SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY

NEEDLES AND OPIUM

MAR–APR 2017 SEASON 50, ISSUE 6 LOOKING FOR A UNIQUE SAN FRANCISCO SPACE FOR YOUR UPCOMING EVENT? HOST YOUR GATHERING AT A.C.T.’S GEARY THEATER!

Whether you are planning a board meeting or a social mixer, a wedding or a product launch, we have an event space that is right for you! Centrally located in San Francisco’s vibrant Union Square district, A.C.T.’s hundred-year-old Geary Theater is an exciting destination, rich with personality and versatility.

With four venues to choose from—suited for intimate parties, corporate conferences, and everything in between— we’re ready to make your upcoming event one to remember.

OUR SPACES INCLUDE:

THE GARRET ROOM THE SKY BAR

This charming, private space tucked away on the The Sky Bar features a classy backlit lounge and bar top floor of the theater is ideal for dinner parties, overlooking Geary Street, perfect for receptions at cocktail receptions, and meetings. which mingling is key.

Capacity: 110 Capacity: 135

FRED’S COLUMBIA ROOM AND NANCY’S BAR THE MAIN THEATER

With a full bar, couches, and table seating that can With three levels of seating, a large proscenium stage, be configured for any occasion, this is a comfortable and state-of-the-art lighting and sound capabilities, and elegant option with versatile possibilities. the main theater has been impressing audiences for a hundred years. Capacity: 228 Capacity: 1,015

Fully stocked bars, A/V equipment and production staff, onsite convection ovens, and ticketing services are just a few enhancements we can add to your event.

For more information about any of our spaces or to schedule a tour, please contact A.C.T. Associate General Manager Amy Hand at [email protected]. 415.749.2228 PRESENTS THEATER TOURS FOR 2017

EXPERIENCE THE EXCITEMENT OF HAMILTON ON BROADWAY THE BRIGHT LIGHTS OF BROADWAY IN NEW YORK CITY JULY 11–17

EXPLORE ASHLAND AND THE OREGON SHAKESPEARE FESTIVAL

THE CHARMING OREGON SHAKESPEARE FESTIVAL JULY 19–24

RELISH THE LEGACY OF EUROPEAN DRAMA IN DUBLIN

NEW COMBO TOUR THE BEST OF BRITISH AND IRISH THEATER OCTOBER 3–12

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

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

For more information visit act-sf.org/theatertours or contact Helen Rigby at 415.439.2469 or [email protected] 415.749.2228 March 2017 Music For The Land Volume 15, No. 6 Saving the places that make the East Bay special

Paul Heppner Publisher

Susan Peterson Design & Production Director jmlt.org Ana Alvira, Robin Kessler, San Francisco Opera Orchestra musicians Janet Popesco Archibald, Emil Miland Shaun Swick, Stevie VanBronkhorst and pianist Margaret Fondbertasse are generously donating proceeds from the sale Production Artists and Graphic Design of their new CD to John Muir Land Trust. Now available at jmlt.org. Mike Hathaway Sales Director

Marilyn Kallins, Terri Reed, Rob Scott music dance theater 2016/17 San Francisco/Bay Area Account Executives SEASON Brieanna Bright, Cal Perform ances Joey Chapman, Ann Manning UNIVERSITY OF CALIFORNIA, BERKELEY Seattle Area Account Executives

Tennessee Williams’ Jonathan Shipley Ad Services Coordinator A Streetcar Named Desire Carol Yip Scottish Ballet Sales Coordinator Nancy Meckler, director Annabelle Lopez Ochoa, choreographer Peter Salem, music

Dance. Desire. Despair. Scottish Ballet’s award-winning take on Tennessee Williams’ Southern melodrama draws Paul Heppner audiences into the darkly President alluring and tragic world of Blanche DuBois, her sister, Mike Hathaway Stella, and her brutish brother- Vice President in-law, Stanley. Genay Genereux Accounting & Office Manager

Sara Keats Marketing Manager Ryan Devlin  Business Development Manager “A new ballet of truly tragic proportions.” —The Daily Telegraph Corporate Office 425 North 85th Street Seattle, WA 98103  p 206.443.0445 f 206.443.1246 —The Independent [email protected] 800.308.2898 x105 www.encoremediagroup.com

May 10–12 ZELLERBACH HALL

Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget calperformances.org Sound and San Francisco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.

4 ACT-SF.ORG SAN FRANCISCO'S THEATER COMPANY

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is at winning nonprofit theater, nurtures the art of live theater the center of our work. Our three-year, fully accredited Master through dynamic productions, intensive actor training, of Fine Arts Program is at the forefront of America’s actor and ongoing engagement with our community. Under the training programs. Meanwhile, our intensive Summer Training leadership of Artistic Director Carey Perloff and Executive Congress attracts students from around the world, and the San Director Peter Pastreich, we embrace our responsibility to Francisco Semester offers a unique study-abroad opportunity conserve, renew, and reinvent our rich theatrical traditions for undergraduates. Other programs include the world-famous and literatures, while exploring new artistic forms and Young Conservatory for students ages 8 to 19, led by 28-year new communities. Founded by William Ball, a pioneer of veteran Craig Slaight; Studio A.C.T., our expansive course of the regional theater movement, A.C.T. opened its first San theater study for adults; and the Professional Development Francisco season in 1967. We have since performed more than Training Program, which offers actor training for companies 350 productions to a combined audience of more than seven seeking to elevate their employees’ business performance skills. million people. Every year we reach more than 250,000 people Our alumni often grace our mainstage and perform around the through our productions and programs. Bay Area, as well as on stages and screens across the country.

Rising from the wreckage of the earthquake and fire of 1906 A.C.T. also brings the benefits of theater-based arts education and hailed as the “perfect playhouse,” the beautiful, historic to more than 12,000 Bay Area students and educators each Geary Theater has been our home since the beginning. When year. Central to our ACTsmart education programs, run by the 1989 Loma Prieta earthquake ripped the roof apart, San Director of Education & Community Programs Elizabeth Franciscans rallied together to raise a record-breaking $30 Brodersen, is the longstanding Student Matinee (SMAT) million to rebuild the theater. The Geary reopened in 1996 with program, which has brought hundreds of thousands of young a production of The Tempest directed by Perloff, who took over people to A.C.T. performances since 1968. We also provide in 1992 after the retirement of A.C.T.’s second artistic director, touring Will on Wheels Shakespeare productions, teaching- gentleman artist Ed Hastings. artist residencies, in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 24-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, A.C.T. plays a leadership and theater made by, for, and about the Bay Area. Her fierce role in securing the future of theater for San Francisco and commitment to audience engagement ushered in a new era the nation. of InterACT events and dramaturgical publications, inviting everyone to explore what goes on behind the scenes.

American Conservatory Theater Board of Trustees (As of February 2017) The Board of Directors of the M.F.A. Program Nancy Livingston Ray Apple Carey Perloff Dagmar Dolby CHAIR Lesley Ann Clement Robina Riccitiello William Draper III Abby Sadin Schnair Kirke M. Hasson Richard T. Davis-Lowell Dan Rosenbaum John Goldman CHAIR PRESIDENT Jerome L. Dodson Sally Rosenblatt Kaatri Grigg Michael G. Dovey Abby Sadin Schnair James Haire Sara Barnes Celeste Ford VICE CHAIR Olympia Dukakis Jeff Spears Kent Harvey Carlotta Dathe Sarah M. Earley Robert Tandler Sue Yung Li Frannie Fleishhacker Priscilla Geeslin Frannie Fleishhacker Patrick S. Thompson Christine Mattison Arnie Glassberg VICE CHAIR Ken Fulk Joaquin Torres Joan McGrath Christopher Hollenbeck David Riemer Dianne Hoge Jeff Ubben Deedee McMurtry Luba Kipnis VICE CHAIR Jo S. Hurley Adriana Lopez Vermut Mary S. Metz Linda Kurtz Steven L. Swig Jeri Lynn Johnson Nola Yee Toni Rembe Jennifer Lindsay VICE CHAIR Alan Jones Kay Yun Rusty Rueff Toni Miller Linda Jo Fitz James H. Levy Joan Sadler Toni Rembe TREASURER Heather Stallings Little EMERITUS Cherie Sorokin Sally Rosenblatt Janet V. Lustgarten ADVISORY BOARD Alan L. Stein Anne Shonk Daniel E. Cohn SECRETARY Jeffrey S. Minick Barbara Bass Bakar Barry Lawson Williams Melissa Smith Michael P. Nguyen Rena Bransten Carlie Wilmans Alan L. Stein Alan L. Stein Martim Oliveira Jack Cortis Patrick S. Thompson CHAIR EMERITUS Peter Pastreich Joan Danforth

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

415.749.2228 5 Battlefield Based on The Mahabharata and the play by Jean-Claude Carrière

Adapted and directed by Peter Brook and Marie-Hélène Estienne “BREATHTAKING! A dazzling piece of theater” THE GUARDIAN

“A production of STUNNING LEGENDARY DIRECTOR BEAUTY” PETER BROOK LE FIGARO RETURNS TO A.C.T.

In 1985, Peter Brook shook the theater world with his production of The Mahabharata—an epic adaptation of a Sanskrit poem first told thousands of years ago. “The play was the event of the New York theater season,” says New York Times theater critic Ben Brantley.

Now, more than 30 years later, Brook has returned to this rich material to create Battlefield. This magical story of finding tranquility in the midst of conflict and destruction has striking connections to modern times and has inspired some of Brook’s most beautiful images and most transformative theatrical moments.

“At age 92, Peter Brook remains one of the greatest master directors in the world,” says A.C.T. Artistic Director Carey Perloff. “His inclusive and imaginative theatrical vision changed the way we’ve all made theater for more than 50 years, so it’s particularly moving to have his stunning work represented as part of A.C.T.’s 50th-anniversary season. Battlefield’s poetic, magical form takes us to the essence of theatrical storytelling. All it takes is a good story on a bare stage to captivate an audience and help them imagine a whole world.”

A.C.T.’S GEARY THEATER APR 26–MAY 21 415 GEARY STREET act-sf.org/battlefield 415.749.2228 My wealth. My priorities. My partner.

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EAP full-page template.indd 1 9/6/16 11:24 AM DON’T JUST SIT THERE . . .

At A.C.T.’s free InterACT events, you can mingle with cast members, join interactive workshops with theater PHOTO BY TRISTRAM KENTON BY PHOTO artists, and meet fellow theatergoers at hosted celebrations in our lounges. Join us for our upcoming production of Battlefield and InterACT with us! BATTLEFIELD AT THE GEARY THEATER

BIKE TO THE THEATER NIGHT APR 26, 7 PM Ride your bike to A.C.T. and take advantage of secure bike parking and low-priced tickets at our preshow mixer, presented in partnership with the San Francisco Bicycle Coalition.

KDFC PROLOGUE MAY 2, 5:30 PM Go deeper with a fascinating preshow discussion with a member of the Battlefield artistic team.

THEATER ON THE COUCH* MAY 5, 8 PM Olivier Normand in Needles and Opium. Take part in a lively conversation in our lower-level lounge with Dr. Mason Turner, chief of psychiatry at Kaiser Permanente San Francisco Medical Center.

AUDIENCE EXCHANGE* MAY 9, 7 PM; MAY 14 & 17, 2 PM Join us for an exciting Q&A WHAT’S INSIDE with the cast following the show. ABOUT THE PLAY INSIDE A.C.T. OUT WITH A.C.T.* MAY 10, 8 PM Mix and mingle at this 13 LETTER FROM THE 26 LAYING THE GROUNDWORK hosted postshow LGBT party. ARTISTIC DIRECTOR The Support of A.C.T.’s Prospero Society By Carey Perloff By Simon Hodgson WENTE VINEYARDS WINE SERIES MAY 16, 7 PM 16 ACROBATIC MINDS 28 THEN AND NOW Meet fellow theatergoers at The Life and Work of Robert Lepage this hosted wine-tasting event. A.C.T. and the 50th Anniversary By Shannon Stockwell of the Summer of Love PLAYTIME By Shannon Stockwell MAY 20, 12:30 PM 18 FLYING HIGH Get hands-on with theater at this Inside the World of Needles and Opium interactive preshow workshop. By Elspeth Sweatman To learn more and order tickets 20 THE COINCIDENCE for InterACT events, OF THE HAUNTED ROOM visit act-sf.org/interact. An Interview with Robert Lepage EDITOR SIMON HODGSON *Events take place immediately By Shannon Stockwell following the performance ASSOCIATE EDITOR SHANNON STOCKWELL

CONTRIBUTORS CAREY PERLOFF ELSPETH SWEATMAN

CONNECT! VOLUNTEER! LISTEN!

