LORRAINE HANSBERRY’S

DIRECTED BY PATRICIA MCGREGOR

2014 SEASON 40TH ANNIVERSARY

RITS_cover+color-RK.indd 1 4/25/14 10:45 AM “ With City National’s help we created an extraordinary theater.” 14 City National Bank 14 City National ©2 0 We needed to renovate our dilapidated facilities at Cal Shakes. We had a short window to complete the project – and that’s where City National came in. They’re a community-oriented bank, and they under- stood our situation. They provided a loan and made it possible to build our dream theater.

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4 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG FROM THE MANAGING DIRECTOR.

It is hard to believe that Cal Shakes is celebrating its 40th anniversary this year. While much about the company has changed over the years (starting with names— from the Emeryville Shakespeare Company, to the Berkeley Shakespeare Festival, the California Shakespeare Festival, and now California Shakespeare Theater) the important things remain the same—namely, our adventurous spirit and deep desire to create productions of Shakespeare and the classics that feel immediate, relevant, and wildly entertaining.

While it is gratifying to look back (and I hope you’ll enjoy Philippa Kelly’s series of program articles this season on Cal Shakes through the years), mostly we’re celebrating our anniversary by looking forward.

IN JANUARY, we unveiled a new mission to lead us into our next chapter: With Shakespeare’s depth of humanity as our touchstone, we build character and community through authentic, inclusive and joyful theater experiences. I hope you’ll fi nd it as inspiring as I do.

IN FEBRUARY, we launched our Shakespeare in Communities program with director Michelle Hensley’s delightful production of Twelfth Night. Featuring a stellar cast of some of the Bay Area’s best actresses (yes, I said actresses), this all-female production performed at a homeless shelter (Berkeley Food and Housing Project); Alameda County Juvenile Hall; Oakland’s Civicorps, an education and job training program for at-risk young adults; and an LBGT senior center in San Francisco, among other sites. Additionally, we offered ten moderate- ly-priced public performances at San Francisco’s Intersection for the Arts. We were happy to see many of your familiar faces alongside audience members new to Cal Shakes. We learned so much through his project—both in terms of how to make better plays and how to be better community partners—and we hope this is just the fi rst of many such tours we offer as we deepen our commitment to playing an integral role in community life.

IN MARCH, at our annual gala, we announced the launch of the Cal Shakes Legacy Circle—a group of individuals who have made plans for Cal Shakes in their own estate plans—and the creation of the Moscone Permanent Endowment. We plan to be around for the next forty years, so we are tremendously grateful for these forward-looking supporters who are helping to ensure our future. We hope the Legacy Circle will continue to grow in the months and years ahead; please contact [email protected] if you are interested in learning more.

IN APRIL, we joined with staff from nine other leading arts organizations from around the state at a convening held by the Irvine Foundation to imagine how we, as individual arts organizations and as a fi eld, can evolve to better serve our increasingly diverse communities. Envisioning a better California with art at its center was an inspiring way to spend a few days.

And IN M AY, we open our 2014 season with Lorraine Hansberry’s groundbreaking A Raisin in the Sun, a play no less potent today than when it opened on Broadway in 1959. We’re thrilled to be producing this American classic on the Bruns stage, and can’t wait to see it come to life under the direction of the superb Patricia McGregor and her meticulously-assembled team.

And that only takes us through the fi rst half of the year! We’ve got so much more in store for you. Thank you for celebrating our 40th anniversary with us. Let’s get this party started.

Susie Falk Photo by Kevin Berne.

encoreartsprograms.com 5 CELEBRATE CAL SHAKeS OUR STORY: PART One AT The JOhN hiNKel PaRK yeaRS 40

By Resident dRamatuRg, PhiliPPa Kelly

By the 1970s, Berkeley had established itself at the heart of the counterculture, a multifaceted outgrowth of the Beat movement (“cool jazz,” “beatitude,” anti-mate- rialism, anti-institutionalism) in which the children of post-war Americans sought to express their independence. These young people rejected their parents’ drive for security and prosperity, forming collectives and movements of their own that pushed for environmental reform, sexual freedom, and a stop to the Vietnam War. There were profound engagements with non-Judeo-Christian beliefs, including Buddhism, the EST self-realization movement, and the Hare Krishnas; the hedonism led by Timothy O’Leary, a direct outgrowth of drug-taking; and the music of Bob Dylan, The Grateful Dead, Janice Joplin and the Woodstock Festival, iconic political embodi- ments of youthful idealism. above: Lura dolas as Rebecca and annette Bening as Rowena in Ivanhoe, 1983; below: The California Shakespeare Theater had its origins in this culture. It began as a James Carpenter as Hal and michael group of Shakespeare enthusiasts who wanted to stage performances. Led by Peter McShane as Falstaff inHenry IV, Part 1, 1987. Fisher, graduate student and musician, the group originally met as the ”Emeryville Shakespeare Company,” gathering in a shed in Emeryville, with an aim to stage only Shakespeare, leaving other playwrights to other newly-established theater companies like the Berkeley Repertory Theater and the American Conservatory Theater. Every decision was to be arrived at, where possible, through a non-hierarchical governing structure—what plays to perform, in what order, who to direct, and what budgets could be allocated. Each director, once selected and given a budget, had the free- dom to cast and staff the show at will.

In 1974 the company pooled funds to establish a season budget of $3000, mov- ing to the ready-made amphitheater provided by Berkeley’s John Hinkel Park. They re-named themselves the Berkeley Shakespeare Festival. The park was shaded by a glorious oak tree, and at an early performance of A Midsummer Night’s Dream Puck swung onto the stage from one of its branches. Bay trees scented the amphitheater, and old, broken-down redwood benches, probably dating back to the 1930s, were built into its tiers. Once the City of Berkeley had replaced the benches with gravel, audiences camped along the tiers, making themselves comfortable on cushions and lawn chairs, often arriving very early—through either the bottom or the top of the park—to secure their favorite spots. Many brought sleeping bags so that when the fog rolled in and the temperature dropped, they were able to stretch out, warm and snug, with a picnic and a bottle of wine. (In the first few seasons the company members also made a big pot of stew for each performance, which was offered to the audi- ence at intermission.) Two dank, dark old toilets were Right: Louis Lotorto and dakin available for use at the perimeter of the audience matthews in A Midsummer area, later to be upgraded via the rental of porta-pot- Night’s Dream, 1985. ties. Over time the electricity was upgraded and,

1974 THe JOHn HInKeL PARK YeARS 1987 1994

6 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG under the supervision of production manager Michael Cook, lighting towers were constructed to allow full stage lighting. Elaborate sets were designed for the space in front of what is now left of the old stone fireplace. From 1974 to 1976 the company didn’t sell tickets or charge admission, sug- gesting instead a donation of $2.00 per show. Effective publicity consisted of HOnOR parking old cars topped with large painted signs at strategic locations in Berke- tHe Past, OUR STORY: PART One ley and near Hinkel Park. The cars had to be moved from time to time, but the enSURe advertising system was effective. By the end of the first season, the Berkeley Shakespeare Festival had become very successful, filling to capacity and tHe FutuRe scoring reviews in local papers and even one in the highly prized international journal, Shakespeare Quarterly. Company members were able to reimburse themselves for their investment, also setting aside a small sum to bankroll a with winter production of All’s Well That Ends Well and to start up the next season. CAL shAkEs The collective awarded every participant—from directors to the children who were fairies in A Midsummer Night’s Dream and The Tempest—exactly $1.00 LEgACy CiRCLE. for each performance. Those who were there for every performance would receive a total compensation of $41.00 for the season.

This system of collective governance worked well, but after its third season the board began contemplating ways to expand, and members discussed the possibility of appointing an Artistic Director. In 1979, against some objections, MosConE PERMAnEnT the collective appointed its first Artistic Director, George Kovach. It also elected EndowMEnT LEAd donoRs its first Board of Directors, which included Bernard Taper, journalism professor Ellen & Joffa Dale at UC Berkeley and one of the original “Monuments Men” who tracked down Barclay & Sharon Simpson works of art pillaged by the Nazis and restored them to their rightful owners.

From the appointment of Kovach, the Festival went through four artistic direc- LEgACy CiRCLE ChARTER MEMBERs tors, two of whom—in the grand tradition of Shakespeare’s Lear, Coriolanus, Mary Jo & Bruce Byson Prospero, Richard II, Titus Andronicus, Timon of Athens, the Thane of Cawdor, Phil & Chris Chernin and Macbeth— were banished by collective command. The company’s second Debbie Chinn Artistic Director, a brilliantly resourceful actor/manager named Dakin Matthews, Ellen & Joffa Dale instituted season concepts, as well as company “sharers,” an early version of Peter Fisher today’s Associate Artist structure. Under Matthews’ five-year tenure (1983– Douglas Hill 1987) the Festival produced four plays in repertory every summer, and actress David Ray Johnson Lura Dolas was recruited to run a Summer Conservatory. During this period, Mark Jordan however, the company outgrew its premises, prospective audience members Debby & Bruce Lieberman Tina Morgado were being turned away, and the neighbors were complaining about noise and Richard Norris parking. Audience members often came out after a performance to find their Shelly Osborne tires slashed, and one irate man was caught taking an axe to the stage. Even James & Nita Roethe after an 11pm curfew was instituted to mollify the neighbors, the unrest contin- Laura & Robert Sehr ued, and a new location was clearly on the menu. But more about this in next Barclay & Sharon Simpson program’s article, where we look at Artistic Director Michael Addison who Jean Simpson Valerie Sopher Continued on page 24. Kate Stechschulte & David Cost, In Memory of Margaret Cost M.J. Stephens & Bernard Tagholm Carol Jackson Upshaw Jay Yamada Monique Young Xanthe & Jim Hopp

iNTeReSTed iN JOiNiNg The ciRcle? cONTacT [email protected] Left: Howard swain and annette Bening in All’s fOR mORe iNfORmaTiON. Well That Ends Well, 1983; above: Kandis Chappell as Witch, Julian Lopez-morillas as macbeth, and Howard swain as Witch in Macbeth, 1983. nexT UP: Adventures on the quest to find a new 2004 2014 home for our theater; what it took to get to the Bruns. A RAISIN IN THE SUN BY LORRAINE HANSBERRY DIREcTED BY PATRICIA MCGREGOR 2014 MAY 21–JUNE 15 An American Classic SEASON THE cOMEDY OF ERRORS BY WILLIAM SHAKESPEARE DIREcTED BY AARON POSNER JUNE 25–JULY 20 The Master’s Most Masterful Farce

PYGMALION BY GEORGE BERNARD SHAW

DIREcTED BY JONATHAN MOSCONE JULY 30–AUGUST 24 Moscone and Shaw, Together Again

A MIDSUMMER NIGHT’S DREAM BY WILLIAM SHAKESPEARE

DIREcTED BY SHANA COOPER

MOvEMENT BY ERIKA CHONG SHuCH SEPTEMBER 3–28 From the Director of Romeo and Juliet

JOIN US FOR OUR 40TH ANNIVERSARY SEASON Single Tickets & Subscriptions on sale now. www.calshakes.org 510.548.9666

Pictured: Rebekah Brockman as Juliet in Shana Cooper’s Romeo & Juliet (2013); photo by Jay Yamada.

