9,999 Janie & Jeff Green Tiffany Schauer in honor of Jonathan Charles & Katherine Greenberg Anonymous Anonymous (4) Moscone Garrett Gruener & Amy Slater William Anderson Simon Baker Judy & John Sears◊ Tish & Steve Harwood Elizabeth Balderston Valerie Barth & Peter Wiley* Laura & Robert Sehr◊ Remy Hathaway Jacqueline Carson & Alan Cox◊ Darryl Carbonaro & Jonathan Mary Jo & Arthur Shartsis Joyce Hawkins & John W. Sweitzer Frank & Margaret Dietrich Moscone◊ Maureen Shea & Allen Ergo Chris & Marcia Hendricks Lori & Gary Durbin Michael & Phyllis Cedars◊ M.J. Stephens & Bernard Tagholm in Paul Hennessey & Susan Dague* Sharon & Leif Erickson Phil & Chris Chernin◊ memory of Juniper Marley Allen Elizabeth & Thomas G. Henry Gita & Louis C. Fisher Josh & Janet Cohen◊ Steven Sterns & Barry Klezmer Jeanne Herbert◊ Marilyn Freeman Mary Curran & John Quigley Virginia & Thomas Steuber Bonnie & Tom Herman Laura Gorjance Joe Di Prisco & Patti James◊ Christine & Curtis Swanson Mary Anna & Martin H. Jansen, M.D. Dan Henkle & Steve Kawa◊ Bob Epstein & Amy Roth◊ Carol Jackson Upshaw◊ in honor of Malcolm Jones & Karen Roche Xanthe & James Hopp Rena & Spencer Fulweiler Jonathan Moscone Timothy Kahn & Anne Adams Michael Huston & Marcia Cho Dr. & Mrs. Jeffrey Hays◊ Beverly & Loring Wyllie Elizabeth Karplus Eleanor & Richard Johns Ken Hitz Michael H. Zischke & Nadin Bruce Kerns & Candis Cousins Bill & Joey Judge Barbara E. Jones in memory of William Sponamore Sheryl & Anthony Klein Arline Klatte & Jon Ennis E. Jones Kim & Max Krummel Joy Lienau-Armstrong Nancy Kaible & David Anderson◊ $1,000-$2,499 Jennifer Kuenster & George Miers Connie & John Linneman John Kemp & Mary Brutocao Anonymous (2) Jerry Kurtz Randall & Rebecca Litteneker Daisy & Duke Kiehn Frank & Loren Acuña Dr. Todd & Pamela Lane Kheay Loke & Martha McGrady Fred Levin & Nancy Livingston, The Stephanie & N. Thomas Ahlberg Adair & William Langston Elizabeth Lowe Shenson Foundation◊ Melissa Allen & Elisabeth Andreason Michael & Samantha Leo Eileen & Peter Michael Ashley & Antonio Lucio Pat Angell Eileen & Richard Love Ronald Morrison Richard Norris & David Madsen◊ Robin Azevedo Natalie Lucchese in memory of Nancy & Gene Parker Janet & Norman Pease◊ in honor of Eugene & Neil Barth Sam Lucchese Mark & Claire Roberts Patti James, Dana Taylor, and Midge Megan Barton & Brian Huse Robert Lynch Jirayr Roubinian Zischke Stephanie & David Beach in honor of Mary & Howard Matis Diana Sanson & Ben Compton in honor Ms. Janee Pennington-Watson & Mr. Amanda Starr Mercer June & Andy Monach of Jean Simpson Colin Watson Laura & Paul Bennett Linda & Chris Moscone James Shankland & Leslie Landau* in Jim & Nita Roethe◊ Liz & Richard Bordow in honor of Patricia & David Munro honor of The Queen’s Own Michele & John Ruskin Dr. Michael Cedars Lizzie & John Murray David Shapiro, M.D. & Sharon Barbara Sahm & Steven Winkel◊ in Joan Byrens Lee Neely & Chelle Clements Wheatley memory of Gene Angell Pamela & Christopher Cain Carol & Richard Nitz* Jeff & Gretchen Shopoff