A.C.T. volunteers provide an invaluable service Check out A.C.T.’s new podcast, Theaterology, with their time, enthusiasm, and love of theater. and listen to InterACT events online! Opportunities include helping out in our VISIT: performing-arts library and ushering in our theaters. ACT-SF.ORG/PODCASTS FOR MORE INFORMATION: ACT-SF.ORG/VOLUNTEER

415.749.2228 9 UP NEXT IN THE CONSERVATORY PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO

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

promiscuous/cities THE GOOD WOMAN LAS MENINAS By Lachlan Philpott OF SETZUAN By Lynn Nottage Directed by Becca Wolff Written by Bertolt Brecht Directed by Nicole Watson English Version by Eric Bentley MAY 10–13 MAY 10–14 Directed by Domenique Lozano THE COSTUME SHOP THE RUEFF A.C.T.’S STRAND THEATER A smart, darkly comic reflection on MAY 10–13 contemporary San Francisco, created by THE RUEFF In the gilded French palace of Louis A.C.T.’S STRAND THEATER Australian playwright Lachlan Philpott and XIV, spoiled queen Marie-Thérèse developed in collaboration with A.C.T.’s Kindhearted prostitute Shen Te opens begins a hesitant friendship with Master of Fine Arts Program. a store but runs into trouble when her Nabo, a tiny African from Dahomey. A neighbors take advantage of her. Brecht’s powerful drama from Pulitzer Prize morality play pits cold-bloodedness winner Lynn Nottage about race and against kindness, examining the struggle tolerance, loneliness and power. to earn money versus living a virtuous life.

10 ACT-SF.ORG PHOTO BY KEVIN BERNE BY PHOTO

A.C.T.’S YOUNG CONSERVATORY PRESENTS

TOMORROW COMEDY TONIGHT OPPOSITE The cast of The Rocky Horror Show. Two One-Act Plays By Horton Foote MAY 12–15 ABOVE Directed by Craig Slaight THE GARRET Sierra Stephens and Nathan A.C.T.’S GEARY THEATER Correll in Punk Rock. APRIL 18–22 A highlight each year for both performers THE RUEFF and audiences, Comedy Tonight features BUY TICKETS A.C.T.’S STRAND THEATER an array of hilarious songs in a number of The A.C.T. Young Conservatory styles from throughout the years. FOR MFA SHOWS, VISIT collaborates with the Master of Fine Arts Program to bring us two short plays act-sf.org/mfashows by Academy Award–winning writer Horton Foote. FOR YC SHOWS, VISIT act-sf.org/ycshows

415.749.2228 11 A SNEAK PEEK AT THE 2017–18 SEASON

VITAL, BRAVE, AND IMAGINATIVE STORYTELLING

FATHER COMES HOME FROM THE WARS PARTS 1, 2 & 3 VIETGONE THE BIRTHDAY PARTY by Suzan-Lori Parks by Qui Nguyen by Harold Pinter Directed by Liz Diamond Directed by Jaime Castañeda Directed by Carey Perloff A.C.T.’s Geary Theater A.C.T.’s Strand Theater Featuring Marco Barricelli, Judith Ivey, and Scott Wentworth “Thrilling . . . a masterpiece” “Hip, high-wire theatricality . . . A.C.T.’s Geary Theater NEW YORK MAGAZINE sultry sexiness . . . quirky playfulness” THE SEATTLE TIMES “Delicious, impalpable and hair-raising” From Pulitzer Prize winner Suzan-Lori THE SUNDAY TIMES Parks (Topdog/Underdog) comes an A hit off Broadway and at the Oregon explosively powerful and lyrical new Shakespeare Festival, Vietgone is a A.C.T. returns to the world of Harold play set against the backdrop of the contemporary twist on the classic story Pinter for our first staging of his Civil War. In this epic American take on of boy meets girl. In this irreverent classic comedy The Birthday Party. the Odyssey, Southern slave Hero faces new comedy, three young Vietnamese In an undisturbed English seaside a terrible choice: to seek his freedom by immigrants leave a war-torn country town, the inhabitants of a ramshackle fighting for the Confederacy alongside for an eye-opening journey across the boarding house react to the arrival of his master or to stay home with the bewildering and foreign landscape that two unsettling strangers. Where do woman and people he loves. A poignant is 1970s America. A vibrant mash-up Goldberg and McCann come from? and compelling journey in three succinct of pop-culture references and audacious Who sent them? And why do they keep acts, Parks mixes contemporary wit, folk dialogue, this action-packed road trip asking about the sole boarder, piano ballads, and classical traditions to tell that instantaneously moves from hilarity player Stanley? As the party guests, a timeless story of freedom, heroism, to heart-wrenching drama played to including flighty Lula and flirty landlady and belonging. By turns comic and sold-out houses at OSF in 2016 and New Meg, gather for Stanley’s birthday, the heartbreaking, Father Comes Home from York’s Manhattan Theatre Club. This desperate pianist is forced to confront the Wars is a mythic journey through sexy, sassy, freewheeling ride, backed a surreal interrogation. Seething with the American soul from one of our most by its hip-hop and Motown rhythms, will mystery, danger, and sudden humor, this accomplished modern playwrights. roll into The Strand this spring in an all- is signature Pinter, a play of “tantalizing new production. theatricality” (The New York Times).

PLUS FOUR MORE SHOWS TO BE ANNOUNCED! LEARN MORE AT ACT-SF.ORG/JOIN FROM THE ARTISTIC DIRECTOR

Dear Friends,

Welcome to the visionary world of Robert Lepage. When we matters. For each theater and each artist, that mandate will chose Needles and Opium for the 2016–17 season more than a mean something different. For me, it has led me to the great year ago, we had no idea how crucial global exchange was going playwrights across the classical and contemporary canon who to be at this point in American history. As we enter a moment of look for the deepest and most nuanced explorations of justice, rabid isolationism, I am reminded of what I learned at my first job terror, pluralism, and democracy. in the theater, when I was a secretary at the International Theater Institute in New York. The ITI’s far-sighted leader, Martha Coigney, For the first time next season, A.C.T. will be coproducing with insisted that theater transcend international divisions and that Yale Repertory Theater, when we join forces on Suzan-Lori Parks’s artists build bridges across cultures, particularly in times of magnificent new Father Comes Home from the Wars Parts 1, 2 jingoism and misunderstanding. Her words come back to me now & 3. One of the great linguistic geniuses of American theater, with particular urgency. Parks has crafted a play of enormous moral complexity in which an enslaved man named Hero is offered a shot at freedom if he The next two offerings at A.C.T., Robert Lepage’s Needles fights on the Confederate side with his master. Loosely based and Opium and Peter Brook’s Battlefield, represent powerful on the Odyssey and featuring a hilariously prescient talking dog opportunities to connect to the world around us in beautiful (to be played by Gregory Wallace), Father Comes Home displays and imaginative ways. Lepage, who hails from Quebec, is Parks’s singular and audacious imagination in a truly epic way. the latest illustration of A.C.T.’s longstanding commitment to thrilling Canadian collaborations, from Morris Panych’s The Also included in next season will be my favorite play by another Overcoat to Kim Collier’s No Exit to coproductions with the audacious playwright, Harold Pinter. The Birthday Party is a vivid Stratford Shakespeare Festival and Theater Calgary (where comedy and a chilling cautionary tale about what happens when our production of A Thousand Splendid Suns just played to we confront terror head-on. In a run-down bedsit by the seaside great acclaim). It is my profound hope that these cross-border in England, two men turn up looking for a room. But what they’re projects will flourish in spite of current attempts to shutter our really interested in is interrogating the sole border, a mysterious borders to immigration and exchange. man named Stanley. Using laser precision and lacerating wit, Pinter anatomizes the use of language to coopt and coerce, and Lepage is a magical artist whose astonishing visual imagination the power of love, even at its most bizarre, to deflect danger. This upended world theater, from his mesmerizing Seven Streams of production will star A.C.T. favorite Marco Barricelli in a welcome the River Ota to his intensely personal solo work. His Needles return to The Geary, alongside the great comedienne Judith Ivey and Opium has long been a favorite production of mine, in part and Stratford Festival star Scott Wentworth. because it deals with Miles Davis, an artist close to the heart of this jazz-loving city, and in part because it deals with Davis’s Over at The Strand, we are delighted to introduce the delicious relationship to Jean Cocteau, whose work is known and loved comedic world of Qui Nguyen’s Vietgone, a play that explores by the large francophone audience in the Bay Area. But mostly I the immigration story of Nyugyen’s parents to America after the love the piece because Lepage uses the basic tools of theater in Vietnam War. Many of you were introduced to this moving and such breathtaking new ways. In bringing Lepage back to the Bay hilarious piece of writing at Oregon Shakespeare Festival last Area, we extend gratitude to our colleagues at Cal Performances, season, and we are particularly delighted to be producing it near who have long championed the imagination of this seminal San Francisco’s vibrant Vietnamese community in an all-new international artist. production at The Strand, directed by Jaime Castañeda.

Meanwhile we are hard at work creating our 2017–18 season. And these are only the beginning. We are exploring a wide range Needless to say, current political events have made the of work that we hope will truly resonate with these chaotic times, decision-making extremely difficult, as the theater community both plays that challenge our thinking and plays that soothe our clearly feels the imperative to produce work that truly souls, plays from the American psyche and plays from around the world. Stay tuned for more!

Meanwhile, thank you for coming to Needles and Opium—enjoy!

Warmly,

Carey Perloff Artistic Director 13 WRITTEN AND DIRECTED BY RANDY JOHNSON ARTWORK BY ADAM LARSON ADAM BY ARTWORK

LIKE A COMET THAT BURNS FAR TOO BRIGHTLY TO LAST, Janis Joplin exploded onto the music scene in 1967 and, almost overnight, became the queen of rock ’n’ roll. The unmistakable voice, filled with raw emotion and tinged with Southern Comfort, THE EVENTS THAT MADE THE WOMAN. made her a must-see headliner from Monterey to Woodstock. THE WOMAN WHO MADE THE MUSIC. Now, you’re invited to share an evening with the woman and her influences in the new Broadway musicalA Night with Janis THE MUSIC THAT CHANGED HISTORY. Joplin. Fueled by such unforgettable songs as “Me and Bobby McGee,” “Piece of My Heart,” “Mercedes Benz,” “Cry Baby,” and “Summertime,” a remarkable cast, and breakout performances, A Night with Janis Joplin, written and directed JUN 7–JUL 2 by Randy Johnson, is a musical journey celebrating Janis and her biggest musical influences—icons likeAretha Franklin, Etta James, Odetta, Nina Simone, and Bessie Smith, who inspired one of rock ’n’ roll’s greatest legends.