A Raisin in the Sun is presented by special arrangement with SAMUEL FRENCH, INC.

Titles, dates, and artists subject to change. A conversation between Rebecca Novick Faci n g and Clive Worsley FO RWA R D Art as Education and Engagement

RN Clie, you’e been a teaching artist with Cal The 40th Anniversary season at Cal Shakes is a time of refl ection Shakes or many years and last summer you upon our successul history as well as a time o new beginnings. his oined the sta as the new irector o Artistic forward-facing attitude is evidenced by new faces in key leadership po- Learning. hat made you want to come on sitions within the company: Clie orsley as our new irector o Artistic board and head up Cal Shakes’ education work Learning, and Rebecca Novick in the newly-created role of Director o Artistic Engagement. ith decades o Bay Area theater eperience I elt as though moing into the leadership between them and a strong desire to broaden the reach o art and arts o this department was a natural etension o my education, they hae orged a collaboratie partnership that promises CLIVE WORSELY 12-plus years as a teaching artist. I’ve seen fi rst- to deepen the eperience o all our program participants, rom students hand the dramatic impact that arts education has on students o all and subscribers to new audiences and communities. ages and rom all backgrounds, and I wanted to commit my energies to urthering that impact. In the collaborative spirit, Clive and Rebecca have interviewed each oth- RN hat are some o the changes you’e made since your arrial er about their new roles, about inclusiity and outreach in theater, and about the importance o theater education or all ages and communities. We’ve begun to expand our in-school residency programs to reach students outside of the K-12 public school framework, including some work with youth ages 18-24 through Triangle Lab activities, and lie orsle Rebecca, you were recently named some community college students. Thanks to some generous bene- irector o Artistic Engagement here at Cal actors we’e also been able to take our programs into priate and Shakes. Can you tell me what that title means parochial schools, areas we’e not been able to sere in the past. I’m and what that position entails also ecited about our abulous new sta o talented and dedicated proessionals who are committed to our mission to build character and Rebecca Noick ell, I like to say that my ob community. here is to engage more people with the art and REbecca Novik make the art more engaging. hat we did is take RN And o course you hae the Summer Shakespeare Conseratories. what I was doing as director o the riangle Lab Can you talk about what’s new or this summer where Cal Shakes eperiments with how to make our work matter to more peopleand epand that engagement work to connect to all the The most exciting thing for 2014 is brand-new locations. Based programs o our organiation. on the success of our 12-year relationship with Orinda Intermediate School, where we’e been bringing Shakespeare into the seenth grade hen you say make the work matter to more people, are you classrooms (oer 300 students a year), we’e launched a partnership ust talking about uantity About selling more tickets wherein both a Five-Week and Two-Week Conservatory will take place on the IS campus. e’re also ery ecited about a new partnership RN No, not at all—what I mean is to fi nd different ways that theater with Oakland School for the Arts, the East Bay’s only public perform- artists can contribute to the lies o all dierent kinds o people. I like ing arts middle and high school. to think about a amily in rinda, and a young tech worker in San I’m also ecited about the programs that we’re going to be doing Francisco, a nurse in Richmond, and a teenager in East akland and in partnership with each other. imagine how we might engage with each of those people and fi nd ways to hear and share their stories. RN Me too. I loe thateen in our titleswe can see that artistic learning and artistic engagement are really two hales o a whole. hat sounds really ambitious. Can you gie some eamples o how you’e begun to engage so many dierent kinds o people Eactly, we see art as education an engagement at all leels or all ages. Like in our enerations proect that happened this spring. RN In the riangle Labwhich we see as Cal Shakes’ research and RN hen I came to you to talk about collaborating on a new kind o deelopment wingwe’re eperimenting with many dierent ways to residency around A Raisin in the Sun we both got really ecited about integrate arts into community life. This winter we produced our fi rst-ever the idea of creating space for a multi-generational conversation about community tour, taking an all-female production of elth iht into the themes o the play. eight community settings like Alameda Juenile Hall and a Berkeley homeless shelter. e’re also turning the Bruns into a platorm or a e elt as though this play spoke to people o all ages and asks wider ariety o oices with programs like our Friday Night in the roe questions that could be answered very differently by people from differ- perormance series. e’re working right now on the net round o our ent generations, who could perhaps learn rom each other’s answers. Artist-Investigator Program, which is going to pair theater artists with non-profi t organizations to explore how theater artists can deploy their RN e also couldn’t stop thinking about a particular block in East skills outside the rehearsal room to help address community issues. Oakland that houses several of our partners and a community strug- gling with eactly the uestions o this play. hat residencywhich brought together middle-schoolers, high-schoolers, young adults, and seniors or study, perormance, and discussionis a great model or how we might program together in the uture. 1185119_11715

8.375x10.875

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Your legacy is a conversation starter. Where you’ve been testifies to your strength. Where you are attests to your brilliance. Where you’re going speaks to your ambition. And though the conversation starts with a word, a moment, a dream, where it ends could be even more powerful. So when you’re ready to add your financial goals to the conversation and learn how you can continue to build your legacy, come talk to us. Ask us any questions you may have. We’ll ask a few of our own. Together we’ll find the answers you need to create that next chapter of your life. Your legacy is a conversation starter, but it’s just a beginning. We can help you keep it going. Just say the word.

Call, click, or stop by to start a conversation today. W E L L S FA R G O . C O M | 1 - 8 0 0 - T O - W E L L S

© 2014 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. (1185119_11715)

1185119_11715 8.375x10.875 4c.indd 1 4/10/14 1:32 PM Untitled-24 1 4/10/14 1:10 PM CALIFORNIA SHAKESPEARE THEATER JONATHAN MOSCONE Artistic Director SUSIE FALK MAnAging Director JONATHAN MOSCONE Artistic Director SUSIE FALK MAnAging Director

PRESENTS PRESENTS

LORRAINE HANSBERRY’S

DIRECTED BY PATRICIA MCGREGOR

MAY 21 – JUNE 15, 2014 BRUNS MEMORIAL AMPHITHEATER, ORINDA

SCENIC DESIGNER DEDE M. AYITE COSTUME DESIGNER KATHERINE NOWACKI LIGHTING DESIGNER GABE MAXSON SOUND DESIGNER WILL MCCANDLESS VOCAL/TEXT COACH NANCY CARLIN RESIDENT FIGHT DIRECTOR DAVE MAIER STAGE MANAGER LAXMI KUMARAN ASSISTANT STAGE MANAGER CHRISTINA HOGAN ASSISTANT DIRECTOR MARIA CALDERAZZO ASSISTANT LIGHTING DESIGNER KRISTA SMITH ASSISTANT SCENIC DESIGNER CHIEN-YU PENG PRODUCTION ASSISTANT CHERYLE HONERLAH

CAST JOSEPH ASAGAI ROTIMI AGBABIAKA BENEATHA YOUNGER NEMUNA CEESAY LENA (MAMA) YOUNGER MARGO HALL WALTER LEE YOUNGER MARCUS HENDERSON RUTH YOUNGER RYAN NICOLE PETERS TRAVIS YOUNGER ZION RICHARDSON, AJANI BARROW* KARL LINDNER LIAM VINCENT GEORGE MURCHISON/BOBO YORK WALKER MOVING MAN 1, ENSEMBLE HOWARD JOHNSON JR. MOVING MAN 2, ENSEMBLE DREW WATKINS

THERE WILL BE ONE 15-MINUTE INTERMISSION.

“A RAISIN IN THE SUN” IS PRESENTED BY SPECIAL ARRANGEMENT WITH SAMUEL FRENCH, INC. * ALTERNATE, PERFORMING ON: MAY 25, MAY 27 (11AM), MAY 29 (7:30PM), MAY 30, JUNE 3, JUNE 6, JUNE 10, JUNE 13, JUNE 14 (2PM).

EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON, PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA PRODUCERS: CRAIG & KATHY MOODY, NANCY OLSON, ALAN SCHNUR & JULIE LANDRES, BUDDY & JODI WARNER

PRESENTING SEASON PARTNERS PARTNERS

PRODUCTION SEASON PARTNERS UNDERWRITERS

Partial support for open captioning provided by Theatre Development Fund

encoreartsprograms.com 11

RITS_cover+color-RK.indd 2 4/25/14 10:45 AM RITS_cover+color-RK.indd 2 4/25/14 10:45 AM “ may as HugHes suggests.

PeRHaPs tHey’ll be RePlaCed

tHat Re-ligHt a sPutteRing “

Resident dRamatuRg Washington Park Subdivision of the comes more deeply to understand South Side of Chicago. In selling him them. To be driven out of a neighbor- the house (possibly because there hood, but told at the end of a long “What happens to a dream deferred?” had been a recession and Hansberry legal struggle that the covenant could asks Langston Hughes in the poem, was the only bidder), its white owner indeed be challenged, embodies the Harlem. “Does it dry up like a raisin in violated a covenant that restricted paradox of WASP racism: theoretical- the sun?” Hughes wrote this poem in blacks from purchasing or leasing ly, racial intermixing is okay, but not 1951. Six years later it would be land in that particular neighborhood. right now and not right here. How memorialized in the first play by a The Hansberry family suffered violent does a child cope with her family’s black woman to be performed on attacks and was eventually driven eviction and with the literal contra- Broadway. Twenty-seven-year-old out, but Lorraine’s father took the diction of the subsequent judgment? Lorraine Hansberry had originally case to the Supreme Court. The court They are told they have a right to called her play The Crystal Staircase, made the somewhat ambiguous ruling make a claim to the house that they drawing on another poem by Hughes, that because only 54 percent of the bought. But it’s all too late. leader of the Harlem Renaissance, subdivision’s landowners had signed whom she admired for his resistance the agreement requiring them not so Twenty years later, this child, now a to the European-style values that many sell to members of “the colored race,” young woman, writes a play about of his compatriots adopted in the the ones who hadn’t signed were not it. A Raisin in the Sun addresses the interests of “equality” (indeed, you will bound by the agreement. This meant cruel realities of racial segregation, see that George, one of the characters that a new owner, like Hansberry, as well as a myriad of issues tied in in her play, embodies these values, could challenge the covenant. Not with it: the connections we humans which both writers saw as a terrible until 1948 would the Court rule that make between ourselves and our compromise to “Negro identity”). racial covenants were illegal (in a fa- houses; the impact of money, both mous case called Shelley v. Kraemer). a golden key and a mere slip of Influenced though she was by Hughes paper; understandings of manhood, and, in her early twenties, by her work It’s not just this life event that makes femininity, and of who gets to say with Paul Robeson on his Pan-African a fascinating backdrop to Hansberry’s what these qualities are; education; newspaper, Freedom, it was Hansberry’s A Raisin in the Sun: it’s also the visible, and invisible ceilings; resent- own family who provided the first imagined impact of this event on an ments, prohibitions, and possibilities. platform for A Raisin in the Sun. In eight-year-old child, the youngest of 1938, when Lorraine was eight years her siblings by seven years. Such an And this play is also about the Amer- old, her father, a successful real estate experience, traumatic in itself for a ican Dream, that fantasy pursued agent, had bought a house in the child, reveals its stark truths as she by so many white families half-bro-