encoreartsprograms.com 25 CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT INDIVIDUAL DONORS, We are grateful for the generous investment of the following foundations, CONTINUED corporations, and government agencies, which support our 2014 artistic and Barbara Sklar◊ educational programs. Multiyear grants are designated with a double asterisk (**). Gary Sloan & Barbara Komas Robert St. John & M. Melanie Searle Gail & Rick Stephens PRESENTING PARTNERS $100,000 and above Moraga Rotary Anne Marie & Tom Taylor The William and Flora Hewlett Morgan Stanley Jeff Wagner Foundation** Muscardini Cellars Meredith & Jeffrey Watts The James Irvine Foundation** Oakland Museum of California The Andrew W. Mellon Oliver Ranch Foundation Foundation** Philharmonia Baroque Orchestra $500-$749 Meyer Sound Pizzaiolo Anonymous (6) • Kay & David Aaker • Keren PricewaterhouseCoopers LLP & Robert Abra • Beth & Phil Acomb • Ann & $50,000-$99,999 Prima Ristorante Russ Albano • Claire & Kendall Allphin • Jose & BART Ramen Shop Carol Alonso • Barbara Aumer-Vail & Steve Vail Dale Family Fund Range Restaurant • Susan M. Avila & Stephen Gong • Mary Jo & The Dean and Margaret Lesher RHE Founation Norm Baietti • L. Karin & Bob Benning • Sara Foundation** Rossmoor Rotary Foundation Benson • Paula Blizzard & David Brown • Nancy Otter Cove Foundation Rotary Club of Lafayette & Roger Boas • Marilyn & George Bray • Jean $25,000–$49,999 Rotary Club of Lamorinda Sunrise & John Brennan • Germaine Brown • Bronwyn & Kevin Brunner • Doree & Andrew Burstein • Chevron Corporation Rotary Club of Orinda Judith Butler • Erin Bydalek & Patrick Bengtsson KBLX Safeway, Inc. • Jo Alice & Wayne Canterbury • Carmen & National Endowment for the Arts: Schramsberg Vineyards Eric Castain* • Katherine & Henry Chesbrough Art Works SFO Museum • Matt Ching • Yvonne Clinton-Mazalewski The Thomas J. Long Foundation Shotgun Players & Robert Mazalewski • Chris & Lynn Crook • Shakespeare for a New Generation Sonoma Valley Museum of Art Jane & Thomas Coulter • Jill & Chuck Crovitz • The Shubert Foundation St George Spirirts SEASON PARTNERS Swan’s Fine Books Theresa Cullen • Maria Dichov • Eric Dittmar & $10,000-$24,999 Anne Sylvain Gayle Tupper • Corinne & Michael Doyle • Karin City National Bank TWANDA Foundation Eames • Ilse & Jim Evans • Lynn & Bill Evans Sidney E. Frank Foundation UC Berkeley Art Museum and Pacific • Mary & Benedict Feinberg • Claudia Fenelon Ann and Gordon Getty Foundation Film Archive & Mark Schoenrock • Scott & Joan Fife • Peter John Muir Health UC Berkeley Library Fisher • Kerry Francis & John Jimerson • Nancy KCBS Walnut Creek Yacht Club Francis • Maribel & Jack Fraser* • Doris Fukawa The Thomas J. Long Foundation Waterbar & Marjan Pevec • Charla Gabert & David Frane • MCJ Amelior Foundation Westminster Kennel Club Gopnik & Lewinski Family • Joan Goria • Matthew McRoskey Mattress Company The Whittier Trust Company in Honor Goudeau◊ • Kathleen & David Graeven • Kristi & The Gordon and Betty Moore of Jonathan Moscone Arthur Haigh • George Haley & Theresa Thomas Foundation • Harriet Hamlin & James Finefrock • Patricia & Peet’s Coffee & Tea TASTING PARTNERS Brian Hanafee • Sonny & Bruce Hanson • Lisa United Airlines Caravel & Outcast Wines & Michael Holmes • Ben & Sarah Holzemer • Coco Tutti Lina Jane Howard-Cygan & Herbert Cygan • Ellen $5,000–$9,999 Crofter’s Organic Brody Hughes • Leslie & George Hume • Phil Baker Avenue Asset Management Mindy Jade Chocolates Hunsucker & Kristi Helmecke • Carole & Philip Dodge & Cox Peet’s Coffee & Tea Johnson • Karin & Patrick Johnston • Ken Johnson Lafayette Park Hotel & Spa R&B Cellars • Leslie & Murray Kalish • Martin L. Kaufman • The Bernard Osher Foundation Upper Crust Pies Abby Kersh • Mr. Marshall Kido • Mary S. Kimball Theater Development Fund Urbano Cellars • Thomas Koegel & Anne LaFollette • Tony & Wells Fargo Foundation Wedl Wine Cellars Kathy Laglia • Joseph Lee • Susan & Donald Up to $4,999 MATCHING GIFTS Lewis • Kate & Thomas F. Loughran • Jean & Amber Bistro Adobe Systems, Inc. Lindsay MacDermid • Elena Maslova • Marsha Archer Norris Apple Matching Gifts Program Maytum & William Leddy • Eugene McCabe • Aurora Theater AT&T Foundation Jacquelyn McCormick & Michael Salkin • Will Berkeley Repertory Theatre McCoy • Nion T. McEvoy • Paul & Ellen McKaskle PRODUCTION PARTNER Bank of America Britex Caterpillar Foundation • Charlie & Casey McKibben • Kimberly & Jerry Cafe Rouge Chevron Humankind Matching Gifts Medlin • Alex Miller & Leslie Louie • D. G. Mitchell Chihuly Studio Program • Pia & Chris Mittlestaedt • Terri Mockler • Classic Catering Google Jennifer & Brian Mosel • Marilyn & David Nasatir Clif Family Winery John Wiley & Sons, Inc. • Joseph Navarro & Billie Jones • Rebecca Novick Di Rosa Art Alive J.P. Morgan Chase Foundation • Ann & John Nutt • Rebecca O’Brien • Marie Fine Arts Museums of San The Gap Inc. Matching Fund & Jim O’Brient • William Ostrander & Janice L. Francisco McKesson Foundation Johnson • Sharon & Bill Owens • Cindy Padnos & Fort Ross Vineyard & Winery Sidley Austin Jim Redmond • Berniece & Charles Patterson • Four Seasons Hotel San Francisco Visa Carey Perloff & Anthony Giles • Craig Pratt • Pam Frances Wells Fargo Rafanelli • Joyce S. Ratner • Hillary & Jonathan The FruitGuys Reinis • Roberta Richards & Robert Semar • Mimi & Peter Haas Fund ORGANIZATIONS PROVIDING Judith & William Roberts • Julie & Andrew Sauter Helicon Collaborative DONOR-ADVISED FUNDS • Patti & Paul Sax • Joyce & Kenneth Scheidig • Incredible Adventures Bank of America Charitable Gift Fund Kary Schulman • Marcus Segal • Lucille & John Independent Charities of America East Bay Community Foundation Serwa • Anne Siglin • Neil Sitzman • Eric & Erica Judd’s Hill Fidelity Charitable Gift Fund Sklar • Betsy Smith • Carrie & Jason Smith • H. Kaur Photography Foundation Source Marcia Smolens • Valerie Sopher • Stephanie & Lamborn Family Vineyards Jewish Community Federation Robert Sorenson • David Starke • Alexandra & Linden Street Brewery Renaissance Charitable Foundation Peter Starr • Tony Taccone & Morgan Forsey • Marine Mammal Center The San Francisco Foundation Ragesh Tangri & Daralyn Durie • Martha Truett & Meadowood Napa Valley Schwab Charitable Fund David White • Dawson & Andrew Urban • Jamie & Mechanics Bank Gerry Valle • William Van Dyk & Margaret Sullivan • Jackie Wallace • Jennifer & Perry Wallerstein • Kelvin Wate • Doug Welsh • Wendy & Mason Willrich • Joe Wynne • Linda & Warren Zittel