GROUPS OF 15+ THE GEARY THEATER | ACT-SF.ORG | 415.749.2228 | CALL 415.439.2309 CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director PRESENTS

NEEDLES AND OPIUM WRITTEN AND DIRECTED BY ROBERT LEPAGE AN EX MACHINA PRODUCTION

CREATIVE TEAM CAST (IN ALPHABETICAL ORDER) ENGLISH TRANSLATOR JENNY MONTGOMERY OLIVIER NORMAND** SCENIC DESIGNER CARL FILLION WELLESLEY ROBERTSON III** PROPS DESIGNER CLAUDIA GENDREAU MUSIC AND SOUND DESIGNER JEAN-SÉBASTIEN CÔTÉ LIGHTING DESIGNER BRUNO MATTE COSTUME DESIGNER FRANÇOIS ST-AUBIN IMAGES DESIGNER LIONEL ARNOULD ASSISTANT DIRECTOR NORMAND BISSONNETTE

THIS PRODUCTION MADE POSSIBLE BY ADDITIONAL SUPPORT BY

PRODUCERS ASSOCIATE PRODUCERS LLOYD AND JANET CLUFF RICK AND ANNE RILEY RODMAN AND ANN MARYMOR DR. MARTIN AND ELIZABETH TERPLAN DAVID AND CARLA RIEMER BEVERLY AND LORING WYLLIE

Produced by Ex Machina, in coproduction with Théâtre du Trident, Quebec; Canadian Stage, Toronto; Théâtre du Nouveau Monde, Montreal; Adelaide Festival; New Zealand Festival; Le Grand T, théâtre de Loire-Atlantique; Les Quinconces-L’espal, scène conventionnée, théâtres du Mans; Célestins, Théâtre de Lyon; Le Volcan, Scène nationale du Havre; Festival de Otoño a Primavera, Madrid; ArtsEmerson: The World On Stage, Boston; NAC English Theatre with le Théâtre français du CNA and the Magnetic North Theatre Festival; Setagaya Public Theatre, Tokyo; LG Arts Center, Seoul; the Barbican, London; La Comète, scène nationale de Châlons en Champagne; La Comédie de Clermont-Ferrand scène nationale; Les Salins, scène nationale de Martigues; John F. Kennedy Center for the Performing Arts; and A.C.T.

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

415.749.2228 15 ABOUT THE PLAY

ACROBATIC MINDS THE LIFE AND WORK OF ROBERT LEPAGE BY SHANNON STOCKWELL

Robert Lepage was born in 1957 and grew up in Québec City. Lepage was one of the few Québécois who was bilingual; he He was a small, shy, quiet, even depressed child. His reserved understood the divisions caused by language, and he wanted nature was exacerbated by early struggles with his sexuality to create theater that transcended words. and a diagnosis of alopecia at age six that caused him to permanently lose all his hair. But when he was in high school, His first big show with Théâtre Repère wasThe Dragons’ he found solace in theater. He dropped out and enrolled in Trilogy (1985), a six-hour exploration of the experiences the Conservatoire d’art dramatique de Québec in 1975. He of Japanese and Chinese Canadians. The show was in four graduated in 1978 and did some of his own work for a while languages: French, English, Chinese, and Japanese. But until he was invited to join a new company, Théâtre Repère, because of the arresting stage visuals, audiences weren’t in 1982. deterred by what they didn’t understand. The production used projections, an unusual technique in the mid-’80s. Taking up All the while, Lepage was teaching himself how to devise the entire floor of the stage was a large sandbox, representing theater collaboratively. He was beginning to realize the a parking lot that had been built over a razed Chinatown limitations of text-based theater in a Canadian province where neighborhood somewhere in Québec. audiences spoke either French or English, but rarely both.

16 ACT-SF.ORG LEFT Robert Lepage in the 1991 production of Needles and Opium.

With Ex Machina, Lepage has devised, directed, and performed in a number of new productions, all of them utilizing technology in innovative and transformative ways. Some critics have claimed that there is not enough intellectual or emotional substance behind the spectacle. But for Lepage, the spectacle is the substance. Form is content and content is form.

In his theater, Lepage is interested in transformation because it harkens back to ancient human rituals, when people would

PHOTO BY CLAUDEL HUOT. COURTESY EX MACHINA. COURTESY HUOT. CLAUDEL BY PHOTO gather around fires, tell each other stories, and watch each other change and be changed. “It’s incredible to be able to travel through time and place, to infinity, all on a single stage,” he says. “It’s the metamorphosis brought about onstage that makes this kind of travel possible. . . . I think that if I remain fully aware of the stage as a place of physical transformation, I make it possible or can try to make it possible for the audience to really feel the direction in which the action and the characters are being hurtled.”

Lepage’s creative imagination and versatility have made him a sought-after director beyond Ex Machina. He directed two shows for Cirque du Soleil in 2004 and 2010. He also staged Wagner’s Ring Cycle at the Metropolitan Opera in 2012.

Lepage has also worked in cinema, directing six films over the course of his career. He embraces the interplay between theater and film, understanding that film and other modern media have changed the way people view theater. “If I play in front of an audience in a traditional theatre, the people who are in the room have seen a lot of films, they’ve seen a lot of television, they’ve seen rock videos, and they are on the [Internet],” he says. “They are used to having people telling stories to them in all sorts of ways. . . . People have extraordinary, acrobatic minds.”

Lepage also made creative use of props. A sheet of white fabric became laundry, a screen for the projections, sails on a ship, and, when bloodied, the symbol of a character’s death. Over the years, these transformative props turned into the extravagant kinetic contraptions for which Lepage is now famous, such as the large rotating cube in Needles and Opium. Want to know more about Needles and Opium? Words on Plays is full of original essays and interviews that give you a behind-the- When Lepage left Théâtre Repère in 1989, he was an scenes look at Needles and Opium—perfect for reading in-demand freelance director and staged several shows before the play, during intermission, or when you get home! internationally, mostly Shakespeare. But he always returned Proceeds from sales of Words on Plays benefit A.C.T.’s to devising his own work. In 1994, he founded Ex Machina, the education programs. multidisciplinary production company behind this production of Needles and Opium. AVAILABLE IN THE BOX OFFICE AND LOBBY, AT THE BARS, AND ONLINE AT ACT-SF.ORG/WORDSONPLAYS.

415.749.2228 17 ABOUT THE PLAY FLYING HIGH INSIDE THE WORLD OF NEEDLES AND OPIUM BY ELSPETH SWEATMAN

South of the Seine River, nestled between the Sorbonne and the bohemian Montparnasse district, is the Parisian neighborhood of Saint-Germain- des-Prés. During the summer of 1949—when jazz trumpeter Miles Davis first came to the city with the Tadd Dameron Quintet—these streets were the domain of singer Juliette Gréco, musician and writer Boris Vian, philosopher Jean-Paul Sartre, and author Simone de Beauvoir. These great thinkers and artists gathered at Café de Flore and in the cramped, smoke-filled underground nightclub Le Tabou. Over cups of coffee and serenaded by jazz, they shared their ideas for a better, more socially conscious world.

For the 22-year-old Davis, Paris was a revelation. In this city, it wasn’t his race that mattered, but his talent. “I had never felt that way in my life,” said Davis. “It was the freedom of being in France and being treated like a human being, like someone important.” Everywhere he went, he was revered; every journalist wanted to interview him, and everyone wanted to meet him. Here in Paris, he was a superstar.

During a rehearsal, Davis spotted singer Juliette Gréco across the room. The two were smitten. Communicating through gesture, touch, and body language—Davis didn’t speak French, and Gréco didn’t speak English—they fell deeply in love. “Juliette and I used to walk down by the Seine River together, holding hands and kissing, looking into each other’s eyes, and kissing some more, and squeezing each other’s hands,” said Davis. “It was like magic, almost like I had been hypnotized, was in some kind of trance.”

After a whirlwind two weeks in Paris, Davis arrived in the US still heady with love for Gréco. Hoping to get over his loneliness by working, he set about getting a gig in a jazz club or a recording session. But there was no work to be had—at least, not for him. This only added to Davis’s despair. In Paris, he had tasted what it was like to be treated as the great artist he knew he was, but in the US he found

18 ACT-SF.ORG LEFT Wellesley Robertson III (left) and Olivier Normand in Needles and Opium.

he was still a second-class citizen. Depressed and frustrated, Davis turned to one of the most prevalent

PHOTO BY TRISTRAM KENTON TRISTRAM BY PHOTO drugs in the jazz community at that time—heroin. The drug destroyed his relationships, his health, and his musical creativity. His productivity only returned after he detoxed in 1954.

In Paris was another man struggling with addiction and love: writer, film director, and visual artist Jean Cocteau. In 1919, when he was almost 30 years old, Cocteau fell in love with poet Raymond Radiguet, a prodigy 14 years his junior. He took the boy under his wing, financially supporting him, giving him feedback on his work, and enduring the torments of unrequited love.

When Radiguet suddenly died in 1923, Cocteau was inconsolable. The only balm for his pain was opium. But as the addiction took hold, he became sickly and anxious. Despite entering a clinic to detox in 1928, he continued to take opium periodically for the rest of his life. Unlike Davis—who found that his addiction curtailed his creativity—Cocteau believed that the drug helped him work. “Shall I take opium or not?” he asks in Opium: The Diary of His Cure. “I will take it if my work wants me to.” Then, acknowledging the power of the drug: “And if opium wants me to.”

When we meet Cocteau in Needles and Opium, he is returning from New York City, where his filmThe Eagle with Two Heads had just premiered to mixed reviews. Although he had met a few celebrities and had been photographed for Life magazine, he felt that Americans had not understood his work. In Lepage’s play, as Cocteau’s plane glides through the night, he composes a letter admonishing Americans for their contradictions—for being bold and yet afraid of boldness.

Robert Lepage has been inspired by Cocteau since he was in college. He originally wanted to stage only “Letter to Americans” but then learned of how Davis and Cocteau crossed paths over the Atlantic in 1949. This led to discoveries about other similarities in their lives: addiction, lost love, isolation. Against the backdrop of Cocteau’s words and Davis’s music, Lepage explores the experience of a more personal heartbreak, bringing the stories of two larger-than- life artists to a viscerally human level.

415.749.2228 19 ABOUT THE PLAY

THE COINCIDENCE OF THE HAUNTED ROOM AN INTERVIEW WITH ROBERT LEPAGE BY SHANNON STOCKWELL PHOTO BY TRISTRAM KENTON TRISTRAM BY PHOTO Olivier Normand in Needles and Opium.

20 ACT-SF.ORG Needles and Opium premiered in 1991 at the Palais We tell one story with words, but the speaking Montcalm in Québec City, with Robert Lepage is actually set in an environment where the form playing all three characters. More than 20 years contradicts what is being said. after the production’s premiere, Lepage returned to the material to rework it. As A.C.T. prepared As an artist, you’re very interested in mythology. to put this reimagined production on the Geary Where does your interest come from? stage, we spoke with Lepage over the phone about Mythology always shows up. If you use the mythology, migration, and haunted hotel rooms. mechanisms of mythology in your storytelling, chances are you’ll be able to reach a wider When devising new work, you often start with audience. The success of many great artists often a concrete object to inspire you. What was that depends on the universality of their work, and you object for Needles and Opium? can only attain universality if you can recognize There’s a picture of Juliette Gréco that she had mythology within a contemporary story. taken for Miles Davis, with whom she had a love affair in Paris. That picture ended up in a movie by A lot of your work touches on themes of feeling like Jean Cocteau—Orphée [1949], which starred Gréco. an outsider, feelings of belonging, and migration. Somebody told me that, supposedly, Cocteau was Why are you passionate about these concepts? aware when he shot the film that she had just had When you’re brought up in Québec, you’re isolated. this affair with Miles Davis, and she insisted that the First of all, we’re way up north and far from picture of her be somewhere on the set. I thought everything. But we’re also isolated by our culture. that was so interesting, that the two worlds of Miles We’re French speakers, but the culture isn’t similar Davis and Jean Cocteau coexisted. That photo to France. It’s its own thing. I’ve never felt that I became a resource, but I didn’t know what it meant was European or American. We’re kind of a cross at that moment. I just felt like it was a rich object. I between. When you’re Canadian or Québécois, it’s started to develop from that. very difficult to identify one hundred percent with the American culture or the British culture or the But the main coincidence of all this was the fact French culture. So we’re constantly trying to define that, 40 years later in 1989, I was going through a our identity. And the only way to understand who very painful breakup, and I was in Paris in a small you are is to take a little bit of distance. You have hotel room—room number nine at the Hotel La to travel. You have to go to New York or Paris or Louisiane. I was working on a project in the city, wherever. and then I would have late nights crying in my room. Later, I discovered that it was that exact That’s common in a lot of work from Québec. room where Davis and Gréco had their love affair. You’ll find many Québécois playwrights that are I thought, “I have to do something with this.” very much obsessed by that question of, Who are The thing that really triggered the dramaturgical we exactly? It’s always a recurring theme, and I development of the whole story was that incredible don’t think it’s there by chance. I was raised in that coincidence in this haunted room. general feeling.