12 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG ken by the Second World War, many placed by other dreams that re-light still inside, confined within the dried-up of them determined to thrust their a sputtering candle of hope. Can the and pressed-down skin. It evokes children forward as their own dream flame stay alive? Can it light the way Hansberry’s sense of her culture, in “deferred.” Arthur Miller had critiqued forward? These questions were very 1959 still pushed down, confined, this dream with brutal poignancy in real to the young Lorraine Hansberry awaiting the explosion of the Civil Death of a Salesman, based on his as she moved from visual art studies Rights movement that would come own family memories, as he recalled at the University of Wisconsin (the with the 1960s. Hansberry seemed his uncle’s life as a travelling salesman. first member of her family not to to know that the changes of the ‘60s Written in 1949, just two years before attend an all-black college), to her were on their way. When you soak a Hughes wrote Harlem and eight years work with Freedom Magazine, and to raisin in life-giving water, by a process before Hansberry wrote Raisin, Death the beginnings, in her mid-twenties, of osmosis it swells up again and looks of a Salesman is an epic white man’s of her own playwriting career. She like a grape. A kind of renewal. Like journey to nowhere, his eventual death would die of pancreatic cancer at the the plant. Like dreams of potential and part-sacrifice and part-surrender. How age of 34, with little time to explore independence. The end of Hansberry’s much more intangible were the dreams and develop further the questions at beautiful play suggests dreams both of black Americans, the vast majority the heart of A Raisin in the Sun. implausible and real. How will the of whom weren’t even given the chance Younger family possibly squeeze, from to fail at college as do Willy Loman’s But Hansberry’s play has another $10,000, the remaining payment on sons, or to fail at sales as does Willy metaphor that suggests that a dream the house, or the medical education himself. Often relegated to jobs as can re-live, surviving against all odds, of a young black woman? But when chauffeurs and domestics and earning, against all stumbles, mistakes and they use their check, they plant their for their labors, half the income of their outright injustices. The key to this dreams. Dreams, like plants, can white counterparts, these people were metaphor is in something very small withstand a great deal, and though expected to occupy bit-parts in the and almost unnoticeable: the plant they wither to almost nothing, some- dreams that white families played out that Mama nurtures. She often men- times, just sometimes, they can swell on their lawns and in their houses. tions her little plant side-by-side with again and live. her children—their tempers (“My Hansberry’s Younger family, headed children and they tempers. Lord, if My thanks to Mary Randolph for her by Mama (Lena), boldly pushes out this little old plant don’t get more sun legal contribution on this piece, as of these bit parts they’ve been allot- than it’s been getting it ain’t never go- well as her excellent edits. ted. There is a check that will, Lena ing to see spring again); or her sense believes, release them from their that her children “frighten” her (going servitude, and from the rat-infested, to her plant: “They frightens me, cramped space they occupy on Ruth. My children).” She also men- Chicago’s South Side. But Lena’s tions the plant when she expresses dream gets in the way of another set of her hopes for her children’s potential. aspirations—those of a white man and “Got to admit they got spirit—Bennie his community. The white man, Mr. and Walter. Like this little old plant Lindner, comes to the Youngers’ home that ain’t never had enough sunshine and tells them they’re not welcome in or nothing—and look at it ...” his neighborhood: he will pay them not to spoil his all-white American dream. The plant is impervious to Mama’s dreams, yet at the same time it’s her So how do these dreams play out? living symbol of these very dreams. It Dreams may dry up, as Hughes offers a beautiful vernal counterpoint suggests. But perhaps they’re not to the image of a raisin in the sun. A irretrievable. Perhaps they’ll be re- raisin is dry, but the sweetness is all

encoreartsprograms.com 13 FIFTY-FIVE YEARS LATERWhat’s so different?

for black men, those of white women were 16 percent higher than for black women, and earnings of women in general were almost 0 percent lower than for men. The disparities between Latino populations and their white counterparts were even more pronounced. Wage and salary disparities highlight whose work is valued and whose is not. owadays, when the average minimum wage earnings remain below the poverty line for a family of three, the national unemployment By Amani Morrison rate is 6. percent (almost twice this in black communities), and millions of Americans wallow in student loan and con- is not a play about the ’0s. This is a play sumer debt, the economic crisis of a black family in 190s THIS about every day. This is a play about life. Chicago does not feel so far removed. A lot has changed since the immediate post-War years in Historically, black people who did not know how to “stay in which Lorraine Hansberry’s A Raisin in the Sun is set. The their place” were fi red, blacklisted, violently assaulted, or 194 rown . oard of ducation decision overturned the even lynched. What’s different today? rom mmett Till to 196 lessy . Ferguson Supreme Court ruling of “sepa- Rodney ing, Trayvon Martin to Renisha McBride, blacks rate but equal,” and a decade later the ruling began to be have been brutalized and murdered as a result of being “out enforced through mandated busing to integrate schools via of place” in behavior or in location. urthermore, as Michelle the Civil Rights Act. ow, sixty years removed from rown, Alexander has shown in her book he ew im row, the black and brown students are concentrated in many un- school-to-prison pipeline disproportionately affects black and der-resourced inner-city schools for various reasons—some brown youth, punishing students for being in underserved as a lingering result of “white fl ight” from the cities to the communities and projecting onto children the image of suburbs; some as a result of being pushed out of neighbor- criminals (and treating them as no less). The result is mass hoods by gentrifi ers, who cause rents and home prices to incarceration and a dominant public insensitive to the hu- increase substantially; some as a result of the redlining that manity of those labeled, and perceived to inevitably become, disproportionately affects black and brown homebuyers, criminals. These historically-rooted disparities and discrimi- restricting their right to borrow money and keeping them on nations have never refl ected on the capabilities of members the periphery of white and affl uent neighborhoods. Has a lot of these groups; rather, they have persisted across time to changed? illuminate the ways in which structures of racism and sexism continue to prevail in society. Prior to the 1964 Civil Rights Act that outlawed discrimina- tion based on “race, color, sex, religion, or national origin,” In watching Hansberry’s A Raisin in the Sun today, fi fty-fi ve the vast majority of blacks worked in service jobs under years after its premiere and during the tenure of the nation’s white ownership and supervision. Black men, like Walter Lee fi rst black president, we are reminded of the slow nature of in A Raisin in the Sun, worked predominantly as chauffeurs, progress and the tight grip that power continues to have on doormen, bellhops, busboys, and shoeshines. Black wom- the minds and structures of our society. Lorraine Hansberry en, like Ruth, worked mostly as washerwomen, maids, and was the fi rst African American and the fi rst woman to have cooks in the houses of whites. After 1964, the vast majority a play staged on Broadway; A Raisin in the Sun was also of black women and men continued to be excluded from the fi rst play on Broadway directed by an African American, non-menial labor or were admitted into previously barred Lloyd Richards. Beneatha, one of Hansberry’s characters, is sectors on a token system, proving dominant white society the fi rst in her family to attend college and the fi rst, it seems, was willing to allow exceptions to the rule but not change to recognize her black identity is not circumscribed by U.S. the rule itself. To change “the rule” was literally to change borders but is connected to that of other blacks of the Afri- the rule, to upset the power dynamic deeply rooted in an can diaspora (as demonstrated through her relationship with ideology of white supremacy and black subordination. oseph Asagai). Mama (Lena Younger) also hopes to be the fi rst black family in an all-white neighborhood. There were While black women and men work in a vast array of employ- many African American fi rsts in these days, and black people ment sectors today, “the rule” remains resistant to change. prided themselves on being, knowing, or hearing of trailblaz- According to the Bureau of Labor Statistics, in 01 the ers who withstood the storms of being the fi rst and, many average earnings of white men were 4 percent higher than times, the only, in all-white spaces.

14 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG How different are the times now? In 001, the United States saw the appointment of the fi rst African American Secretary of State (Colin Powell), and the fi rst African American woman was appointed in 00 (Condoleezza Rice). Innumerable black students continue to have the experience of being the only black person in their college classes and of never having a black professor on their campus in their fi eld. Black children were even denied a Disney princess that looked like them until 009. Some might argue that progress is progress and that the increase of black “fi rsts” shows a continual decrease in the spaces long deemed “whites only.” However, if so much progress has been made, why are there black “fi rsts” still happening? Why are they still so celebrated? It is because we are still unaccustomed to the sight of black people in spaces of power and prominence—integra- tion did not level the playing fi elds.

WE ARE TEMPORALLY DISTANT FROM THE 1950S, BUT EXPERIENTIALLY WE ARE BUT A STONE’S THROW AWAY.

When will black “fi rsts” stop mattering? Only when black people have just as much access (voting, economic, educational), representation (in history books, children’s entertainment, TV/fi lm), and ultimately, power. Power to live, breathe, and be—without being neglected, silenced, or persecuted. While the histories of exclusion and oppression can never be erased, interventions in the legacies of these histories allows us all to come a little closer to a state of shared and mutually recognized humanity.

We are temporally distant from the 190s, but experientially we are but a stone’s throw away. The nation has experienced tremendous growth and maturation in terms of shifted ideologies and expanded structures to accept, support, and sustain the advancement of oppressed and marginalized groups in society. evertheless, a number of the challenges these groups face in our contemporary moment have existed in some form in the recent historical past. A Raisin in the Sun is not a play about the ’0s. It is a play about the everyday. It is a play about how the more life and history change, the more they remain the same. What will you do to make a difference?