26 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG BOARD OF DIRECTORS

EXECUTIVE COMMITTEE MISSION Buddy Warner PRESIDENT Jean Simpson With Shakespeare's depth of humanity FIRST VICE PRESIDENT as our touchstone, we build character Susie Falk VICE PRESIDENT* AND MANAGING and community through authentic, DIRECTOR inclusive, and joyful theater experiences. Jonathan Moscone VICE PRESIDENT* AND ARTISTIC DIRECTOR Marshall Kido VICE PRESIDENT Alan Schnur VICE PRESIDENT Kate Stechschulte VICE PRESIDENT Ellen Dale SECRETARY Jay Yamada TREASURER

*ex-officio

DIRECTORS Jeff Bharkhda Michael Cedars Phil Chernin Mike Cleland Joshua Cohen Sonny Hanson IN MEMORY Erin Jaeb Tony Kallingal The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late Maureen Knight son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis, Craig Moody NY, on December 14, 1942. He came to California with his family at the age Richard Norris of seven, and attended Pleasant Hill High School, where he played football and Nancy Olson took the North Coast Championship in Greco-Roman wrestling. At the Air Force Linda Clark Phillips Jim Roethe Academy, he became the AAU wrestling champion. He earned a Master’s Degree John Ruskin in Mechanical Engineering from Ohio State University. George rode Brahma bulls Sharon Simpson and saddle broncs, and loved to ride horses through the Siesta Valley where Frank Starn the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile accident just before he was due to ship out for service in Vietnam. California ADVISORY COUNCIL Shakespeare Theater honors the memory of Lt. George H. Bruns III. Wayne Canterbury Bob Epstein Peter Fisher Allison Goldstein Jeff Green Anne Grodin Nancy Kaible Jennifer King Lesa McIntosh Tapan Munroe ABOUT THE BRUNS AMPHITHEATER Susan Rainey Carole Rathfon Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the Peter Read East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks Hugh Richmond John Sears to serve the public with a community facility while preserving the watershed with minimal Francesca Vietor disruption to the pastoral surroundings. This land may be open to the public for performances Sarah Woodard and private events, but remains restricted private property at all other times.

PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA). encore artsprograms.com 27 get to Ticket packages on sale now— Kathleen know Season starts Sep 5! Turner 14–15

Tarell Alvin McCraney KJ Sanchez Tartuffe

Meow Meow Richard Bean UNIVERSES

“A wave of true, The Music of Fryderyk Chopin powerful, and Book by Hershey Felder Directed by Joel Zwick wordless passion.” sTarTs JULY 25 —BosTon GLoBe