In your theater, form and content are one and the That feeling is very personal to you, but it’s got same. What are some ways in which that’s true in resonance for people all around the world. Why do Needles and Opium? you think that is? In the show, there’s a moment where Cocteau It’s always the Iranian film that wins the Palme explains the euphoria of opium. He does kind of an d’Or. [Laughs] It’s always a movie in which we all apology of opium. But at the same time, we start recognize ourselves, but at the same time, there’s playing around with the rotating cube and we have nothing that we see on screen that resembles Davis’s experience of heroin (which is a form of our society. We’re radically different. We think opium). The cube rotates, and the form imposes a differently. We have different values. But at the certain lack of gravity. We depict what happens to same time, we all have families. We all fall in love. I the body when it’s unconscious, how it rolls and falls hope my work is strange and exotic to people, but from the bed. We put the two side by side—Jean at the same time, I hope they recognize themselves. Cocteau’s words and the visual of the cube rotating.

415.749.2228 21 AMERICAN CONSERVATORY THEATER’S 50TH-SEASON GALA THURSDAY, APRIL 27, 5PM

Join A.C.T.’s celebrated alumni and artists from the past 50 years with a black-tie block party along Market Street.

THE EVENING WILL FEATURE • Prosecco promenade and cocktail reception • Dinner in our tented supper club • Entertainment featuring excerpts from 50 years of A.C.T. productions • After-party with Casey Lee Hurt, DJ Supreme, and Jazz Trio from the San Francisco Conservatory of Music

HONORARY COMMITTEE* SPECIAL GUESTS AND PERFORMERS* Beth Behrs Annette Bening Patrick Lane Colman Domingo Mary Birdsong Stefanée Martin Douglas Sills Stephen Buescher Julia Mattison Denzel Washington Joy Carlin Matt McGrath Nancy Carlin Jacob Ming-Trent SPONSORS Danielle Frimer Chelsea Peretti Blue Angel Vodka Nick Gabriel Ken Ruta Kaiser Permanente Devon Graye Jomar Tagatac La Marca Prosecco James Haire Jacqueline Toboni Nickel & Nickel Winery Harry Hamlin Alysha Umphress Wells Fargo Bank Lateefah Holder York Walker Casey Lee Hurt Ryan Williams French Steven Anthony Jones Betsy Wolfe Rafael Jordan BD Wong Judy Kaye *as of March 10

FOR TICKETS, VISIT act-sf.org/gala OR CALL 415.439.2470 WHO’S WHO IN NEEDLES AND OPIUM OLIVIER North America and the world. He is a explored cultural belonging, identity, NORMAND** member of the Toronto-based and concepts of “home.” These themes (Robert, Jean performance group Abstract Breaking continue to inform her work. Before Cocteau) is a Systems (ABS Crew), and has toured living in Québec, Montgomery spent graduate of the with such groups as Cirque Sublime on seven years directing and assistant Conservatoire d’art their cross-Canada tour of their show directing in Chicago. She has also dramatique de Adamo and Circus Orange on their tour written three plays: When All Other Québec and has to Bahrain. Needles and Opium is his Lights Go Out, Stain, and Raining performed on all of Québec City’s third project with Ex Machina. The Season. Her assistant-directing credits stages. Most notably, he has had roles in previous two include Le rossignol include the world premieres of Arthur Les feluettes (Lilies), by Michel Marc (Québec City, Amsterdam, and Lyon, Miller’s Finishing the Picture, directed Bouchard; L’école des femmes (The 2011–12) and The Tempest (Québec City, by Robert Falls (Goodman Theatre), School for Wives) and Le misanthrope 2012), both of which were directed by and Joanna McClelland Glass’s Trying, (The Misanthrophe), by Molière; La nuit Robert Lepage. directed by Sandy Shinner (Victory des rois (Twelfth Night), by Gardens Theater). Montgomery was the Shakespeare; and Britannicus, by ROBERT LEPAGE (Writer and Stage Directors and Choreographers Racine. Normand also had a lead role in Director) is versatile in every form of Foundation Observer for Tina Landau Playing Cards: SPADES by Robert theater craft and is equally talented and assistant to Tracy Letts on the Lepage and Ex Machina, and he reprised as a director, playwright, actor, and world premiere of his Superior Donuts the famous role created by Lepage in film director. His creative and original (Steppenwolf Theatre Company). Her Vinci during a revival in 2015. He approach to theater has won him projects in Québec include the English cofounded the Théâtre des 4 Coins, a international acclaim and shaken the translations of Needles and Opium and youth theater company. Their first show, dogma of classical stage direction to The Library at Night, a virtual-reality Le fantôme de Canterville, has been its foundations, especially through his experience by Alberto Manguel and played more than 300 times and won use of new technologies. Among his the 2006 Critics’ Award. Interested in most noticed work for the stage are The movement, Normand teaches at L’école Dragons’ Trilogy (1985), Needles and de cirque de Québec. As a stage Opium (1991), The Far Side of the Moon director, Normand created Insomnia for (2000), The Andersen Project (2005), Proud to the 2013–14 Carrefour international de Lipsynch (2007), his solo performance théâtre de Québec, and designed Flip 887 (2015), and his most recent FabriQue’s first show, a circus show that production, Quills (2016). His multimedia Support has toured in ten countries. He has creations include The Image Mill (2008) staged Crépuscule, another circus show and The Library at Night (2015). At the A.C.T. seen by more than 110,000 people. A opera, his work includes The Damnation new version of this show was presented of Faust (1999), The Nightingale in 2016. Next year, he will be directing and Other Short Fables (2009), Le songe d’une nuit d’été (A Midsummer Wagner’s Der Ring des Nibelungen Night’s Dream) in coproduction with (2010), and L’amour de loin (2015). Personal attention Théâtre du Trident and Flip FabriQue. thoughtful litigation JENNY MONTGOMERY final resolution WELLESLEY (English Translator) is a stage director ROBERTSON who focuses on plays that explore Our goal is to preserve our LAW FAMILY III** (Miles Davis) transcultural connection. Originally client’s dignity and humanity. was first bitten by from the United States, she has lived the performance in Québec since 2009 when she bug when he was moved to Montreal with a Fulbright FA M I LYLAW G R OUP, P. C . very young. With a Grant to create a bilingual play from background in interviews with immigrants, Quebecois, 575 Market Street, Suite 4000 gymnastics, breakdance, and acrobatics, and people in between cultures. The San Francisco, CA 94105 he has performed on stages across resulting project, Déraciné/Uprooted, 415.834.1120 www.sflg.com

**Appearing in this production courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. 415.749.2228 23 Robert Lepage. In 2015, she assistant Jesse Ash, Sound Manager directed Kevin McCoy’s Norge (Théâtre Thomas Payette, Video Manager du Trident). She is currently developing Jean-François Piché, Lighting Manager a new dance-based play called L’envol. TOP Montgomery is an associate member of Marilou Nadeau, Costumes and the Stage Directors and Choreographers Props Manager BILLING Society and the Dramatists Guild. Pierre Gagné, Head Stagehand AT THE MORTIMER Jean-Félix Labrie, Julien Leclerc, EX MACHINA (Producer) is a Stagehands Come before or after your multidisciplinary company bringing Maxime Brouchard, Rigger A.C.T. show and enjoy together actors, writers, set designers, Tobie Horswill, Automation Consultant hand crafted cocktails and technicians, opera singers, puppeteers, delicious bites! graphic designers, video artists, Catherine Guay, Video Consultant contortionists, and musicians. Ex Jean Bégin, Makeup Machina’s creative team believes Carl Bezanson, Julie Sauriol, Costumes Show your that the performing arts—dance, Scène Éthique, Astuces Décor, Show ticket and receive a opera, music—should be mixed with Set Building complimentary recorded arts—filmmaking, video art, multimedia; that there must be Geneviève Bérubé, Yves Gagnon, CHEF’S meetings between scientists and Jean-Sébastien Fortin, Jean-François APPETIZER playwrights, between set painters and Faber, Acrobatics Consultant architects, and between artists from Craig L. Pedersen, Trumpeter with the purchase Quebec and the rest of the world. New of one beverage. Epidemic (Richard Castelli, assisted by artistic forms will surely emerge from Chakra Skiadelli, Florence Berthaud, and these gatherings. Ex Machina wants Claire Dugot), Associate Production in to rise to the challenge and become Europe and Japan a laboratory, an incubator for a form Menno Plukker Theatre Agent (Menno of theater that will reach and touch Plukker, assisted by Dominique Sarrazin audiences from this new millennium. and Isaïe Richard), Associate Production in the Americas, Asia (except Japan), ACTORS’ EQUITY Australia, and New Zealand at Hotel Adagio ASSOCIATION, founded in 1913, is the US labor union that represents Michel Bernatchez, assisted by Vanessa 550 Geary Street, SF 94102 Landry-Claverie, Ex Machina Producer 415-775-5000 more than 50,000 actors and stage hoteladagiosf.com managers. Actors’ Equity Association seeks to foster the art of live theater as Ex Machina is funded by the Canada ONE BLOCK FROM THE GEARY THEATER an essential component of society and Council for the Arts, Québec’s Arts advances the careers of its members by and Literature Council, and the city negotiating wages, working conditions, of Québec. and providing a wide range of benefits, including health and pension plans. ADDITIONAL TEXT Actors’ Equity Association is a member Needles and Opium contains excerpts of the American Federation of Labor from Jean Cocteau’s “Letter to and Congress of Industrial Organizations Americans” and Opium: The Diary of and is affiliated with the International His Cure. Federation of Actors, an international organization of performing arts unions. ADDITIONAL MUSIC “Générique” EX MACHINA STAFF By Miles Davis Julie Marie Bourgeois, Production Album: Ascenseur pour l’échafaud Manager Warner Chappell Music France/Bloc Michel Gosselin, Pierre Gagné, Notes Publishing Technical Directors Courtesy of Universal Music Canada Charlotte Ménard, Tour Manager Adèle Saint-Amand, Stage Manager

24 ACT-SF.ORG “Riff Tide” Getty Images Words and music by Coleman Randolph Studio Harcourt Hawkins © (ASCAP) LIFE/Copyrights 1949 Time Inc. “Tune Up (When Lights Are Low)” By Miles Davis Philippe Halsman/Magnum Photos

Performed by Miles Davis Quintet Succession Jean Cocteau/SODRAC © 2006 Concord Music Group “Je suis comme je suis” NASA Written by Joseph Kosma and Jacques NY Transit Museum Prévert Courtesy of Universal Music Canada Prelinger Archives

“My Funny Valentine” Un homme, une époque: Mouloudji/Réa: Music by Richard Rodgers, lyrics by Jean-Marie Coldefy 28/07/1961 © INA Lorenz Hart Performed by Craig Pederson Cinépanorma/Réa: Jean Kerchbron © Courtesy of Rodgers & Hammerstein 19/12/1957 © INA Festival Européen du Jazz © INA “The Way You Look Tonight” Written by Dorothy Fields and Les actualités Françaises. Saint Germain Jerome Kern des Prés va-t-il prendre le relève du © Universal—PolyGram International boul’mich 27/10/1965 © INA Publishing, Inc. (ASCAP) Used by permission of Canadian Shapiro Bernstein o/b/o Aldi Music Company Interpreted by Marie Gignac

“L’assassinat de Carala” By Miles Davis Album: Ascenseur pour l’échafaud Warner Chappell Music France/Bloc Notes Music Publishing Courtesy of Universal Music Canada

(Jean-Sébastien Côté) Contains a sample of “Départ de belle” Composed by Georges Auric Performed by Adriano, Axios Chorus, Moscow Symphony Orchestra & Sergei Krivobokov Album: La belle et la bête Courtesy of Naxos of America

Broadway Follies de Ray Davies Audio Network Canada Inc.