Amani Morrison is a PhD student in the African Diaspora Studies Program at the University of California, Berkeley. Her research interests center upon the ways in which black communities fi nd, create, interrogate, and challenge power in the realms of culture and representation.

encoreartsprograms.com 15 uP net SAVE THE DATES! Meet the artists, save money on tickets, sample local food and drink, THE and more during the runs of A Raisin in the Sun and The Comedy of Errors. COMEDYOF R C RAISIN IN COMEDY OF EVENTS THE SUN ERRORS ER ORS:R Inside Scoop 6/12, A TEASE Free panel discussion 5/5, TWINS & featuring directors and Orinda Cal Shakes artists—with coffee & ice Rehearsal Hall by Resident dRamatuRg PHiliPPa elly Library in Berkeley cream. ext up in our season is he omedy of rrors, one of Shake- Lower-Priced speare’s early-career gems. This comedy is, as my friend Michael Paller has noted, an “incredibly dark” piece that can’t be per- Previews n C Be a part of the process 5/21–23 6/25–27 formed that way. Spousal betrayal, husbands locked out of doors, by seeing the show before opening, at a discounted one woman accusing another of adultery, beatings administered price. regularly by masters to servants—you’ll see it all in this play. What’s there to laugh about? verything. Helen Hayes Award- and Opening Night! Barrymore Award-winning playwright and director Aaron Posner Mingle with cast, creative team, and critics at a free 5/24 6/28 leads a cast that includes favorites Danny Scheie, Liam incent, post-show party. and Ron Campbell; Tristan Cunningham, who captivated us in A inters ale; and Patty Gallagher, who played the virtuosic Win- Meet the Artists nie in Happy Days in 009. They’ll be joined by stars new to our Matinees 5/25 & 6/29 & t C Post-show chat with 6/8 7/13 stage, emuna Ceesay and Adrian Danzig. cast & creative team. he omedy of rrors takes place in the city of phesus in Turkey, Open-Captioned separated by two seas from Syracuse in Sicily, from whence one Performances “pair” of twins travels to fi nd their fraternal match: the Antipholus Performances featuring 5/28 7/2 open captioning for and the Dromio twins, born on the same day but separated via patrons who are deaf or hard-of-hearing. one of Shakespeare’s favorite devices, a cruel storm, each twin left for years to imagine his other half. Antipholus of Syracuse drags Teen Nights his long-suffering servant Dromio with him as he wanders around A special pre-show 6/3 & 7/8 & phesus looking for his twin. Strangeness compounds as the visi- event for students ages 6/12 7/17 a d 13-18. tors are misrecognized by everyone (even spouses), yet they don’t seem to twig that they have been taken for their brothers. The Fridays in the Grove absurdity of this situation tips the play’s dark themes of loss and A pre-show performance brutality into non-stop hilarity: in the hands of the brilliant Aaron of the Bay Area’s best 5/23, 6/27, musicians, storytellers, Posner and his seven-person cast, you may laugh more in your two 5/30, 6/6, 7/4, 7/11, spoken word artists hours at this play than you have for a long time. in the Upper Grove. 6/13 7/18 Included in the ticket price. Yet he omedy of rrors is not just a farce: in its levels of mis- recognition and loss, we see Shakespeare, very early in his career, Complimentary beginning a comic exploration into a theme that he’d return to P g Tuesday Tastings 5/27, 6/3, 7/1, 7/8, Enjoy pre-show samples 6/10 7/15 again and again in all kinds of genres. What makes us humans from local purveyors. “individuals?” The very word “individual” was in Shakespeare’s day a complete paradox: it described both the unique features that InSight Matinee divide and distinguish one particular person from another, and, at Post-show talk with the 6/1 7/6 dramaturg. the same time, the sense that “you and I are indivisible.” In the late sixteenth century, a time of medical advances and explora- Camper Night tions to strange places, as well as cosmological revolutions, there Students from our prestigious Summer was much speculation on the topic of what, indeed, makes “you” Conservatories are 6/6 7/11 yourself. d s invited to come together for pre-show activities and picnicking. In he omedy of rrors the theme of nativity is referred to quite a bit—with misidentifi ed twins and a father who yearns to see Maker Workshop them reunited—but there’s no reference at all to procreation. Tap into your creativity at our monthly Maker n/a 7/19 ven the courtesan is not linked to fecundity, but to rings, chains, Workshops. Suitable for diamonds, and money. There is, I think, a sense in which Shake- aspiring artists of all ages. speare saves the idea of regeneration for the re-joining of the twins, the restitution of families, and idea of “coming home” to a For complete descriptions of these and place you’ve never actually been before—yourself. other events, click calshakes.org/events. l “That rarest of theater delights—a big, noisy, sexy play in which argument is hot and throbbing.” —THE NATION

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Untitled-26 1 5/1/14 1:38 PM WHO’S WHO

ACTING COMPANY Theatre; Marcus; or the Secret of Sweet and her hip hop group Nu Dekades, she is serving Once in a Lifetime at A.C.T.; and Trouble in her community as a non-profit consultant for ROTIMI Mind at Aurora Theatre. Hall is a founding RPA Consulting. Ryan is overjoyed to join Cal AGBABIAKA* member of Campo Santo, the resident theater Shakes again for this production of A Raisin (Joseph Asagai) company at Intersection for the Arts, where she in the Sun and looks forward to many more Rotimi Agbabiaka is has directed and acted in over 15 productions opportunities to work with this phenomenal thrilled to make his Cal including plays by Chinaka Hodge, Jessica company. Shakes debut. He most Hagedorn, Naomi Iizuka, Philip Kan Gotanda, recently appeared in Octavio Solis, and many more. In 2005, she LIAM VINCENT* Once On This Island at made her writing debut as a collaborating (Karl Lindner) TheatreWorks and Oil writer on Leigh Fondakowski’s The People’s Liam most recently and Water with San Temple, which won the Will Glickman Award appeared as Bob Francisco Mime Troupe. He has also performed for best new play for 2005, and premiered at Cratchit in A Christmas with Magic Theatre, Center REP, Berkeley Berkeley Rep. She has also performed at Arena Carol at the American Repertory Theatre, and was a cast member Stage, Olney Theater, and Source Theater in Conservatory Theater. at Beach Blanket Babylon. His solo play, Washington, D.C. and the Guthrie Theater in Past Cal Shakes Homeless, won Best Solo Performance at the Minneapolis, and has toured France with Word productions include SF Fringe Festival. Rotimi was born and raised for Word. Twelfth Night, Romeo in Nigeria, educated in Texas and Illinois, and and Juliet, Private Lives, Titus Andronicus, is glad to now call San Francisco home. He MARCUS Candida, The Taming of the Shrew, King Lear, received his MFA in Acting from Northern Illinois HENDERSON* Richard III, The Merry Wives of Windsor, Henry University. (Walter Lee Younger) IV, The Comedy of Errors, and A Midsummer Marcus Henderson is Night’s Dream. Mr. Vincent has also appeared NEMUNA CEESAY* a recent Yale School of in productions at the Alliance, the Huntington, (Beneatha) Drama graduate who Aurora, TheatreWorks, Marin Theater Company, Nemuna Ceesay is so hails from St. Louis, SF Playhouse, Portland Center Stage, Arizona excited to be making Missouri. Much of his Theater Company, Shakespeare Santa Cruz, her Cal Shakes debut! work has been in film; Pasadena Playhouse, San Jose Rep, Magic A recent graduate of recent credits include Theatre, Soho Rep, the Civilians, Campo Santo, the Master of Fine Arts Whiplash (2014), which was screened at the Encore Theatre Company, and San Francisco Program at American 2014 Sundance Film Festival and won the Shakespeare Festival. He is a graduate of Conservatory Theater, Grand Jury Prize; Bobo Noir (2014); a role Boston University. Ceesay has appeared in on the CBS TV series The Crazy Ones (2014), A.C.T.’s A Christmas Carol and Major Barbara, created by David E. Kelley; the short film YORK WALKER* a co-production with Theatre Calgary which Dystopia (2013); and in the 2012 filmDjango (George Murchison, performed in San Francisco as well as Calgary, Unchained, directed by Quentin Tarantino, Bobo) Alberta, Canada. She has appeared in MFA which won an Academy Award for Best Original York Walker is thrilled Program productions of very still & hard to Screenplay. Marcus is very happy to be at Cal to be making his Cal see, The House of Bernarda Alba, Polaroid Shakes for the first time of what he hopes to be Shakes debut with A Stories, Derek Walcott’s The Odyssey, Andrew many more to come. Raisin in the Sun! He is Lippa’s The Wild Party, The Strangest Kind a recent graduate of the of Romance, Tartuffe, Twelfth Night, Seven RYAN NICOLE American Conservatory Guitars, and The Country Wife. She also worked PETERS Theater’s Graduate for two seasons at Summer Repertory Theatre (Ruth Younger) Acting Program where he performed in Seven in Santa Rosa, performing shows in rotating Ryan Nicole Peters is Guitars, Twelfth Night, Tartuffe, Richard II, repertory, including Avenue Q, Sarah Ruhl’s an award-winning artist/ The Wild Party, very still & hard to see, The Passion Play, The Mousetrap, Hairspray, A Flea activist whose creative House Of Bernarda Alba, and Polaroid Stories. in her Ear, and The Piano Lesson. Ceesay holds work ranges from theater He was recently seen on the A.C.T. mainstage a BA in theater from UC Irvine’s Claire Trevor to poetry to music. The in A Christmas Carol and Napoli. Regional School of Arts. 2007 Bay Area Black credits include: The House Of Bernarda Alba Music Award-winner (Moscow Art Theatre); Hairspray (Gateway MARGO HALL* for Spoken Word began her sincere artistic Playhouse); Let Bygones Be and Heist! (Lena Younger) pursuits after graduating from San Diego (34th Annual Humana Festival); Dracula, A Ms. Hall is delighted to State University, where she studied Political Christmas Carol, and Important People (Actors return to Cal Shakes, Science and Sociology and received honors as a Theatre of Louisville); As You Like It, Allistair, where she has appeared scholarship track & field athlete. Since returning and Everything Is Ours (Chautauqua Theater in A Winter’s Tale, to her hometown of Oakland, California, Ryan Company). York also received a BA in Acting American Night: The has written and acted for Cal Shakes in Hamlet: from Illinois State University. Ballad of Juan Jose, Blood in the Brain, Playwrights Foundation’s and Spunk. Her recent Tree, 700th & International, and played the credits include Be Bop lead in SF Playhouse’s production of The Story. Baby: A Musical Memoir, which she also wrote When she is not acting or performing with in collaboration with Nakissa Etemad, at Z Space; The Motherf**ker With the Hat at SF Playhouse; Fences and Seven Guitars at Marin Theatre; Fabulation for Lorraine Hansberry *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