photo by john zich

season sponsors Call 510 647-2949 Click berkeleyrep.org

Untitled-7 1 6/23/14 10:50 AM FYI IMPORTANT INFORMATION FOR OUR PATRONS CONTACT US We can also book seats, adjacent to yours, for up to three companions. Box Office: 510.548.9666 or [email protected] (Make sure to request this seating at time of purchase.) (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm) Assistive Listening Devices: Available at no charge from the blanket kiosk on Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710 a first-come, first-served basis. Website: calshakes.org Open-captioned Performances: Cal Shakes is proud to provide open caption- Social Media: Facebook.com/calshakes Twitter.com/calshakes ing for patrons who are deaf or hard-of-hearing on the following dates: August Pinterest.com/calshakes Instagram.com/calshakestheater 6 (Pygmalion), and September 10 (A Midsummer Night’s Dream). Open Group Sales (10+): 510.809.3290 captioning utilizes an unobtrusive screen at the front of the theater to display General: 510.548.3422 or [email protected] dialogue spoken during a performance. No special equipment is required by Program Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 patrons; one can simply glance at the screen to read the text while watching x105 or [email protected] the action on stage. Facilities Rental: 510.548.3422 x123 AMPHITHEATER ETIQUETTE Costume Rental: 510.548.3422 x111 Be respectful: Part of Cal Shakes' mission is to inspire and cultivate diverse TICKETS AND SEATING and inclusive theater experiences. We reserve the right to ask patrons to Ticket Exchange & Replacement: Subscribers and Flex Subscriber may ex- leave. change tickets at no cost up to 24 hours in advance of the time and date of Arrive on time: Latecomers will be seated at an appropriate interval at the their scheduled performance; single ticket holders may do so for a $10 fee. House Manager’s discretion. If you lose or misplace your tickets, the Box Office can arrange for replace- Silence all electronic devices before the performance begins. ments at no extra charge. Recording: The video and/or audio recording of this performance by any Discounts: For information on discounted tickets for military, age 30 and means whatsoever are strictly prohibited. younger, and student/senior rush, visit calshakes.org/discounts. Keep the aisles clear during the performance. 20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance Do not take photos of the performance. The use of any type of camera, video this season, making it easier for more people to enjoy theater. Simply call the or audio recorder in the amphitheater is strictly prohibited. Such devices may Box Office between noon and 2pm the day of the show and ask to purchase be confiscated at the House Manager’s discretion. “20 for $20” tickets. (Subject to availability.) Observe all signage including directional signage on the grounds. It is posted Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections, for your safety. you will need to bring your own chair or rent one from us. If you choose to Smoking is restricted to area designated: Look for the bench and ashtray bring your own, it must be a low-backed beach chair with a seat no more on the plaza across from the café. Electronic cigarettes are allowed in the than six inches off the ground and a backrest no taller than shoulder height. groves, plaza, and anywhere on the grounds with the exception of the Amphi- If you need to rent a chair from us, you’ll find them at the upper entrance to theater. the Terrace for just $3. Be scentsitive: Perfumes or scented lotions may cause discomfort to other patrons and may attract yellow jackets. Please keep use to a minimum. BRUNS AMPHITHEATER Picnicking: You’re welcome to enjoy food and beverages during the perfor- 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing mance, but please be courteous to others. Unwrap all items before the per- address) formance begins or at intermission so as not to disturb your fellow patrons. Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of the ENVIRONMENTAL STEWARDSHIP main Amphitheater entrance for a suggested $2 donation; please dress Recycling: Please use the labeled recycling bins to discard glass, aluminum, warmly for cold nights and bring sunscreen and a hat for matinees. To keep plastic, and paper; a portion of the proceeds from the value of our recycled yellow jackets at bay, keep food covered whenever possible and promptly materials is donated to area schools. dispose of trash and recyclables. We’ve also found fabric softener dryer Solar: Cal Shakes is one of largest solar-powered outdoor professional the- sheets work well to repel yellow jackets. aters in the country. The 144 260-watt panels and four 9000-watt inverters Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift- of our Turn Key 37.4 kilowatt DC solar electric system are designed to supply equipped shuttle service between the Orinda BART station and the Theater up to 98% of the power needs to the Bruns Amphitheater. beginning 2 hours prior to and at the end of each performance. The shuttle Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon runs approximately every 20 minutes; the final shuttle leaves the Orinda Simpson Center’s living roof boasts native, drought-resistant plants. BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza. EVACUATION PLAN SHARON SIMPSON CENTER AMENITIES Café by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two STAG E hours before the performance and at intermission. Catering is available for EXIT groups (10+) and special events; call 925.939.9224. Restrooms: Located to the left of the Café. (Additional restrooms are located THE SHARON SIMPSON EXIT CENTER in the Upper Grove.) EXIT

First Aid: For assistance, please go to the House Management Office, P located inside to the left of the restrooms. EXIT Emergency Phone: Since we ask all patrons to silence cell phones during performances, you may leave the House Office phone number EXIT ROUTE (925.254.2395) as your contact number during a performance. PRIMARY AREA OF REFUGE (MEETING PLACE FOR ALL AUDIENCE MEMBERS)

ACCESSIBILITY SECONDARY AREA OF REFUGE UPPER Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and GROVE FIRE HYDRANTS our free shuttle.” Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes.

encoreartsprograms.com 29 2014 COMPANY Jonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR

2014 ARTISTIC COMPANY Lauren Spencer, Jacinta Sutphin, Trish ELECTRICS Renée Gholikely, CORPORATE PARTNER Rotimi Agbabiaka, ACTOR Tillman, Marissa Wolf, Clive Worsley, Del Medoff, MASTER ELECTRICIAN RELATIONS COORDINATOR Dede M. Ayite, SET DESIGNER Elena Wright, CLASSROOM RESIDENCIES Sarina Renteria, Kevin Sweetser, Nina Ball, SET DESIGNER ASSISTANT MASTER ELECTRICIANS PATRON SERVICES Ajani Barrows, ACTOR Molly Aaronson-Gelb, Heidi Abbott, Melina Cohen-Bramwell, SEASON Pam Webster, PATRON SERVICES MANAGER Beaver Bauer, COSTUME DESIGNER Elizabeth Carter, Allysa Evans, Brit FOLLOWSPOT Molly Conway, PATRON SERVICES Maria Calderazzo, ASSISTANT DIRECTOR Frazier, Susan-Jane Harrison, Laura Hamilton Guillén, LIGHTING RUN ASSISTANT MANAGER L. Peter Callender, ACTOR Marlin, Erin Merritt, Ryan O’Donnell, SUPERVISOR Ashleigh Edelsohn, Nan Noonan, Rhoda Liam Callister, ACTOR Carla Pantoja, Patrick Russell, Michael Slanger, Sheila Yee, PATRON SERVICES Ron Campbell, ACTOR Shipley, Clair Slattery, Anna Smith, SOUND ASSOCIATES Nancy Carlin, VOCAL/TEXT COACH Anika Solvieg, Tommy Statler, Jacinta Brendan Aanes, Lawton Lovely, Xochitl James Carpenter, ACTOR Sutphin, Trish Tillman, Elizabeth Vega, Loza, MIXERS BOX OFFICE Catherine Castellanos, ACTOR Maryssa Wanlass, Laura Wayth, Alison Christopher Lossius, SOUND BOARD OP Derik Cowan, BOX OFFICE MANAGER Nemuna Ceesay, ACTOR Whismore, Wendy Wisely, Marissa Will McCandless, AUDIO SYSTEMS Kelvyn Mitchell, ASSISTANT BOX OFFICE Erika Chong Shuch, MOVEMENT DIRECTOR Wolf, Elena Wright, Kat Zdan, SUMMER CONSULTANT MANAGER Dan Clegg, ACTOR SHAKESPEARE CONSERVATORY DIRECTORS AND Molly Conway, Kimberlee Hicks, Shana Cooper, DIRECTOR TEACHERS COSTUMES & WARDROBE Jasmine Malone, Olivia Mertz, Mara Ligia Tristan Cunningham, ACTOR Jessa Dunlap, RENTALS MANAGER/ Morgantti, BOX OFFICE ASSOCIATES David Cuthbert, LIGHTING DESIGNER Derek Fischer, Anna Smith, Jacinta CRAFTSPERSON FRONT OF HOUSE Adrian Danzig, ACTOR Sutphin, Trish Tillman, Elena Wright, Eva Herndon, DESIGN ASSISTANT Michael Ross, HOUSE MANAGER Julie Eccles, ACTOR CLASSES & AFTER SCHOOL PROGRAMS Katherine Griffith, TAILOR Jordan Battle, LEAD ASSISTANT HOUSE Lauren English, ACTOR JoAnne Martin, Karly Tufenkjian, FIRST MANAGER Caitlin Evenson, ACTOR Katy Adcox, Brett Jones, SUMMER HANDS Sarah Austin, Karla Barahona, Anna Anthony Fusco, ACTOR SHAKESPEARE CONSERVATORY COORDINATORS Sarah Roland, WOMEN'S CUTTER/DRAPER Boer, Heidi Hayame, Beth Hitchcock, Patty Gallagher, ACTOR Linda Ely, Nelly Flores, Franzesca Mayer, Adam Navarrete, Charles RainingBird, Ponder Goddard, ACTOR ARTISTIC & DRAMATURGY Coeli Polanski, Brooke Wright, STITCHERS Belgica Rodriquez, Alexus Williams, Margo Hall, ACTOR Rebecca Novick, DIRECTOR OF ARTISTIC Meave Kelly, Suzanne Ryan, VOLUNTEER HOUSE ASSOCIATES Marcus Henderson, ACTOR ENGAGEMENT STITCHERS Molly Conway, Pam Webster, WELCOME Christina Hogan, ASSISTANT STAGE Sonya Taylor, COMMUNITY PARTICIPATION Marcy Frank, CRAFTS OVERHIRE CENTER COORDINATORS MANAGER COORDINATOR Amy Bobeda, WIG & MAKEUP DESIGNER Karla Barahona, Claire Patterson, Cheryle Honerlah, PRODUCTION ASSISTANT Clea Shapiro, ARTISTIC ASSOCIATE Shannon Dunbar, WARDROBE LEAD TRIANGLE LAB COORDINATORS Howard Johnson Jr., ACTOR Philippa Kelly, RESIDENT DRAMATURG Leandra Watson, DRESSER Laxmi Kumaran, STAGE MANAGER ARTISTIC LEARNING 2014 PROFESSIONAL IMMERSION Charles Lewis III, ACTOR PROPERTIES PROGRAM Sharon Lockwood, ACTOR Clive Worsley, DIRECTOR OF ARTISTIC Seren Helday, PROPERTIES MASTER ARTISTIC LEARNING Regina Fields, Olivia Mertz, Irene Lucio, ACTOR Sarah Spero, PROPERTIES ARTISAN Beverly Sotelo, ARTISTIC LEARNING Diego Briones, Shannon