ADDITIONAL IMAGES Ascenseur pour l’échafaud Louis Malle © 1958 NOUVELLE EDITIONS DES FILMS

Bridgeman Art Library

“Désordre” de Jacques Baratier © 1949 Argos Films

415.749.2228 25 INSIDE A.C.T. PHOTO BY DOUGLAS FAIRBURN DOUGLAS BY PHOTO

Andrea Rouah, who was part of the group that enjoyed a Prospero brunch in The Garret, joined the Society this January. LAYING THE “I joined to show my appreciation and my commitment to the broad spectrum of drama that I’ve enjoyed here,” she says. “A.C.T. is my number-one charity.” Rouah, who was director of GROUNDWORK development for ten years at San Francisco State University, THE SUPPORT OF A.C.T.’S PROSPERO SOCIETY broadened her own education by studying theater there at the graduate level. “I’m a behind-the-scenes person,” she says, “a BY SIMON HODGSON stage manager and a costume designer.” She has been coming to A.C.T. since the William Ball era (1967–86), and her favorite In 1967, A.C.T. came to San Francisco because the city welcomed shows at A.C.T. include last season’s Satchmo at the Waldorf it. For the last 50 years, Bay Area audiences have continued to and 1776 back in 2013. “The way 1776 was produced was support this theater, and none more lastingly than the members spellbinding,” says Rouah. “It was provocative, which is one of of the Prospero Society. This organization, named after the the things I like most about A.C.T. Challenging productions add magician in Shakespeare’s The Tempest, is made up of theater meaning to our lives.” lovers who have included A.C.T. in their estate plans. For members like Neil and Elsa Pering, the Prospero Society Prospero Society members contribute funding that supports represents yet another way to make A.C.T. part of their lives. A.C.T. in dozens of ways, laying the groundwork for onstage The Perings have been subscribers for 40 years and associate productions and behind-the-scenes operations; for example, producers for A.C.T. shows including Old Hats, Major Barbara, Prospero Society member Rosemary Cozzo’s recent bequest and The Hard Problem. “Outstanding productions that come financed the repaving of the Geary sidewalk last summer. to mind are The Taming of the Shrew,” says Neil. “Cyrano de Throughout the year, Prospero Society members are invited Bergerac with Peter Donat and anything by Tom Stoppard. And to a range of activities: thought-provoking Scripts readings at A Thousand Splendid Suns was wonderful. We always like to The Strand, theater festival tours, M.F.A. Program performances, see classic plays—Molière, Richard Brinsley Sheridan, George cocktail receptions in Sky Bar, and special events with guest Bernard Shaw—shows that make us laugh.” For these theater artists, not to mention the annual Prospero Society brunch at lovers, A.C.T. is one of several nonprofit organizations that they The Geary. have chosen to support; others include KDFC, San Francisco Opera, and Lamplighters Music Theatre.

26 ACT-SF.ORG PHOTO BY DOUGLAS FAIRBURN DOUGLAS BY PHOTO FAIRBURN DOUGLAS BY PHOTO PHOTO BY DOUGLAS FAIRBURN DOUGLAS BY PHOTO

OPPOSITE Left to right: Robert Beadle, David Anderson, Bill Lowell, Janet Cluff, Richard Davis-Lowell, Judy Anderson, and Lloyd Cluff at the Prospero Society Brunch at The Geary in 2015.

LOWER LEFT Nelda Kilguss and Jane Taber.

All Prospero Society members share the desire to preserve fundraising expertise she gained at Mills to A.C.T.’s Geary theater in San Francisco for generations. “I have loved theater renovation campaign. Today she continues to serve on the my whole life,” says Mary Metz. “I joined Prospero ten years ago Emeritus Advisory Board. Favorite shows? “The Black Rider. because I wanted to continue supporting one of the nation’s Many musicals. And many of the original creations, with which greatest nonprofit theaters.” Metz has been at The Geary from we’ve reached out to different Bay Area communities, such as the very start. As a young professor, she came out to work at Stuck Elevator and After the War.” UC Berkeley in 1967 with her husband. When she heard about A.C.T. coming to San Francisco, she called her dad to ask for two season subscriptions as an early birthday present. For more information on membership benefits and how Following stints at universities in Louisiana and Maryland, to plan your legacy gift to A.C.T., visit act-sf.org/prospero Metz returned to the Bay Area in 1981 as the president of Mills or contact A.C.T. Director of Legacy Giving Helen Rigby College, reviving her love affair with The Geary. After retiring at 415.439.2469 or [email protected]. in 1990, she joined the A.C.T. Board of Trustees, bringing the

415.749.2228 27 INSIDE A.C.T. PHOTO BY ELAINE MAYES. COURTESY OF THE ARTIST. COURTESY ELAINE MAYES. BY PHOTO

the purest acid. The more young folks that came, the more the culture evolved, and soon the Bay Area was a hotbed of THEN AND NOW social consciousness, spirituality, and music. They all eventually gravitated toward Haight-Ashbury in San Francisco. A.C.T. AND THE 50TH ANNIVERSARY OF THE SUMMER OF LOVE By early 1967, the country felt as though it was in chaos. The Vietnam War was raging and young men were being drafted to BY SHANNON STOCKWELL fight. Members of the Civil Rights movement were branching off to become the Black Power movement. Second-wave feminism The Summer of Love was the defining moment of a generation, was in full swing. In San Francisco, the cultural revolution in and its epicenter was right here in San Francisco. Even today, the air was as thick as the fog, and a group of activists held a the city still has the reputation of being the land of peace and Human Be-In on January 14, drawing more than 20,000 people free love, even though city dwellers know that more computer to the polo fields in Golden Gate Park to celebrate love and coders than hippies roam the streets today. peace. The event garnered much attention from the media, and suddenly the country’s eyes were on Haight-Ashbury. In the early ’60s, the Bay Area attracted young freethinkers and outcasts of all kinds. Beatniks flocked to City Lights, Lawrence After the success of the Be-In, some Haight-Ashbury community Ferlinghetti’s bookstore in North Beach. Students at San organizers announced the Summer of Love in newspapers they Francisco State University romanticized the lawless Barbary printed and distributed themselves, inviting the youth of the Coast red-light district of the late nineteenth century. And country to celebrate peace, freedom, and togetherness in San those who found spiritual enlightenment in LSD congregated Francisco. Come they did, with San Francisco residents inviting in Berkeley, where chemists at the university reportedly made the masses of strangers arriving by the busload to stay in their

28 ACT-SF.ORG PHOTO BY ERIK WEBER BY PHOTO PHOTO BY GENE ANTHONY BY PHOTO

OPPOSITE Fantasy Fair, Mill Valley, 1967. Collection of the California Historical Society. To be featured in On the Road to the Summer of Love, on view at the California Historical Society beginning May 12, 2017.

CLOCKWISE FROM TOP LEFT San Francisco Mime Troupe, c. 1966. Collection of the California Historical Society; Barbara Dane, Vietnam Protest, 1964. Both photos to be featured in On the Road to the Summer of Love, on view at the California Historical Society beginning May 12, 2017.

apartments. Throughout the summer, art flooded the streets Fifty years after her voice wowed the crowds at the Monterey and music filled the air, culminating in the three-day Monterey Pop Festival, A Night with Janis Joplin brings audiences Pop Festival in June. into the singer’s world as she tells us the story of where she came from and where she hoped to go—as well as a few Now in 2017, San Francisco is celebrating the 50th anniversary performances of her greatest hits. The night is punctuated of the Summer of Love with events throughout the year, from with songs by women that inspired Joplin’s unique sound— concerts to museum exhibitions. Alongside the California icons like Aretha Franklin, Etta James, Odetta, Nina Simone, Historical Society’s photography exhibition featuring the work of and Bessie Smith. Running from June 7 through July 2, ’60s snapper Jim Marshall currently running at San Francisco’s A Night with Janis Joplin is a show that is sure to keep the City Hall, there are hippie bus tours (Magic Bus Tours) running summer of 2017 full of music and love. throughout the spring on a specially tricked-out bus and an exhibition called Hippie Modernism curated by Berkeley Art Museum and Pacific Film Archive. A Night with Janis Joplin runs June 7 to July 2 During its own 50th anniversary, A.C.T. is joining in the Summer at The Geary Theater. To buy tickets, visit of Love festivities with A Night with Janis Joplin, which act-sf.org/janis. For more information about other celebrates one of the era’s most distinctive voices. Joplin had Summer of Love celebrations, visit summerof.love. come to San Francisco in 1966 to audition for the band Big Brother and the Holding Company. “Janis was not attractive,” said Dave Getz, the band’s drummer, “She had bad skin and was wearing funky sandals and cutoffs.” But when she opened her mouth, her singing “knocked us out, instantaneously.”

415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR Producers Circle members make annual contributions of $12,000 or more to A.C.T. We are privileged to recognize these members’ generosity during the February 1, 2016, to February 1, 2017, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

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

SEASON PRESENTERS EXECUTIVE PRODUCERS PRODUCERS Elsa and Neil Pering ($100,000+) ($25,000–$49,999) ($12,000–$24,999) Mr. and Mrs. Tom Perkins Rich Rava and Elisa Neipp Frannie Fleishhacker Valli Benesch and Bob Tandler Anonymous Sally and Toby Rosenblatt Priscilla and Keith Geeslin Jerome L. and Thao N. Dodson Paul Asente and Ron Jenks Anne and Michelle Shonk Fred M. Levin and Nancy Livingston, Michael G. Dovey Clay Foundation - West Cherie Sorokin The Shenson Foundation Bill and Phyllis Draper Lloyd and Janet Cluff* Mr. David G. Steele Arthur Rock and Toni Rembe Sarah and Tony Earley Daniel E. Cohn and Lynn Brinton Ruth and Alan L. Stein Mary and Steven Swig Kevin and Celeste Ford Carlotta and Robert Dathe Mr. and Mrs. Gordon P. Getty Dr. Caroline Emmett and Nola Yee Chris and Holly Hollenbeck Dr. Russell Rydel COMPANY SPONSORS Christopher and Leslie Johnson Concepción and Irwin Federman ($50,000-$99,999) Janet V. Lustgarten Linda Jo Fitz Ray and Dagmar Dolby Family Fund Nion McEvoy and Leslie Berriman Rose Hagan and Mark Lemley Jeri Lynn and Jeffrey W. Johnson Donald J. and Toni Ratner Miller Kirke and Nancy Sawyer Hasson Burt and Deedee McMurtry Kenneth and Gisele Miller Dianne and Ron Hoge Barbara Ravizza and John S. Osterweis* Abby and Gene Schnair Luba Kipnis and David Russel Patti and Rusty Rueff Kathleen Scutchfield* Rodman and Ann Marymor Jack and Susy Wadsworth Susan A. Van Wagner Don and Judy McCubbin Kay Yun and Andre Neumann-Loreck* Aaron Vermut and Mr. and Mrs. J. A. McQuown Adriana Lopez Vermut Mary and Gene Metz Barbara and Stephan Vermut Mr. Byron R. Meyer Tim Mott and Pegan Brooke Paula and John Murphy

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR Directors Circle members make annual contributions of $2,000 to $11,999 to A.C.T. We are privileged to recognize these members’ generosity during the February 1, 2016, to February 1, 2017, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