ZION RICHARDSON ordained minister and teaches drama to at-risk This year she directed the world premiere of (Travis Younger) youth throughout the Bay Area, the Twin Cities, Marcus Gardley’s The House That Will Not Mr. Richardson is a ten- and abroad. Stand, which played at both Berkeley Rep and year-old fifth-grader who Yale Rep. She cofounded Angela’s Pulse with loves life, his family, DREW WATKINS her sister, Paloma. Angela’s Pulse creates vital and basketball. His first (Moving Man 2, choreoplays and fosters collaboration among Cal Shakes appearance Ensemble) artists, educators, organizers, academics and was in last season’s Drew Watkins was born other diverse communities in order to illuminate production of A Winter’s and raised in Oakland, under-told stories, infuse meaning into the Tale, where he played and left his hometown to audience experience, and animate progress Mamillius and was in the ensemble. This is the study psychology at the through the arts. Ms. McGregor attended the second time he has appeared in A Raisin in University of Arizona. He Yale School of Drama where she was a Paul and the Sun; he was previously in a production at recently graduated from Daisy Soros Fellow and Artistic Director of the the African-American Shakespeare Company in the Meisner Technique Yale Cabaret. San Francisco, where he played Travis under Studio in San Francisco, where he honed his the direction of his A Winter’s Tale cast-mate L. acting skills. Watkins has been performing on DEDE M. AYITE Peter Callender. stage since he was eight years old. He is excited (Scenic Designer) for his first Cal Shakes show, and hopes it will Dede Ayite has designed sets and costumes for AJANI BARROW be the first of many. both theater and film. Her past design credits (Travis Younger include The Music Man in Concert (Two Rivers, [Alternate]) CREATIVE TEAM NJPAC), Kurt Metzger (Comedy Central), Ajani Barrow, age 9, Adoration of the Old Woman (Intar), Woyzeck performed at the Grand PATRICIA (UM, Amherst), Look Upon Our Lowliness Lake Montessori Opera MCGREGOR (TMTC), Fox Shortcoms (FOX Network), Camp in 2012 and (Director) COPPER Project (Improve Everywhere /BBC 2013. His first opera Ms. McGregor is a America), Last Laugh (soloNOVA Festival), was Harlequin; in 2013, Harlem-based director, Mary Stuart (directed by Robert O’Hara) he was in The Wisdom writer, and deviser of (NYU), Hollow Roots (The Public UTRF), Tree. Ajani appeared as Grandpa in Bay Area new work. Last season Holding it Down (Harlem Stage), Vassa (Lee Children’s Theatre 2014 production of Charlie she directed A Winter’s Strasburg Institute), Illmatic (Urban Stages), and the Chocolate Factory. He is thrilled to be Tale at Cal Shakes, and The Piano Lesson (Yale Repertory Theatre), making his Cal Shakes debut and hopes it is the the season before that Smile Orange (Trinidad), The Seagull and Every first of many more to come. she directed the critically-acclaimed Spunk. Other Hamlet In the Universe (Yale School Of Recent credits include Nothing Personal at Drama), Passing and Orestes (Yale Cabaret), HOWARD JOHNSON New York Live Arts (part of the LIVE IDEAS: American Schemes (Summer Stage NYC), and JR. James Baldwin Festival), Adoration of the Old Frozen, The Fantasticks and No Exit (Lehigh (Moving Man 1, Woman at Intar, Becky Shaw at Roundhouse University). Selected Associate/Assistant credits Ensemble) Theater, The Mountaintop at Philadelphia include: Lady Day… (Broadway), Othello Howard Johnson Jr. is Theatre Company, and the world premieres (Guthrie), Witness Uganda (ART), Fences an actor and stand-up of Hurt Village at Signature Theatre Center (LWT, McCarter), The Laramie Project (BAM), comedian who has and Indomitable James Brown at Summer Wild with Happy (Public Theatre), Hurt Village worked on stage, film, Stage and the Apollo. Other directing credits (Signature Theatre), The Common Pursuit and television. While this include Holding it Down with Grammy Award (Roundabout Theatre), and Compulsion (Yale is his first appearance at nominee Vijay Iyer and Mike Ladd and Blood Rep). Dede Ayite has a MFA in Design from the Cal Shakes, he previously performed in Othello Dazzler with renowned poet Patricia Smith and Yale School of Drama and BA in Theatre and at the San Francisco Shakespeare Festival, choreographer Paloma McGregor at Harlem Behavioral Neuroscience from Lehigh University. Romeo & Juliet at Shotgun Players, Death of Stage, Jelly’s Last Jam, Romeo and Juliet, Four a Salesman at Laney College, A Midsummer Electric Ghosts, Cloud Tectonics, Eleemosynary, KATHERINE NOWACKI Night’s Dream and Oda Oak Oracle at Stanford The French Play, In The Cypher, Lady Day (Costume Designer) University, Fences at Tabia Theatre Ensemble, at Emerson’s Bar and Grill, Sidewalk Opera, Ms. Nowacki is thrilled to be returning to and Black Ballin’ at Oakland Public Theater. Dancing in the Dark, The Covering Skyline, Cal Shakes for A Raisin in the Sun. Her most As a television actor he has appeared in Final and In the Meantime. Ms. McGregor spent the recent work includes Death of a Salesman Witness, Trauma, and Nash Bridges. His film summer at the Williamstown Theater Festival (TheatreWorks Colorado Springs) and A Winter’s credits include acting roles in Pig Hunt, One developing the new musical Loving v Virginia. Tale (Cal Shakes). Assistant work includes Take Western, The Making Of… and Prophet. She is also developing the musicals Stagger the world premiere of The Legend of Georgia Mr. Johnson also wrote the stage play Epoch Lee with Will Power and Girl Shakes Loose McBride (Denver Center Theatre Company) and Blue, a jazz play based on true events in the Her Skin with Sonia Sanchez, Imani Uzuri, The Tempest (American Repertory Theater). Her lives of jazz legends Miles Davis, John Coltrane, and Zakiyyah Alexander. She was associate design work with Big Thought in Dallas brought and Thelonious Monk, which is now being director of Fela! on Broadway and has worked together her love of theater and arts education. adapted for the screen. Mr. Johnson studied at venues including NYSF Shakespeare in the Their program Creative Solutions provides at- acting at University of Minnesota and received Park, BAM, Second Stage, the Public Theater, risk teens a safe alternative to the streets by Shakespeare training from Stanford University. the Kitchen, the O’Neill, Lincoln Center helping first-time juvenile offenders channel In addition to his acting work, Johnson is an Institute, Exit Art, and Nuyorican Poetry Café. their energy into the visual and performing arts.