Coulson, Beth Catherine Luedtke, ACTOR Brittany White, Shaun Carroll, Kirsten PROGRAMS MANAGER Hitchcock, Samantha Hyde, Michelle Dave Maier, FIGHT DIRECTOR Royston, PROPERTIES OVERHIRES Whitney Grace Krause, ARTISTIC Kazanowski, Mara Morgantti Minchillo, Craig Marker, ACTOR Jenna Nilson, Mary Zildjian Pigao, Gabe Maxson, LIGHTING DESIGNER LEARNING COORDINATOR FACILITIES Hayley Wilcox, Jessica Wilcox, ARTISTIC Will McCandless, SOUND DESIGNER DIVERSITY & INCLUSION Manino Mendez, Brittany White, FACILITY LEARNING Patricia McGregor, DIRECTOR Carmen Morgan, DIVERSITY & INCLUSION MANAGERS Monica Ammerman, CASTING Jonathan Moscone, DIRECTOR CONSULTANT Patrick Fitzgerald, Brian Giguere, Sabine Balden, Megan Finley, Morgen Katherine Nowacki, COSTUME DESIGNER Megan Barton, Jamie Buschbaum, Derik MAINTENANCE TECHNICIANS Warner, COSTUME DESIGN Anna Oliver, COSTUME DESIGNER Cowan, Susie Falk, Joyce Fleming, Shirley Dunbar, Porscha Owens, Reva Erica Frost, COSTUME DESIGN/WARDROBE Katherine O’Neill, COSTUME Marilyn Langbehn, Jonathan Moscone, Owens, SHUTTLE DRIVERS Shreya Carey, COSTUME SHOP Nicholas Pelczar, ACTOR Andrew Page, Clea Shapiro, Sonya Rachel Hart, DEVELOPMENT Chien-Yu Peng, ASSISTANT SCENIC Taylor, Tirzah Tyler, Pam Webster, Clive FINANCE AND ADMINISTRATION Esther Ho, MARKETING DESIGNER Noralee Rockwell, DIRECTOR OF FINANCE Worsley, TASK FORCE Alex Liu, PRODUCTION MANAGEMENT Ryan Nicole Peters, ACTOR Joyce Fleming, DIRECTOR OF HUMAN Grace Jeong, PROPERTIES Andre Pluess, SOUND DESIGNER PRODUCTION RESOURCES James Rollins, SCENIC CONSTRUCTION/ Paul James Prendergast, SOUND Tirzah Tyler, PRODUCTION MANAGER Jamie Buschbaum, OPERATIONS TECHNICAL DIRECTION DESIGNER Jamila Cobham, ASSISTANT PRODUCTION MANAGER/EXECUTIVE ASSISTANT Randy Wong-Westbrooke, SCENIC Elyse Price, ACTOR MANAGER Maria Napoli, ACCOUNTING ASSISTANT PAINTING Zion Richardson, ACTOR Chris Hammer, TECHNICAL DIRECTOR Marivie Koch, BUSINESS OFFICE ASSISTANT Charles Trombadore, SOUND DESIGN Jake Rodriguez, SOUND DESIGNER Naomi Arnst, COSTUME DIRECTOR Sarah Lamb, SPECIAL EVENTS Travis Rowland, ACTOR DEVELOPMENT Tazwell Caputo, Lauren Frazier, Tianyi Danny Scheie, ACTOR DIRECTOR OF STAGE MANAGEMENT Megan Barton, Hao, Jessica Lucey, STAGE MANAGEMENT Annie Smart, SET DESIGNER DEVELOPMENT Christina Hogan, Laxmi Kumaran, Karen Amanda Widick, WIGS AND MAKEUP Krista Smith, ASSISTANT LIGHTING GRANTS MANAGER Szpaller, STAGE MANAGERS Andrew Page, Stephanie Foster, TEACHING ARTIST DESIGNER ANNUAL FUND MANAGER Cheryle Honerlah, Christina Larson, Ian Larue, FELLOW Lynne Soffer, DIALECT AND TEXT COACH SPECIAL EVENTS MANAGER Cordelia Miller, PRODUCTION ASSISTANTS Shelly Jackson, Skye Gable, HOSPITALITY AND SPECIAL Stephen Strawbridge, LIGHTING DESIGNER DEVELOPMENT Renée Gholikely, EVENTS Daisuke Tsuji, ACTOR SCENERY COORDINATOR Alex Higgins, DONOR ENGAGEMENT Liam Vincent, ACTOR Colin Suemnicht, ASSISTANT TECHNICAL York Walker, ACTOR DIRECTOR MARKETING & COMMUNICATIONS Drew Watkins, ACTOR Patrick Fitzgerald, Matthew Rohner, Janet Magleby, DIRECTOR OF MARKETING & PRODUCTION PROGRAM CARPENTERS COMMUNICATIONS Volume 23, No. 3 TEACHING ARTISTS Marilyn Langbehn, MARKETING & PR Keith Spencer, EDITOR-IN-CHIEF Elizabeth Carter, Scott Coopwood, SCENIC ART MANAGER Callie Cullum, ART DIRECTOR Allysa Evans, Brett Jones, ZZ Moor, Letty Samonte, SCENIC CHARGE ARTIST Keith Spencer, PUBLICATIONS MANAGER Janet Magleby, EXECUTIVE EDITOR Dan Saski, Anna Schneiderman, Sophia Fong, Shannon Walsh, OVERHIRE Callie Cullum, GRAPHIC DESIGNER/ PAINTERS WEBMASTER All listings current as of June 26, 2014. 30 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG THE ONDON DAECT