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

ASSOCIATE PRODUCERS Jennifer S. Lindsay PLAYWRIGHTS Mr. and Mrs. John P. Levin ($6,000–$11,999) Drs. Michael and Jane Marmor ($4,000–$5,999) Patrick Machado Christine and Stan Mattison Paul Angelo Anonymous Melanie and Peter Maier - Mr. and Mrs. Robert McGrath Valerie Barth and Peter Booth Wiley Ray and Jackie Apple John Brockway Huntington Milton Mosk and Thomas Foutch* Kathleen Bennett and Tom Malloy Mr. and Mrs. Gerson Bakar Foundation The New Ark Fund Kenneth Berryman Mr. Eugene Barcone Mr. Daniel Murphy Terry and Jan Opdendyk Dr. Barbara L. Bessey Sara and Wm. Anderson Barnes Fund Barbara O’Connor LeRoy Ortopan Linda Joanne Brown Roger and Helen Bohl Denise Orwin Norman and Janet Pease Gayle and Steve Brugler Ms. Donna Bohling and Peter Pastreich and Jamie Whittington Ms. Carey Perloff and Mr. Anthony Giles Drs. Devron Char and Mr. Douglas Kalish Mr. and Mrs. William Pitcher Marjorie Perloff Valerie Charlton-Char Christopher and Debora Booth* Joseph E. Ratner Ms. Saga Perry and Mr. Frederick Perry Mrs. Robyn Coles and Dr. Tony Coles Ben and Noel Bouck Jeff and Karen Richardson* Jon and Barbara Phillips Mr. and Mrs. David Crane Leslie and Buzz Burlock Gary and Joyce Rifkind Lisa and John Pritzker Joan Dea Madeline and Myrkle Deaton Gary Rubenstein and Nancy Matthews Merrill Randol Sherwin Carol Dollinger Richard DeNatale and Craig Latker Lori Schryer John Riccitiello Mr. Joseph W. Donner, III Anne and Gerald Down Thomas Schumacher David and Carla Riemer Barb and Gary Erickson Emerald Gate Charitable Trust Dr. F. Stanley Seifried Rick and Anne Riley Mr. Rodney Ferguson and Philip and Judy Erdberg The Somekh Family Foundation Dr. James Robinson and Ms. Kathleen Egan Jacqueline and Christian Erdman* Mr. Richard Spaete Ms. Kathy Kohrman Vicki and David Fleishhacker Nancy and Jerry Falk Pasha and Laney Thornton Matt and Yvonne Rogers Myrna and Tom Frankel Sue and Ed Fish* The Tournesol Project Susan Roos Mr. and Mrs. Thomas A. Gallagher Dr. and Mrs. Fred N. Fritsch* Jane and Bernard von Bothmer Paul and Julie Seipp Dr. and Mrs. Richard E. Geist Mrs. Susan Fuller Joy and Ellis Wallenberg, Rick and Cindy Simons Arnie and Shelly Glassberg Sameer Gandhi and Monica Lopez Milton Meyer Foundation Mr. Laurence L. Spitters Dr. Allan P. Gold and Mr. Alan C. Ferrara Glasser Family Fund Barbara and Chris Westover Emmett and Marion Stanton Marcia and John Goldman Jason Goldman Mr. and Mrs. Bruce White Vera and Harold Stein Marcia and Geoffrey Green Barbara Grasseschi and Tony Crabb Dr. and Mrs. Andrew Wiesenthal Dr. Martin and Elizabeth Terplan* Betty Hoener Mark and Renee Greenstein* Helen M. Marcus and John and Sandra Thompson Alan and Cricket Jones Mr. and Mrs. Henry Paul Hensley* David J. Williamson* Patrick S. Thompson Mr. Joel Krauska and Ms. Patricia Fox Bannus & Cecily Hudson Mr. and Mrs. Roger Wu Doug Tilden Paola and Richard Kulp Becky and Lorin Kaplan & Family The Arthur and Charlotte Zitrin Katherine Welch Linda Kurtz* Joseph D. Keegan, Ph.D. Foundation Minott and Ashley Wessinger Jennifer Langan Amanda and John Kirkwood Beverly and Loring Wyllie

30 ACT-SF.ORG DIRECTORS Mr. and Mrs. Patrick F. Flannery* Mr. Michael Levy & Mr. Michael Golden Kent and Nancy Clancy ($2,000–$3,999) Jacques Fortier Ms. Helen S. Lewis Andrew and Marva Seidl Anonymous Mr. and Mrs. Richard Fowler Sue Yung Li and Dale K. Ikeda Russ Selinger Martha and Michael Adler Elizabeth and Paul Fraley Herbert and Claire Lindenberger Mr. and Mrs. John Shankel Bruce and Betty Alberts Bonnie Frank and Michele Bear Ron and Mary Loar Mr. James Shay and Mr. Steven Correll Lynn Altshuler and Stanley D. Herzstein Lynda Fu Ms. Evelyn Lockton Michelle Shonk Sharon L. Anderson* Ms. Kathleen Gallivan Mr. and Mrs. Alexander Long Ms. Ruth A. Short Mr. and Mrs. Harold P. Anderson Mr. Jon Garber and Ms. Bonnie Fought Ms. Gayla Lorthridge* Mr. Earl G. Singer Whitney and Phillip Arnautou William Garland and Michael Mooney* Stephanie and Jim Marver Raven Sisco Jeanne and William Barulich Mr. Michael R. Genesereth Ms. Jill Matichak Handelsman Richard and Jerry Smallwood Nancy and Joachim Bechtle Susan and Dennis Gilardi John B. McCallister Ms. Judith O. Smith David V. Beery and Norman Abramson Dr. A. Goldschlager John G. McGehee Mr. and Mrs. Edward H. Snow Donna L. Beres and Terry Dahl Ms. Ann M. Griffiths Kathleen McIlwain Lee and Carolyn Snowberg Barbara Berkeley and Wendy Storch Douglas W. and Kaatri Grigg Casey and Charlie McKibben* Kristine Soorian and Bryce Ikeda Jane Bernstein and Robert Ellis Raymond and Gale L. Grinsell Elisabeth and Daniel McKinnon Mr. and Mrs. Robert S. Spears Fred and Nancy Bjork Nadine Guffanti and Ed Medford Ms. Nancy Michel* Steven and Chris Spencer* David and Rosalind Bloom Naren and Vinita Gupta Mr. and Mrs. Roger Miles Mr. Paul Spiegel Larry and Lisbeth Blum James Haire and Timothy Cole J. Sanford Miller and Vinie Zhang Miller Diana L. Starcher John Boland and James Carroll Mr. and Mrs. Richard Halliday Mr. and Mrs. Michael J. Mouat Lillis and Max Stern Mr. Mitchell Bolen and Vera and David Hartford Jeanne Newman Rick Stern and Nancy Ginsburg Stern Mr. John Christner Mr. Greg Hartman* Mr. and Mrs. Merrill E. Newman Vibeke Strand, MD, and Jack Loftis, PhD Carol and Shelby Bonnie Ms. Kendra Hartnett Ms. Mary D. Niemiller Richard and Michele Stratton Brenda and Roger Borovoy Mr. Stephen Heiman Ms. Lisa Nolan J. Dietrich and Dawna Stroeh Romana D. Bracco Mrs. Deirdre Henderson Mrs. Margaret O’Drain* Ms. Norah Terrault Benjamin Bratt and Talisa Soto Richard N. Hill and Nancy Lundeen Ms. Mary Jo O’Drain Susan Terris Marilyn and George Bray Mr. and Mrs. Jerre Hitz Emilie and Douglas Ogden Dr. Eric Test and Dr. Odelia Braun* Tom and Carol Burkhart Ms. Marcia Hooper Margo and Roy Ogus Nancy Thompson and Andy Kerr Mrs. Libi Cape Rob Hulteng Mr. Don O’Neal Ian and Olga Thomson Ms. Sally Carlson Robert Humphrey & Diane Amend Meredith Orthwein* Mr. and Mrs. John R. Upton Jr. Denis Carrade and Jeanne Fadelli Judy and Bob Huret Janet and Clyde Ostler Arnie and Gail Wagner Mr. Todd Chaffee Sarah and Jordan Hymowitz Janine Paver and Eric Brown Mr. and Mrs. James Wagstaffe The Donald and Carole Chaiken Robert and Riki Intner Mark Pigott Mrs. Katherine G. Wallin and Foundation Harold and Lyn Isbell Ms. M. N. Plant Mr. Homer Wallin Steven and Karin Chase Franklin Jackson & Maloos Anvarian* Victoria and Dan Prendergast Ms. Margaret Warton and Irmgard Chu Stephanie and Owen Jensen Kenneth Preston Mr. Steve Benting Mr. Byde Clawson and Russell and Mary Johnson Gordon Radley Ms. Carol Watts Dr. Patricia Conolly Kathy and Joe Jolson Sandi and Mark Randall Ms. Patricia Tomlinson and Susan and Ralph G. Coan, Jr. Barbara and Ron Kaufman Mr. and Mrs. Jacob Ratinoff Mr. Bennet Weintraub Rebecca Coleman Sy Kaufman* Shirley and Robert Raymer Ms. Allie Weissman Jean and Mike Couch Ed and Peggy Kavounas Mr. and Mrs. John A. Reitan Ms. Beth Weissman Mr. and Mrs. Ricky J. Curotto Ms. Pamela L. Kershner Albert and Roxanne Richards Fund Irv Weissman and Family Tiffanie DeBartolo and Scott Schumaker Miss Angèle Khachadour Victoria and Daniel Rivas Marie and Daniel Welch Robert and Judith DeFranco Ms. Nancy L. Kittle Mrs. Marianne B. Robison Diane B. Wilsey Ingrid M. Deiwiks Mr. R. Samuel Klatchko* Barbara G. Rosenblum Kenneth and Sharon Wilson Reid and Peggy Dennis Mr. Brian Kliment Susan Rosin and Brian Bock Mr. David S. Wood and Mrs. Julie D. Dickson Dr. Thane Kreiner and Ms. Irene Rothschild Ms. Kathleen Garrison Art and JoAnne Dlott Dr. Steven Lovejoy* Marieke Rothschild Mr. and Mrs. Roy B. Woolsey Bonnie and Rick Dlott Stephanie Hencir Lamey and Ms. Diane Rudden Robert Eklund Patrick Lamey Ms. Dace Rutland Charles and Susan Fadley* Harriet Lawrie Scott and Janis Sachtjen Mr. Alexander L. Fetter and Ms. Pamela D Lee Ms. Monica Salusky and Ms. Lynn Bunim Mr. Richard Lee and Mr. John Sutherland Mr. Robert Feyer and Ms. Patricia Taylor Lee Betty and Jack Schafer Ms. Marsha Cohen* Dr. Lois Levine Mundie* Ms. Jean Schulz

415.749.2228 31 ALAN JONES, CHAIR Friends of A.C.T. make annual contributions of $125–$1,999 in support of A.C.T.’s operations and programs. We are privileged to recognize these members’ generosity during the February 1, 2016, to February 1, 2017, period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Stephanie Swide at 415.439.2353 or [email protected].