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

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She is a member of installation art and theater Cruz, Aurora Theatre, Marin Theatre Company, CAL SHAKES PROFILES group Dead White Zombies, creating work that SF Playhouse, the Jewish Theatre San emphasizes new, experimental, and collectively- Francisco, and Shotgun Players. Ms. Carlin has JONATHAN created performance work that defies categories directed productions for Aurora Theatre, Foothill MOSCONE and conventions. She holds an MFA from Theatre Company, Lake Tahoe Shakespeare (Artistic Director) Southern Methodist University in Dallas and a Festival, B St. Theatre, SF Playhouse, TJT-SF, Jonathan Moscone BFA in Costume Design from Southern Oregon A.C.T.’s MFA program, Center REP, PlayGround, is in his 15th season University. Shakespeare Santa Cruz, and the African- as artistic director of American Shakespeare Company where she will California Shakespeare GABE MAXSON be directing The Tempest this fall. Carlin is a Theater, where he (Lighting Designer) lecturer at UC Santa Cruz and is the co-author most recently directed For Cal Shakes: The Tempest (2012). Other Bay of the musical, Max Understood, which will American Night: The Area designs: Terminus (Magic Theatre), Good have its premiere in San Francisco, produced Ballad of Juan José and where he will direct People and Circle Mirror Transformation (MTC), by Paul Dresher Ensemble, next spring. She Shaw’s Pygmalion for the 2014 season. His Carey Perloff’s Higher (American Conservatory holds a BA in comparative literature from Brown other credits include Tribes at Berkeley Rep, Theater), The Companion Piece (Z Space), University and an MFA in acting from A.C.T. and the world premiere of Ghost Light, which Assassins (Shotgun Players), Hunters Point he co-created and developed with playwright (Strange Angels), Les Liaisons Dangereuses LAXMI KUMARAN* Tony Taccone for Oregon Shakespeare Festival (Porchlight), So I Married Abraham Lincoln and (Stage Manager) and Berkeley Rep. In addition, he directed That Obscure Subject of Desire (Paufve Dance). Ms. Kumaran is enjoying her fourth season Bruce Norris’ Clybourne Park for American Gabe was an artistic associate at The Wooster at Cal Shakes where she has stage-managed Conservatory Theater. For Cal Shakes, Jonathan Group (NYC) from 2002-2011. He co-designed, A Winter’s Tale, Lady Windermere’s Fan, has directed the world premiere of John with renowned designer Jennifer Tipton, the American Night, Hamlet, Spunk, Candida, Steinbeck’s The Pastures of Heaven by Octavio premieres of La Didone (2008), Hamlet (2006, and Titus Andronicus. In the Bay Area, Ms. Solis, The Life and Adventures of Nicholas 2011), and Poor Theater (2004), and co- Kumaran has also stage-managed for San Nickleby, Candida, Twelfth Night, Happy Days, created the interactive video installation There Is Jose Rep and Center REP. Before moving to Much Ado About Nothing, The Tempest, and Still Time... Brother (2007). He is recipient of the Bay Area, Ms. Kumaran stage-managed The Seagull. He is the first recipient of the a 2009 TBA CA$H Grant (with his wife, actress in Chicago for a variety of theaters, including Zelda Fichandler Award, given by the Stage Michelle Maxson), a 2011 Lighting Artists the Goodman Theatre and the Court Theatre. Directors and Choreographers Foundation for in Dance award, and a 2010 Emmy Award Some of the directors with whom she has “transforming the American theatre through his nomination as co-producer of the award-winning had the pleasure of working include Patricia unique and creative work.” His regional credits documentary filmFixer: The Taking of Ajmal McGregor, Liesl Tommy, Joel Sass, Jonathan include Intersection for the Arts, the Huntington Naqshbandi (HBO Documentary Films, 2009, Moscone, Rick Lombardo, Christopher Liam Theatre, Alley Theatre, Milwaukee Repertory NYTimes Critics’ Pick). Gabe is an assistant Moore, Timothy Near, Amy Glazer, Richard Theater, Goodspeed Musicals, Dallas Theater professor of Production and Design, as well as Seer, John McCluggage, Kirsten Brandt, Barbara Center, San Jose Repertory Theatre, Intiman production manager and resident designer, at Damashek, Michael Butler, Robert Falls, Theatre, and Magic Theatre, among others. the University of San Francisco. Mary Zimerman, David Ira Goldstein, JoAnne Jonathan currently serves as a board member of Akalaitis, Robert Woodruff, Karin Coonrod, Gary Theatre Communications Group. WILLIAM MCCANDLESS Griffin, and David Cromer. Ms. Kumaran has (Sound Designer) taught stage management classes at UC Santa SUSIE FALK Design credits at Cal Shakes: Winter’s Tale, Cruz; San José State; Northern Illinois, DePaul (Managing Director) Lady Windermere’s Fan, Spunk, Blithe Spirit, and Northwestern universities; and currently Ms. Falk was appointed and Candida. Other recent designs include teaches at the University of California Berkeley. Cal Shakes’ Managing Venus in Fur, Napoli!, 4000 Miles, and Director in February Higher for American Conservatory Theater, CHRISTINA HOGAN* 2009, after serving I and You and The Whipping Man for Marin (Assistant Stage Manager) for four years as Cal Theatre Company, and The Great Gatsby Christina is very excited to be back at Cal Shakes’ Marketing and The Whipping Man for Virginia Stage Shakes! Her previous Cal Shakes credits Director, overseeing all Company. McCandless has been a visiting include (as Production Assistant) Romeo marketing, sales, and artist at San José State University, University and Juliet, Blithe Spirit, The Tempest, The public relations efforts for the Theater, as well as of San Francisco, Sonoma State University, St. Verona Project, The Taming of the Shrew, The box office and front of house operations. During Mary’s College of California, and Solano College Pastures of Heaven, Much Ado About Nothing, her tenure, the company has seen ticket revenue Theatre. McCandless has received two Bay Area A Midsummer Night’s Dream, and (as Stage increase by 24% and completed a rebranding Theatre Critics Circle Awards for sound design Management Intern) Twelfth Night. Other effort. She previously served for five years as and has been a recipient of the Landisman theater credits include work at Magic Theatre, Press and Public Relations Director for Berkeley Fellowship, a program of Theatre Bay Area. Marin Theatre Company, A.C.T. Conservatory, Repertory Theatre. Prior to that, she spent five Shotgun Players, TheatreFIRST, and Town Hall years in the PR and Marketing Departments NANCY CARLIN Theatre. Christina has a BFA in Theatre Arts at American Conservatory Theater, and one (Text and Vocal Coach) from Saint Mary’s College of California. season as part of the Professional Arts Training Ms. Carlin has appeared in many Cal Shakes Program at Seattle Rep. She served for seven productions including Man and Superman, years on the board (four as vice president) of Nicholas Nickleby, Julius Caesar, Twelfth Night, Theatre Bay Area, the local service organization and A Midsummer Night’s Dream. She has for theater companies and theater workers. She performed with American Conservatory Theater, Berkeley Rep, Oregon Shakespeare Festival, San Jose Rep, TheatreWorks, Shakespeare Santa *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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is a graduate of Vassar College and completed Hall Foundations. She publishes widely, from Be course work in organizational psychology at JFK books on Shakespeare (her latest being The University in Pleasant Hill. She lives in Berkeley King and I, Arden Press, 2010, a meditation with her husband, lighting designer York on Australian identity through the lens of King Kennedy, and their daughter Pippa. Lear), to papers on dramaturgy and topics Flexible. of cultural engagement (her most recent REBECCA NOVICK discussion of dramaturgy can be found in the (Director of Artistic Engagement) Cambridge Journal of Postcolonial Inquiry, Ms. Novick was the founder of Crowded Fire 2014). Besides her work for Cal Shakes, Dr. Theater Company and served as its artistic Kelly has also served as production dramaturg director for 10 years, growing the company for the Oregon Shakespeare Festival and Word from an all-volunteer group to one of San for Word Theater Company. For the 2013–2014 Francisco’s most respected small theaters. She academic year she has been practicing and has developed and directed new plays for many teaching dramaturgy at the University of theaters in the Bay Area and elsewhere, and, California, Berkeley. She also teaches regularly among other awards, her directing work has for the Osher Lifelong Learning Institute in been recognized by the Goldies for outstanding Berkeley. For most of the summer she can be local artist. Ms. Novick has also held a number found out here at Cal Shakes, where she is one of arts management and consulting positions of the regular pre-show Grove Talk speakers. including serving as interim arts program officer She is married to composer Paul Dresher and for the San Francisco Foundation, project they have one son, Cole. coordinator for the Wallace Foundation Cultural Participation Initiative in the Bay Area, and DAVE MAIER director of development and strategic initiatives (Resident Fight Director) for Theatre Bay Area. She regularly writes and Mr. Maier is an award-winning fight director who speaks on issues relating to the arts sector; has composed violence for several Cal Shakes recent publications include contributions to productions including Hamlet, Spunk, Titus 20under40, the GIA Reader, Counting New Andronicus, Macbeth, Romeo & Juliet, King Beans, and Theatre Bay Area Magazine. Lear, Richard III, A Midsummer Night’s Dream, Flex Subs Ms. Novick has a BA from the University of and As You Like It. His recent credits includes Michigan in drama and anthropology. Pericles (Berkeley Rep); Tales of Hoffmann and The Gospel of Mary Magdalene (SF Opera); start as low CLIVE WORSLEY and Reasons to Be Pretty (SF Playhouse). (Director of Artistic Learning) His efforts have been seen on many Bay Area Clive Worsley assumed the reins as Director of stages including American Conservatory Theater, as $80. the Cal Shakes Artistic Learning Department San Jose Rep, Shakespeare Santa Cruz, and in August of 2013, and has been one of Cal Shotgun Players, among others. He is a Full Shakes’ premiere Teaching Artists since 2002. Instructor of Theatrical Combat with Dueling He was instrumental in developing some of Arts International and a founding member of AFFORDABLY-PRICED the first integrated arts public school residency Dueling Arts San Francisco. He is currently programs, and is the moderator of our popular teaching combat-related classes at Berkeley Rep FLEX SUBSCRIPTIONS Student Discovery Matinee program. Clive is School of Theatre and Saint Mary’s College of familiar to all age groups at our popular Summer California. GIVE YOU FOUR VOUCHERS Shakespeare Conservatories as both a Master TO USE AT ANY TIME, Class Instructor and Director. From 2008–2013, Mr. Worsley also served as Artistic Director PRODUCERS FOR ANY SHOW. of Town Hall Theatre in Lafayette, where he ELLEN & JOFFA DALE brought about both artistic and fiscal success. (Executive Producers) As an award-winning actor he has appeared on Long-time subscribers and donors, Ellen and many Bay Area stages including Cal Shakes, Joffa Dale live in Orinda. Ellen is serving her See all four plays yourself, Berkeley Rep, TheatreWorks, Marin Theatre second stint on Cal Shakes’ Board of Directors; Company, the Magic, Center REP, Shotgun, pick two and bring a guest, she was also on the board in 1991 when and others. Mr. Worsley brings a longstanding the Bruns Amphitheater first opened. While or bring a group to the passion for and holistic philosophy of arts Ellen and Joffa thoroughly enjoy picnics and education to the company. He believes strongly performance of your choice. performances at the Bruns, the primary focus in the power of theater to educate and enrich of their donations is Artistic Learning. They people regardless of age or background and believe that the lives of children reached by Cal looks forward to building upon the great success Shakes’ education programs are enormously To purchase for yourself of the Artistic Learning programs. enriched and that these children are the artists

and audiences of the future. Ellen and Joffa or as a gift, call our box PHILIPPA KELLY (Resident Dramaturg) also helped establish the Moscone Permanent office at 510.548.9666 Dr. Kelly’s work has been supported by many Endowment and are charter members of the Cal or visit calshakes.org. foundations and organizations, including the Shakes Legacy Circle. Fulbright, Rockefeller, and Walter and Eliza

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

THANK YOU TO OUR CRAIG & KATHY MOODY (Producers) Corporate Partners and Individual Benefactors Craig and Kathy Moody love Cal Shakes. Craig FOR MAKING OUR RAISE THE ROOF GALA is from a theatrical family; his mother and father SUCH A CEILING-SHATTERING SUCCESS both acted and directed professionally, and Craig acted through high school, college, law school, Lead Corporate Partners and summer stock. The Moodys first saw Cal Shakes’ production of The Taming of the Shrew 13 years ago, the same week as the RSC’s inferior production of Shrew at the Herbst. From Corporate Partners that time on they have been ardent Cal Shakes supporters, ushering, donating, and bringing friends to every production. Craig joined the Cal Shakes Board of Directors in 2012. They have one child, Ross, a recent graduate of UCLA (BA) Gold Benefactors and Cambridge (M.Phil) who is still searching Bob Epstein & Amy Roth Bruce & Debby Lieberman Sharon & Barclay Simpson * for the perfect job while editing scientific Harvey & Gail Glasser Nicola Miner & Robert Mailer Anderson * Barbara Sklar papers. They reside in Piedmont where Kathy is Matthew Goudeau Craig & Kathy Moody * Frank & Carey Starn * a teacher’s aide. Craig recently retired from his Dr. & Mrs. Jeffrey Hays* Peter & Delanie Read * Carol Upshaw Nancy Kaible & David Anderson Jim & Nita Roethe Steven Winkel & Barbara Sahm antitrust litigation practice. Fred Levin & Nancy Livingston Robert & Laura Sehr Jay Yamada

OUR CORPORATE PARTNERS Silver Benefactors Jacqueline Carson & Alan Cox Dan Henkle & Steve Kawa Norm & Janet Pease BART Michael & Phyllis Cedars * Jeanne Herbert Michael & Virginia Ross (Presenting Partner) Phil & Chris Chernin Erin Jaeb & Kevin Kelly * Sondra & Milton Schlesinger Josh & Janet Cohen Jeffer Mangels Butler & Mitchell LLP * Judy & John Sears The Bay Area Rapid Transit District (BART) Ellen & Joffa Dale * Maureen & Calvin Knight Jean Simpson is a 104-mile, automated rapid transit system Joe Di Prisco & Patti James * Walter Moos & Susan Miller Kate Stechschulte & David Cost serving over three million people. Forty-four Henry & Vera Eberle Jonathan Moscone & Darryl Carbonaro Nancy & Jerry Falk * Rick Norris & David Madsen * Benefactors marked with an asterisk are table sponsors. BART stations are located in Alameda, Contra David & Diane Goldsmith Nancy Olson Costa, San Francisco and San Mateo counties, and serve to truly connect the Bay Area. BART’s mission is to provide a safe, reliable, economical, and energy-efficient means of transportation. With gas prices climbing ever higher and everyone looking to green their commute, BART expects a lot more people will be looking to BART, as riders get the equivalent of 250 miles ASHLAND 2014 to the gallon. Don’t forget that you can BART to Bard—Cal Shakes offers a free BART shuttle from the Orinda BART station. BART... and you’re there!