Watching television and theater—and just living in a diverse urban community—exposes us to so Pygmalionmany different accents, dialects, and backgrounds. As a result, we each have our own unique accents—a refl ection of how our family, friends, and televisions talk to us. Recently, a popular New York Times dialect quiz went viral; the test was structured such that answer- ing a series of questions about pronunciation pinpointed the American region from which your accent originated. Upon completion, the test created a visual “heat map” of the United States, showing which regions’ people sounded most like you. Almost as accurate as Pygmalion’s Professor Higgins, who claimed to be able to place someone’s accent “within two miles in London... Sometimes within two streets.” We don’t have the page allocation to cover all the English dialects in the world; however, our short quiz can determine your London class background. The test was vetted by several smug London phonetics professors, and is guaranteed to be at least partially accurate. Don’t believe us? Try for yourself—take the quiz and fi nd out what London class you come from.

1. What do you say to someone 3. You are offended by the rude 5. You show up to a party with a who is obstructing your path? comments of a gentleman. stain on your shirt. A hostess How do you react? asks if you bathed beforehand. a. “Pardon me.” How do you respond? a. “Why, I never!” b. “Excuse me, Governor.” b. “Pardon me, good sir!” a. With odious disdain at her c. “Look weh ya gowin, deah.” presumption. c. “Y’ought’a be stuffed wiv nails, y’ought!” b. With shock and horror at her gumption. 2. You’re selling ﬂ owers outside the theater. How do you pitch c. “I ain’t dirty—I washed me face your wares to passers-by? 4. You’re irritated by a friend’s an’ ‘ands afore I come, I did.” whining. What do you say to a. “Tuppence for a lovely dozen them? chrysanthemums!” a. “Don’t sit there crooning like a b. “Posies for sale!” bilious pigeon.” c. “Baw ‘a fl ahr orf a pore gel!” b. “Good lady, chin up and eat your shepherd’s pie.” c. “Ah-ow-oo-ooh!” [You rush out.]

TA Mostly As and Bs: London Governor: You’re a right proper London lady or gentleman. Mostly Cs: Lisson Grove Guttersnipe: You’re as pore a fl ahr gel as eva ‘ere ‘as.

encoreartsprograms.com 31 “Banking with First Republic is a wonderful experience – I forgot this level of service existed anywhere.”

PAUL TAYLOR DANCE COMPANY Paul Taylor Choreographer

(800) 392-1400 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender

ad proofs.indd 1 4/7/14 3:06 PM