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

PATRONS Mr. Paul Anderson Ms. Elise S. Liddle Marilyn and Irvin Yalom ($1,200–$1,999) Dick Barker Mr. and Mrs. Kenneth Marks Elysa Yanowitz* Anonymous (3) Mr. William Barnard Dennis and Karen May Jacqueline Young Kat and Dave Anderson* Ms. Pamela Barnes Robert McCleskey Mr. and Mrs. Philip Zimbardo Ms. Kay Auciello* Robert H. Beadle* Karin and Gregory McClune* Mr. David N. Barnard Mr. Daniel R. Bedford Mr. and Mrs. Jason McDonell CONTRIBUTOR LEVEL Dorothy and Ervin Behrin Mr. Ari Benbasat Karen and John McGuinn NEXT STAGE CREW Mr. Thomas Benet Mr. and Mrs. Paul Berg Dr. Margaret R. McLean* ($500–$749) Lauren Berman Richard and Katherine Berman* Mr. and Mrs. Casey McManemin Dr. Seth D. Ammerman* Peter Blume Stuart and Helen Bessler Jeffrey and Elizabeth Minick David and Michele Benjamin* Mr. Nicholas Brathwaite Mr. John Blankenship and Thomas and Lydia Moran Mr. Igor R. Blake* Stan and Stephanie Casper Ms. Linda Carter John and Betsy Munz Mrs. Katie Budge* Paul and Deborah Cleveland Mr. Noel Blos Dorotea C. Nathan Ms. Cecily Cassel* Ms. Donna Crabb and Mr. Gustav Laub Jeff and Cecil Bodington Adam Neeley Fine Art Jewelry SF LLC Ms. Buffy Cereske* Gregory Davis Ms. Linda R. Clem Nancy and Bill Newmeyer Craig E. Claussen* Ira and Jerry Dearing* Lisa Conte* Ms. Nancy F. Noe Mr. Edward Conger* William Dewey Martha Conte Alicia Nogales and Greg Little Kristen and Charles Correll* Ms. Kathleen Dumas Ms. Shirley Cookston Ms. Joanna Officier and Mr. Ralph Tiegel Mr. Gregory Curatolo* Mr. Timothy C. Duran Ms. Karen T. Crommie Mr. Lester Olmstead-Rose* Alan Entine* Leif and Sharon Erickson Mr. Copley E. Crosby Pamela Orloff Dr. Marcus Feldman and Ms. Susan Free James Cuthbertson Mr. James O’Toole Mrs. S. Shirley Feldman* Kathleen and Paul Goldman Yogen and Peggy Dalal Barbara Paschke and Andrew Ferguson and Kay Wu* Ms. Margaret J. Grover Ms. Roberta Denning David Volpendesta Karen and Stuart Gansky* Mr. David C. Hale Richard and Sheryl Donaldson Mr. David J. Pasta Bill and Nancy Grove* Kathy Hart* Ms. Joanne Dunn Ms. Danielle Rebischung Ms. Marlyne L. Hadley* Mr. John F. Heil Marilynne Elverson Maryalice Reinmuller Mr. Mark Hall* James and Helen Hobbs Ms. Susan English and Michael Kalkstein Mr. Philip Rich Adrienne Hirt and Jeffrey Rodman* Dr. and Mrs. Richard W. Horrigan M. Daniel and Carla Flamm Ms. Allison Rock and Jeff and Sue Mulvihill* Edward L. Howes, MD Darla and Patrick Flanagan Mr. Christopher Wuthmann Richard and Donna Perkins* Alex Ingersoll and Martin Tannenbaum Mrs. Dorothy A. Flanagan Marguerite Romanello Jillian C. Robinson* Louise Karr Mr. Gregory Fung Dan Rosenbaum and Suzanne L. Klein Meline and Jirayr Roubinian* Jeffrey and Loretta Kaskey Mr. John Garfinkle Maureen and Paul Roskoph Mr. Robert Scheid and Mr. Todd Charles* George and Janet King Frederick and Leslie Gaylord Ms. Mary Ellen Rossi Jill Stanfield* Tori and David Kistler David and Marcia Glassel Patti and Rusty Rueff Kay Sternberger* Hal and Leslie Kruth Matthew G. Gloss Paul Sack The Toland-Yeh Family* Eileen Landauer and Mark Michael Marlys T. Green Mrs. H. Harrison Sadler Mr. and Mrs. Ron Vitt* Thomas and Barbara Lasinski Kelly and Mike Halper Sonja Schmid Ms. Rosemary Welde* Julia Lobel Julia Hardin Hansen Mr. Paul Schmidt Christy Wise and Bob Axelrod* Mr. and Mrs. Robert W. Logan Mr. Thomas Harkins Dr. and Mrs. Stephen M. Schoen Ms. Nicole Zayac* Jeff and Susanne Lyons Mr. Kim Harris and Bennet Marks Mr. James J. Scillian Mark Zielazinski* Mr. E. Craig Moody William Heavlin Mr. Jim Sciuto Joseph C. Najpaver and Deana Logan Mr. and Mrs. R. S. Heinrichs Mr. Robert J. Sehr Cindy Nicola* The Brian and Patricia A. Herman Fund Mr. Jon Shantz Ms. Susan O’Brien at Community Foundation Santa Ms. Patricia Sims Robert and Marcia Popper Cruz County Christina Sonas Ms. Diane Raile Leni and Doug Herst Mr. Herbert Steierman Mr. Orrin W. Robinson, III* Dr. James and Suzette Hessler Jeffrey Stern, M.D. Barbara and Saul Rockman* Mr. and Mrs. Donald M. Hill Mr. and Mrs. Monroe Strickberger Peter and Janice Scattini* Leslie and George Hume Mr. Jason Surles David Schnur Richard and Cheryl Jacobs Roselyne C. Swig Jason Seifer and Brian Ayer Anne and Ed Jamieson Marilyn E. Taghon Dr. Gary Stein and Jana Stein Ms. Carolyn Jayne Joe Tally and Dan Strauss Ms. Jacqueline Stewart Allan and Rebecca Jergesen Marvin Tanigawa Ian E. Stockdale and Ruth Leibig* Mr. and Mrs. Norman L. Johnson Maggie Thompson Dr. and Mrs. G. Cook Story Mrs. Zeeva Kardos Ms. Mary Topliff Mr. Jay Streets Mr. Dennis Kaump Ms. Leslie Tyler Mrs. Helena Wasp Troy Jascha Kaykas-Wolff Leon Van Steen Larry Vales Ms. Josephine Kennedy Mr. and Mrs. Ronald G. VandenBerghe Melissa and Jonathan Weinberg Michael Kim Marsha Veit Karla Kirkegaard Mr. Douglass J. Warner SUSTAINERS Mr. and Mrs. Kevin Klotter Mr. William R. Weir ($750–$1,199) Michael Kossman Mr. Richard West Ms. Hamila Kownacki Mr. Robert Weston Anonymous (4) Edward and Miriam Landesman Mr. Keith Wetmore Susan Adamson and George Westfall Mrs. Judith T. Leahy Tim M. Whalen Dr. and Mrs. Douglas Anderson Mrs. Gary Letson Mr. David S. Winkler Ms. Patricia Wilde Anderson Barry and Ellen Levine Sally Woolsey

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

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

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

FOR MORE INFORMATION ABOUT PROSPERO SOCIETY MEMBERSHIP

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

415.749.2228 33 Memorial & Tribute Gifts

The following members of the A.C.T. community made gifts in memory and in honor of friends, colleagues, and family members of $100 or more during the February 1, 2016, to February 1, 2017, period.

Sandi and Mark Randall in Honor of Frannie Fleischhacker Ms. Jamie Ney in Memory of Ann Adams Lucie and Jerry Weissman in Honor of Prisca Geeslin Anonymous in Memory of Ruth Asawa Vicki and Stephen Hoffman in Honor of Skylar Goldberg Michael Kim in Memory of Youngmee Baik Robert and Riki Intner in Honor of Ruth Keith Romana D. Bracco in Memory of John Bracco Elizabeth Mason in Honor of Luba Kipnis Mr. David J. Pasta in Memory of Gloria Guth Laurie Hernandez in Honor of Alan Littlehales Susan Stevenson in Memory of Meribeth Meacham Anne and Ed Jamieson in Honor of Nancy Livingston Gregory Davis in Memory of Orlando, Florida Lisa Fung in Honor of Anna Neumann-Loreck Ms. Carey Perloff and Mr. Anthony Giles in Memory of Liz Perle Anonymous in Honor of Abby Pañares Richard and Victoria Larson in Memory of Dennis Powers Katherine E. Akos and Harry L. Jacobs in Honor of Peter Pastreich, Ms. Elizabeth Greenberg in Memory of Eva Ramos and Virginia Ingham Tiffany Redmon, and Nancy Mims Anonymous in Memory of Eva Ramos Priscilla and Keith Geeslin in Honor of Luz Perez and Amber Jo Manuel Martin and Geri Brownstein in Memory of Eva Ramos Susan Medak and Gregory S. Murphy in Honor of Ellen Richard Joshua and Diane Brett in Memory of Evelyn Ramos Cheryl Brandon in Honor of Craig Slaight Mr. and Mrs. Richard Fowler in Memory of Eva Ramos Lisa Conte in Honor of Craig Slaight Richard Grosboll in Memory of Eva Ramos Bonnie Frank and Michele Bear in Honor of Craig Slaight Ms. Peggy Kivel in Memory of Eva Ramos Mr. and Mrs. Casey McManemin in Honor of Maria Spears Cherie Sorokin in Memory of Eva Ramos Ms. Libby Tracy in Honor of Maria and Jeff Spears Daniel Weinstein in Memory of Eva Ramos Ms. Eve Niquette in Honor of Kay Yun

Corporate Partners Circle

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

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

Foundations and Government Agencies

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

$100,000 AND ABOVE $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Doris Duke Charitable Department of Children, Anonymous The Kenneth Rainin Leonard and Sophie Foundation Youth & Their Families Walter and Elise Haas Fund Foundation Davis Fund Grants for the Arts/San The Edgerton Foundation The Kimball Foundation Laird Norton Family Edna M. Reichmuth Francisco Hotel Tax Fund National Endowment for Koret Foundation Foundation Educational Fund of The William and Flora the Arts The Harold and Mimi San Francisco Neighborhood The San Francisco Hewlett Foundation The Bernard Osher Steinberg Trust Arts Collaborative Foundation Jewels of Charity, Inc. Foundation MAP Fund The Sato Foundation Saint Francis Foundation The Stanley S. Langendorf The Virginia B. Toulmin Foundation Foundation The Valentine Foundation Wallis Foundation The Zellerbach Family Foundation 34 ACT-SF.ORG Theatre Forward Current Funders List as of January 2017

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

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

Gifts in Kind

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

4imprint Krista Coupar Adrienne Miller The Marker Hotel Blackbird Vineyards Moleskine Chateau St. Jean Piedmont Piano Company Chris and Holly Hollenbeck Premium Port Wines, Inc. Clift Hotel Recchiuti Confections CyberTools for Libraries diptyque Emergency BBQ Company First Crush Restaurant and Wine Bar Joe Tally and Dan Strauss Just Water