MEYER SOUND LABORATORIES Into the Woods (Presenting Partner) Music and Lyrics by Family owned and operated since 1979, Stephen Sondheim Meyer Sound Laboratories, Inc. designs and manufactures high-quality, self-powered sound Book by James Lapine reinforcement loudspeakers, digital audio systems, active acoustic systems, and sound June 4 – October 11 measurement tools for the professional audio industry. Founded by John and Helen Meyer, the company has grown to become a leading worldwide supplier of systems for theaters, arenas, stadiums, theme parks, convention centers, houses of worship, and touring concert sound-rental operations. Meyer Sound systems are installed in many of the great venues of the world, including the Berlin Philharmonie and Estonia’s Nokia Concert Hall; and in several well-loved Bay Area venues, such as The Eleven Plays in Three Theatres Fillmore, Yoshi’s, Berkeley Rep, and Freight & February 14–November 2 Salvage Coffeehouse. Celine Dion, Metallica, 1-800-219-8161 • www.osfashland.org and countless other artists use Meyer Sound’s equipment on tour. Meyer Sound’s main office Miriam A. Laube in Into the Woods

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OSF 020314 woods 1_3s.pdf

ad proofs.indd 1 2/3/14 2:49 PM WHO’S WHO OUR STORY: PART ONE and manufacturing facility are located in PEET’S COFFEE & TEA Berkeley, California, with additional satellite (Season Partner) THE JOHN HINKEL PARK YEARS offices located around the world. Peet’s Coffee & Tea is proud to be the exclusive coffee sponsor of California Shakespeare Continued from page 7. SAN FRANCISCO MAGAZINE Theater’s 2014 season. Peet’s Coffee & Tea has (Presenting Partner) earned an international reputation for quality San Francisco magazine is proud to celebrate since its founding in Berkeley in 1966. Peet’s led the company through its search for new 40 years of award-winning coverage of the Bay has also been a valued supporter of California premises, culminating in Professor Hugh Area lifestyle—from food, fashion, and culture Shakespeare Theater since 2001. Peet’s salutes Richmond’s near-arrest and an eventual to politics, trends, and trendsetters. Through its Cal Shakes on another wonderful season of move to the Bruns. history, San Francisco has been honored with reimagining the classics and bringing new works more than 50 awards for editorial and design to the stage. Many remarkable artists joined the excellence. In 2010, it won the most coveted Festival in the early days, including Annette award in the magazine industry, the General KBLX-FM Bening, Robin Goodrin Nordli, Howard Excellence award given by the American Society (Production Partner) Swain, Nancy Carlin (who continues as KBLX-FM is the Bay Area’s Urban Adult of Magazine Editors—and has been nominated an Associate Artist with the company again this year. This recognition substantiates Contemporary radio station that broadcasts San Francisco’s passion and commitment to from San Francisco. Broadcasting on 102.9 today), Lura Dolas, Richard E.T. White, publish the Bay Area’s best magazine—as well FM, KBLX is the home of Steve Harvey Morning and Julian López-Morillas. The collective as one of the nation’s best. Show. KBLX plays the best in R&B, spinning spirit required everyone to pitch in to make such artists as Stevie Wonder, Michael Jackson, ends meet, and Dolas, for example, recalls CITY NATIONAL BANK Beyoncé, Prince, Usher, Alicia Keys, Charlie her multiple roles on and off-stage—ad- (Season Partner) Wilson, Robin Thicke, John Legend, Chaka ministrative work, publicity, directing, Founded in California 60 years ago, City Khan, and many more. script cutting, driving the van from venue National Bank supports organizations that to venue, and, in the off-season, running contribute to the economic and cultural vitality UNITED AIRLINES a teaching conservatory. Jim Carpenter, of the communities it serves. City National (Production Partner) has grown to nearly $30 billion in assets, As a global airline, United has a singular goal lacking a beard, was obliged to carefully providing banking, investment and trust services of making the world a better place for its cut the hair of the company mascot dog through 77 offices, including 16 full-service customers and employees to live, work, travel, for a performance of The Comedy of Errors regional centers in the San Francisco Bay Area, and do business. With a deep commitment (coming up in the next slot of our season, Southern California, Nevada, New York City, to the vitality of our communities, United is hopefully, though, with no need to coif Nashville, Tennessee, and Atlanta, Georgia. The pleased to serve the California Shakespeare Jonathan’s Chihuahua, Lucy). The com- corporation and its wealth management affiliates Theater as its official airline and proudly pany members’ resourcefulness in these oversee more than $64 billion client investment supports their remarkable contributions to the early days puts me very much in mind of assets, and has been listed by Barron’s as one arts here in Bay Area and beyond. Together how Shakespeare and his actors must have with the California Shakespeare Theater, United of the nation’s top 40 wealth management worked. They, too, made and hauled their firms for the past 13 years. City National Bank celebrates the theater’s vision to expand the provides entrepreneurs, professionals, their possible by exhilarating minds, igniting passion, own props, and they, too, had neighbors businesses, and their families with complete and nourishing individuality. who didn’t want them (forcibly shut down financial solutions on The way up®. at one point, Shakespeare and his troupe had to break down their theater and carry AFFILIATIONS LAFAYETTE PARK HOTEL & SPA its parts across the Thames in the middle (Season Partner) of the night.) “It is not in the stars to hold The Lafayette Park Hotel & Spa is pleased to our destiny, but in ourselves…” Four hun- support Cal Shakes and serve as “home away dred years apart, the members of regional from home” for Cal Shakes artists. With its theater companies are living proof of this. French Chateau architecture, legendary service, plush accommodations, award-winning cuisine, This Theater operates under an agreement and full-service spa, the Lafayette Park Hotel between the League of Resident Theatres & Spa provides one of the only Four Diamond and Actors’ Equity Association, the Union experiences in the East Bay. Enjoy amazing of Professional Actors and Stage Managers cuisine at the Park Bistro Restaurant before in the United States. The Directors and the show, or stop by the Bar at the Park for Choreographers are members of the Stage a drink afterwards. The Hotel features more Directors and Choreographers Society, an than 10,000 square feet of indoor and outdoor independent national labor union. The scenic, meeting space and is the ideal location for social costume, and lighting designers are represented events and corporate meetings. To be sure, the by United Scenic Artists, Local USA-829 of the most elegant and memorable events are held at IATSE. California Shakespeare Theater is an this “Crown Jewel of the East Bay.” Equal Opportunity Employer.

24 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG THANKS TO OUR DONORS

INDIVIDUALS These contributors made gifts between April 1, 2013 and March 31, 2014. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a cross (†) donated at the Benefactor level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Ian Larue at 510.899.4907 or [email protected] so that we may correct our records.

$25,000 and above $2,500–$4,999 Debra Crow Anonymous Anonymous Diana & Ralph Davisson Ellen & Joffa Dale† Ann & Clifford Adams Pam & Wayne Dewald Erin Jaeb & Kevin Kelly† Ann Appert Ellen Dietschy & Alan Cunningham in honor of Maureen & Calvin Knight† Valerie Barth & Peter Wiley Philippa Kelly Helen & John Meyer Mr. & Mrs. Richard Bertero Lois De Domenico Nicola Miner & Robert Mailer Anderson† Jeff Bharkhda Barbara Duff in memory of George Duff Delanie & Peter Read† Nina & David Bond Donald Engle & Karen Beernink Michael & Virginia Ross† Wai & Glenda Chang Susie Falk & York Kennedy Jean Simpson† Josh & Janet Cohen† Mimi & Jeff Felson Sharon & Barclay Simpson† Ron & Gayle Conway Shelley & Elliott Fineman Jay Yamada† Jan Deming & Jeff Goodby Kevin Fitzgerald Andrew Ferguson & Kay Wu Sally & Michael Fitzhugh $10,000–$24,999 Patrick W. Golden & Susan Overhauser Dale & Jerry Fleming Anonymous (2) Mimi & Peter Haas Fund Jessica & James Fleming Henry & Vera Eberle† Ardice Hartry & Paul Covey Vincent Fogle & Emily Sparks Harvey & Gail Glasser† Randy & Bev Hawks Stanlee Gatti David & Diane Goldsmith† Nancy Kaible & David Anderson† Kathleen & Karl Geier Craig & Kathy Moody† Jean & Jack Knox William & Vanessa Getty Nancy Olson† Lisa & Scott Kovalik Carol & Richard Gilpin Shelly Osborne & Steve Tirrell Gina & David Larue Judith & Alexander Glass Arthur & Toni Rembe Rock Bill & Carol Leimbach Werner Goertz & Elizabeth Harvey Monica Salusky & John Sutherland in memory of Debby & Bruce Lieberman† in honor of Pamela & John Goode Riley Goodness Sharon & Barc Simpson Janie & Jeff Green William & Nathalie Schmicker Walter Moos & Susan Miller† Charles & Katherine Greenberg Alan Schnur & Julie Landres Jonathan Moscone & Darryl Carbonaro† Garrett Gruener & Amy Slater Frank & Carey Starn*† Mary Prchal Tish & Steve Harwood Teresa & Patrick Sullivan Noralee & Tom Rockwell Remy Hathaway Buddy & Jodi Warner† Patti & Rusty Rueff Joyce Hawkins & John W. Sweitzer George & Kathleen Wolf Tiffany Schauer Chris & Marcia Hendricks $5,000–$9,999 Judy & John Sears† Paul Hennessey & Susan Dague* Anonymous (2) Debbie Sedberry & Jeff Klingman Elizabeth & Thomas G. Henry Simon Baker Laura & Robert Sehr† Jeanne Herbert† Michael & Phyllis Cedars† Mary Jo & Arthur Shartsis Bonnie & Tom Herman Phil & Chris Chernin† Maureen Shea & Allen Ergo Craig & Margaret Isaacs Mary Curran & John Quigley M.J. Stephens & Bernard Tagholm in memory of Mary Anna & Martin H. Jansen, M.D. Joe Di Prisco & Patti James† Juniper Marley Allen Timothy Kahn & Anne Adams Bob Epstein & Amy Roth† Steven Sterns & Barry Klezmer Elizabeth Karplus Ken & Julie Erwin Virginia & Thomas Steuber Bruce Kerns & Candis Cousins Nancy & Jerry Falk† Christine & Curtis Swanson Sheryl & Anthony Klein Elise & Tully Friedman Carol Jackson Upshaw in honor of Jonathan Moscone† Kim & Max Krummel Rena & Spencer Fulweiler Muriel Fitzgerald Wilson Jennifer Kuenster & George Miers Dr. & Mrs. Jeffrey Hays† Beverly & Loring Wyllie Jerry Kurtz Ken Hitz Michael H. Zischke & Nadin Sponamore Dr. Todd & Pamela Lane Mark Horowitz & Jody Buckley Adair Langston-Holway & William Langston $1,000–$2,499 Barbara E. Jones in memory of William E. Jones Connie & John Linneman Anonymous John Kemp & Mary Brutocao Eileen & Richard Love Frank & Loren Acuna Fred Levin & Nancy Livingston, The Shenson Natalie Lucchese in memory of Sam Lucchese Stephanie & N. Thomas Ahlberg Foundation† June & Andy Monach Melissa Allen & Elizabeth Andreason Ashley & Antonio Lucio Linda & Chris Moscone Pat Angell Richard Norris & David Madsen† Patricia & David Munro Susan M. Avila & Stephen Gong Janet & Norman Pease† in honor of Patti James, Lizzie & John Murray Eugene & Neil Barth Dana Taylor, and Midge Zischke Carol & Richard Nitz* Megan Barton & Brian Huse Ms. Janee Pennington-Watson & Mr. Colin Watson Deborah O’Grady & John Adams Stephanie & David Beach in honor of Amanda Starr Jim & Nita Roethe† Drs. Oldrich & Silva Vasicek Mercer Michele & John Ruskin Candace & Richard Olsen Laura & Paul Bennett Barbara Sahm & Steven Winkel† in memory of Eleanor Parker Liz & Richard Bordow in honor of Dr. Michael Cedars Gene Angell Dr. & Mrs. Irving Pike Erin Bydalek & Patrick Bengtsson* Yvonne & Angelo Sangiacomo Pauline Proffett & Matthew Fabela Pamela & Christopher Cain Miriam & Stanley Schiffman Paul A. Renard Joe & Nicole Carberry Sondra & Milton Schlesinger† Rachel Rendel Steven & Karin Chase Charles & Heidi Triay Velma & Hugh Richmond Debbie Chinn in honor of the Staff of the Carmel Bach David & Maria Waitrovich Maria & Danny Roden Festival, Susie Falk, and Megan Barton Lesah & Jeffrey Ross Alice Collins & Len Weiler Claire Roth Tony Cone & Wendy Rader