Corporations Matching Annual Fund Gifts

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

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

415.749.2228 35 A.C.T. STAFF

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

James Haire Maria Montoya, Head Stitcher Ticket Services Mark Jackson, Devised Theater Producing Director Emeritus Kelly Koehn, Accessories & Crafts Artisan Mark C. Peters, Subscriptions Manager W. D. Keith, On-Camera Acting Chanterelle Grover, First Hand David Engelmann, Head Treasurer Philip Charles MacKenzie, ARTISTIC Megan LaFleur, Costume Administrator Gillian Eichenberger, Head Clerk On-Camera Acting Andy Donald, Associate Artistic Director Victoria Mortimer, Alexandra Shier Perry, Scott Tignor, Stephanie Arora, Heidi Marshall, On-Camera Acting Michael Paller, Dramaturg Costume Fellows Subscriptions Coordinators Seana McKenna, Acting Andy Alabran, Hillary Bray, Peter Davey, Corrine Nagata, Dance Janet Foster, Director of Casting and Wig Shop Artistic Associate Elizabeth Halperin, Alex Mechanic, Caymichael Patten, Audition Lindsay Saier, Wig Master Allie Moss, Artistic Administrator Johnny Moreno, Katharine Torres, Jeanna Parham, Stage Makeup Melissa Kallstrom, Wig Supervisor Treasurers Ken Savage, Assistant Producer Carey Perloff, Arts Leadership Jessica Katz, Artistic Fellow STAGE STAFF Front of House Kari Prindl, Alexander Technique Randy Collins, Theater Manager Stacey Printz, Dance Resident Artists The Geary: Miguel Ongpin, Head Carpenter David Whitman, House Manager Helen Rigby, Fundraising Anthony Fusco, Nick Gabriel, Domenique Suzanna Bailey, Head Sound Lozano, Craig Slaight Mark Pugh, Head Properties Cara Chrisman, Assistant House Manager Megan Q. Sada, Theater Professionalism Daniel Swalec, Head Electrian Leontyne Mbele-Mbong, Associate House Ken Savage, Director Associate Artists Manager Colin Wade, Flyman Elyse Shafarman, Alexander Technique Marco Barricelli, Olympia Dukakis, Oliver Sutton, Security Lisa Townsend, Director, Choreographer Giles Havergal, Bill Irwin, Steven Mary Montijo, Wardrobe Supervisor Susan Allen, Rodney Anderson, Danica Becca Wolff, Director Anthony Jones, Andrew Polk, Diane Cornelius, Assistant Burt, Margaret Cahill, Jose Camello, Wardrobe Supervisor Tom Stoppard, Gregory Wallace, Anthony Cantello, Barbara Casey, Kathy Studio A.C.T. Timberlake Wertenbaker Joe Nelson, Stage Door Monitor Dere, Larry Emms, Doris Flamm, Gabriella Liz Anderson, Filmmaking The Strand: Patsy McCormack, Strand Gonzalez, Lee Jewel, Blue Kesler, Ryszard Heidi Carlsen, Voice Playwrights Master Technician Koprowski, Sharon Lee, Leontyne Mbele- Annie Baker; Mike Bartlett; Jean-Claude Matt Chapman, Movement Sarah Jacquez, Strand Sound Engineer Mbong, Sam Mesinger, Kathy Napoleone, Carriére, Peter Brook, and Marie-Hélène Genevieve Pabon, Brandie Pilapil, Julie Douglas, Mask, Clown, and Movement Estienne; Randy Johnson; Robert Lepage; John Abele, Strand Head Carpenter Tuesday Ray, Steven Salzman, Michael Lauren English, Acting and Carey Perloff and Paul Walsh; Ursula Rani Sousa, Melissa Stern, Lorraine Williams, Audition Technique Sarma; Tom Stoppard ADMINISTRATION Ushers Denys Baker, Administrative Shannon Amitan, Kim Anthony, Forrest Francie Epsen-Devlin, Musical Theater Directors Project Manager Choy, Holly Coley, Jake Freeman, Anthony Paul Finocchiaro, Acting Peter Brook and Marie-Hélène Estienne; Coralyn Bond, Executive Assistant and Hernandez, Brooke Jensen, Caleb Lewis, Nick Gabriel, Acting Randy Johnson; Robert Lepage; Board Liaison Fiona McGovern, Michael Mittelbuscher, W. D. Keith, On-Camera Acting Domenique Lozano; David Muse; Carey Susan Monson, Pete Pickens, Jeremy Rice, Drew Khalouf, Speech and Diction Perloff; Ken Rus Schmoll Human Resources Miki Richmond, Tracey Sylvester, Leonard Choreographers Nancy Mims, Human Resources Director Thomas, Cevie Toure, Bartenders Jessica Kitchens, Acting Val Caniparoli Kate Stewart, Human Resources Kari Prindl, Alexander Technique Strand Cafe Mark Rafael, Acting Composers/Orchestrators Kaitelyn Kelly, Benefits Administrator Rafael Monge, Cafe Manager Patrick Russell, Acting, Movement, Mark Bennett; David Coulter; Karl General Management LaRina Hazel, Raj Paul Pannu, Baristas and Clown Lundeberg, Nick Perloff-Giles and Amy Hand, Associate General Manager Rebecca Struch, Acting Brendan Aanes EDUCATION & COMMUNITY Amy Dalba, Company Manager Laura Wayth, Acting Music Directors Joseph Reyes, General/Company PROGRAMS Daniel Feyer Management Fellow Elizabeth Brodersen, Director of Education YOUNG CONSERVATORY & Community Programs Craig Slaight, Young Conservatory Director Designers Finance Tyrone Davis, Community Artistic Director Andy Alabran, Acting John Arnone, Andrew Boyce, Marsha Sharon Boyce, Matt Jones, Finance Jasmin Hoo, Curriculum & Training Specialist Ginsberg, Ken MacDonald, Daniel Associates Cristina Anselmo, Acting Vincent Amelio, School & Community Pierce Brandt, Musical Theater Ostling, Scenic Programs Coordinator Jessie Amoroso, Beaver Bauer, Linda Cho, Information Technology Nancy Gold, Physical Character, Acting Thomas Morgan, Director Stephanie Wilborn, Education & Community Alex Jaeger, Jennifer Moeller, Costumes Programs Fellow Dan Griffith, Movement Joone Pajar, Network Administrator Lap Chi Chu, Russell H. Champa, Robert Elizabeth Halperin, Student Matinees Emily Hanna, Acting Hand, Nancy Schertler, Robert Wierzel, W. D. Keith, Director Lighting Operations Joseph Givens, David McKneely, Raven Sisco, Apprentices Deborah Leamy, Musical Theater Brendan Aanes, Mark Bennett, Jake Jamie McGraw, Associate Manager, Facilities Domenique Lozano, Director, Acting Rodriguez, Sound Operation and Security Jeffrey Warren, Assistant Facilities Manager CONSERVATORY Christine Mattison, Dance, Choreographer Coaches Santiago Hutchins, Facilities Crew Nick Gabriel, Director of Studio A.C.T. Vivian Sam, Musical Theater, Dance Nancy Benjamin, Lisa Anne Porter, Curtis Carr, Jr., Victor Newman, Christopher Herold, Director of Summer Dan Seda, Musical Theater Voice, Text & Dialect Jesse Nightchase, Security Training Congress Trish Tillman, Acting Jeffrey Crockett, Voice & Text Jaime Morales, Geary Cleaning Foreman Jack Sharrar, PhD, Director of Valerie Weak, Acting Academic Affairs Stephen Buescher, Movement Jamal Alsaidi, Jeaneth Alvarado, Krista Wigle, Musical Theater Jonathan Rider, Danielle O’Dea, Fights Lidia Godinez, Geary Cleaning Crew Jerry Lopez, Director of Financial Aid Daniel Feyer, Music Dan Kolodny, Manager, Conservatory Conservatory Accompanists Development Operations & Professional Development Training Thaddeus Pinkston, Naomi Sanchez, PRODUCTION Caitlin Quinn, Director of Development Emily Hanna, Conservatory Associate, Young Lynden James Bair Conservatory & Studio A.C.T. Audrey Hoo, Production Manager Luz Perez, Director of Special Events Matt Jones, Bursar/Payroll Administrator Library Staff Robert Hand, Associate Helen Rigby, Director of Legacy Giving Production Manager Bethany Herron, Associate Director of Vanessa Flores, Conservatory Associate, Joseph Tally, Head Librarian Academic Programs Michelle Symons, Assistant Development, Institutional Partnerships G. David Anderson, Laurie Bernstein, Production Manager Tiffany Redmon, Associate Director of Lena Mier, Marcella Toronto, Helen Jean Bowie, Bruce Carlton, Conservatory Fellows Barbara Cohrssen, James Daniel, Walter Ryon, Conservatory Development, Individual Giving William Goldstein, Pat Hunter, Connie Production Manager Rose Oser, Grant Writer M.F.A. Program Core Faculty Ikert, Martha Kessler, Nelda Kilguss, Renée Gholikely, Special Events Assistant Maeve Morgan, Conservatory Design and Nancy Benjamin, Co-Head of Voice and Barbara Kornstein, Analise Leiva, Ines Production Coordinator Sarah Armstrong, Major Gifts and Dialects, Director Lewandowitz, Richard Maggi, Patricia Corporate Associate Haley Miller, Conservatory Design and Stephen Buescher, Head of O’Connell, Roy Ortopan, Maida Paxton, Production Coordinator Peter Macfarlane, Development Associate Movement, Director Connie Pelkey, Christine Peterson, Dana Rees, Peter Schmid, Roger Silver, Jane Marlena Schwartz, Production Fellow Stephanie Swide, Individual Jeffrey Crockett, Head of Voice Giving Associate Taber, Susan Torres, Jean Wilcox, Marie Domenique Lozano, Acting, Director Wood, Library Volunteers Stage Management Julia Ludwig, Special Events Fellow Elisa Guthertz, Head Stage Manager Michael Paller, Director of Humanities Madelene Tetsch, Development Fellow Elisa Guthertz, Deirdre Rose Holland, Lisa Anne Porter, Co-Head of Voice A.C.T. thanks the physicians and staff of Megan Q. Sada, Karen Szpaller, Stage Marketing & Public Relations and Dialects the Centers for Sports Medicine, Saint Managers Christine Miller, Associate Director of Jack Sharrar, PhD, Theater History Francis Memorial Hospital, for their care Christina Larson, Megan McClintock, Marketing Melissa Smith, Head of Acting, Director of the A.C.T. company: Dr. Victor Prieto, Dr. Hoylond Hong, Dr. Susan Lewis, Leslie M. Radin, Assistant Stage Managers Brad Amorosino, Senior Graphic Designer M.F.A. Program Adjunct Faculty Don Kemp, P.A., and Chris Corpus, Hal Day, Production Assistant Simon Hodgson, Publications Manager Mary Carbonara, Dance Clinic Supervisor. Danielle Bae, Joelle Hagen, Charlotte Simone Finney, Digital Content Manager Morrill, Stage Management Fellows Milissa Carey, Singing, Director Kevin Kopjak/Charles Zukow Associates, Accreditation Tyrone Davis, Citizen Artistry Public Relations Counsel A.C.T. is accredited by the Accrediting Prop Shop Andy Donald, Arts Leadership Ryan L. Parham, Supervisor Ashley Gennarelli, Marketing Associate Commission for Senior Colleges and Julie Douglas, Improv Universities of the Western Association of Abo Greenwald, Assistant Thomas Moore, Visual Designer Daniel Feyer, Music Director, Accompanist Schools and Colleges (WASC), 985 Atlantic Sara Morales, Graphic Designer Costume Shop Janet Foster, Audition, Showcase Avenue, Suite 100, Alameda, CA 94501, Shannon Stockwell, Publications Associate 510.748.9001, an institutional accrediting Jessie Amoroso, Costume Director Anthony Fusco, Acting Emilianne Lewis, Marketing Fellow body recognized by the Council on Nick Gabriel, Acting, Director Callie Floor, Rentals Manager Karen Loccisano, Graphic Design Fellow Postsecondary Accreditation and the U.S. Giles Havergal, Director Keely Weiman, Build Manager/Draper Elspeth Sweatman, Publications Fellow Department of Education. Jef Valentine, Inventory Manager Gregory Hoffman, Combat Jasmin Hoo, Citizen Artistry 36 ACT-SF.ORG A.C.T. PROFILES

CAREY PERLOFF (Artistic Director) Mary Stuart, ’Tis Pity She’s a Whore, The Tosca Café, The is celebrating her 25th season as artistic Voysey Inheritance, Scorched, and Underneath the Lintel. director of A.C.T., where she has Perloff is also an award-winning playwright. Her recent overseen a huge growth in the quality play Kinship premiered at the Théâtre de Paris in 2014; and scope of A.C.T.’s work, helped to Higher won the 2011 Blanche and Irving Laurie Foundation rebuild the earthquake-damaged Geary Theatre Visions Fund Award; and Luminescence Dating Theater and the new Strand Theater in premiered in New York at The Ensemble Studio Theatre. Central Market, and has forged Perloff’s book, Beautiful Chaos: A Life in the Theater collaborations between A.C.T. and theaters across the United (City Lights Press), was selected as San Francisco States and Canada. Known for innovative productions of Public Library’s One City One Book read for 2016. classics and championing new writing and new forms of Before joining A.C.T., Perloff was artistic director of theater, Perloff has directed classical plays from around the Classic Stage Company in New York, where she directed the world, 10 plays by Tom Stoppard (including the American premiere of Ezra Pound’s Elektra, the American premiere premieres of The Invention of Love and Indian Ink, also at of Pinter’s Mountain Language, and many classic works. Roundabout Theatre Company, and two productions of Named a Chevalier de l’Ordre des Arts et des Lettres by Arcadia), and many productions by favorite contemporary the French government, Perloff received a BA Phi Beta writers such as Samuel Beckett, Harold Pinter, José Rivera, Kappa in classics and comparative literature from Stanford and Philip Kan Gotanda. Favorite productions include Hecuba, University and was a Fulbright Fellow at Oxford.

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

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

415.749.2228 37 F.Y. I .

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

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