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Rob & Eileen Ruby Philanthropic Fund of the Jewish Sara Benson Ann & John Nutt Community Foundation of the East Bay Paula Blizzard & David Brown Marie & Jim O’Brient Patricia & Glenn Rudebusch Nancy & Roger Boas William Ostrander & Janice L. Johnson Barbara & Jerry Schauffler Marilyn & George Bray Sharon & Bill Owens Martha G. Schimbor Jean & John Brennan Cindy Padnos & Jim Redmond Margie & Jim Shaughnessy Germaine Brown Berniece & Charles Patterson Cathleen Sheehan & Kenneth Sumner Bronwyn & Kevin Brunner Carol & Mark Penskar Jo Schuman Silver Doree & Andrew Burstein Carey Perloff & Anthony Giles Jennifer & Will Sousae Judith Butler Mariana Portella Gail & Rick Stephens Joan Byrens Craig Pratt Sue & Terry Stiffler Stacey Callies Pam Rafanelli Paul & Susan Sugarman Jo Alice & Wayne Canterbury Hillary & Jonathan Reinis Mr. & Mrs. Richard Thieriot Katherine & Henry Chesbrough Judith & William Roberts Nancy Thomas Jane & Thomas Coulter Julie & Andrew Sauter Barbara & Richard Thompson John F. Cove, Jr. & Natalie Balfour Patti & Paul Sax Phyllis & Jim Thrush* Chris & Lynn Crook Joyce & Kenneth Scheidig Beth Ann & Michael Ward in honor of Jill & Chuck Crovitz Marcus Segal Sharon & Barclay Simpson Theresa Cullen Lucille & John Serwa Anne & Paul Wattis Maria Dichov James Shankland & Leslie Landau* in honor of Prentiss & Janice Wilson Eric Dittmar & Gayle Tupper the Queen’s Own Drs. Bonnie Zell & Manuel Torres Corinne & Michael Doyle Heidi Shale & Earl Cohen Midge & Peter Zischke Karin Eames Neil Sitzman Lynn & Bill Evans Eric & Erica Sklar $750–$999 Ilse & Jim Evans Betsy Smith Anonymous (2) Mary & Benedict Feinberg Carrie & Jason Smith William Anderson Claudia Fenelon & Mark Schoenrock H. Marcia Smolens Michael & Sandra Cleland Scott & Joan Fife Valerie Sopher Craig Congdon* Peter Fisher Stephanie & Robert Sorenson Jacqueline Carson & Alan Cox† Kerry Francis & John Jimerson David Starke Frank & Margaret Dietrich Nancy Francis Alexandra & Peter Starr Lori & Gary Durbin Doris Fukawa & Marjan Pevec Tony Taccone & Morgan Forsey Sharon & Leif Erickson Charla Gabert & David Frane Ragesh Tangri Gita & Louis C. Fisher Gopnik & Lewinski Family James Topic & Terry Powell James Fortune Matthew Goudeau† Martha Truett & David White Laura & William Gorjance Kathleen & David Graeven Dawson & Andrew Urban Dan Henkle & Steve Kawa† Kristi & Arthur Haigh Jamie & Gerry Valle Xanthe & James Hopp George Haley & Theresa Thomas William Van Dyk & Margaret Sullivan Eleanor & Richard Johns Harriet Hamlin & James Finefrock Jackie Wallace Bill & Joey Judge Patricia & Brian Hanafee Jennifer & Perry Wallerstein Michael Huston & Marcia Cho Sonny & Bruce Hanson Kelvin Wate James & Rosaleen Kelly Phil Hunsucker & Kristi Helmecke Doug Welsh Arline Klatte & Jon Ennis Lisa & Michael Holmes Wendy & Mason Willrich Michael & Samantha Leo Ben & Sarah Holzemer Barbara & Craig Woolmington-Smith Joy Lienau-Armstrong Leslie & George Hume Joe Wynne Randall & Rebecca Litteneker Carole & Philip Johnson Linda & Warren Zittel Kheay Loke & Martha McGrady Ken Johnson Elizabeth Lowe Karin & Patrick Johnston Eileen & Peter Michael Malcolm Jones & Karen Roche Nancy & Gene Parker Leslie & Murray Kalish Mark & Claire Roberts Mr. Marshall Kido Jirayr Roubinian Thomas Koegel & Anne LaFollette Diana Sanson & Ben Compton in honor of Joseph Lee Jean Simpson Susan & Donald Lewis Linda Schwartz Kate & Thomas F. Loughran David A. Shapiro, M.D. & Sharon L. Wheatley Jean & Lindsay MacDermid Barbara Sklar† Elena Maslova Gary Sloan & Barbara Komas Mary & Howard Matis Robert St. John & M. Melanie Searle Marsha Maytum & William Leddy Anne Marie & Tom Taylor Yvonne Clinton-Mazalewski & Robert Mazalewski Jeff Wagner Eugene McCabe Meredith & Jeffrey Watts Jacquelyn McCormick & Michael Salkin Will McCoy $500-$749 Nion T. McEvoy Anonymous (4) Paul & Ellen McKaskle Kay & David Aaker Charlie & Casey McKibben Beth & Phil Acomb Kimberly & Jerry Medlin Ann & Russ Albano Alex Miller & Leslie Louie Claire & Kendall Allphin D. G. Mitchell Jose & Carol Alonso Pia & Chris Mittlestaedt Barbara Aumer-Vail & Steve Vail Terri Mockler Robin Azevedo Ronald Morrison Mary Jo & Norm Baietti Jennifer & Brian Mosel Elizabeth Balderston Marilyn & David Nasatir Joyce & Charles Batts Joseph Navarro & Billie Jones L. Karin & Bob Benning Rebecca Novick

26 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT We are grateful for the generous investment of the following foundations, corporations, and government agencies, which support our 2014 artistic and educational programs. Multiyear grants are designated with a double asterisk (**).

PRESENTING PARTNERS $100,000 and above Frances Restaurant The William and Flora Hewlett The French Laundry Foundation** The FruitGuys The James Irvine Foundation** Helicon Collaborative The Andrew W. Mellon Foundation** Hyatt Regency Century Plaza Meyer Sound J. & H. Billing Services John’s Grill $50,000–$99,999 Judd’s Hill BART Lamborn Family Vineyards The Dean and Margaret Lesher Meadowood Napa Valley Foundation** Mechanics Bank $25,000–$49,999 The Olympic Club Cal Shakes Original Joe’s City National Bank Pier 39 KBLX Pizzaiolo National Endowment for the Arts PricewaterhouseCoopers LLP Otter Cove Foundation Ram’s Gate Winery San Francisco Magazine Rialto Cinemas The Shubert Foundation Rock Wall Wine Company Safeway, Inc. $10,000–$24,999 San Francisco Chronicle Blueprint Studios The Sanctuary SEASON PARTNERS Chevron Corporation St George Spirirts James N. Cost Foundation† The Tech Museum Dale Family Fund TWANDA Foundation Sidney E. Frank Foundation UC Berkeley Library Ann and Gordon Getty Foundation Wanut Creek Yacht Club The Thomas J. Long Foundation Walt Disney Family Museum The Gordon and Betty Moore Foundation Waterbar John Muir Health The Whittier Trust Company in Honor of KCBS Jonathan Moscone MCJ Amelior Foundation McRoskey Mattress TASTING PARTNERS Peet’s Coffee & Tea Mindy Jade Chocolates United Airlines Coco Tutti R&B Cellars $5,000–$9,999 Urbano Cellars Baker Avenue Asset Management Crofter’s Organic Lafayette Park Hotel & Spa Upper Crust Pies The Bernard Osher Foundation Theatre Development Fund MATCHING GIFTS Wells Fargo Foundation Adobe Systems, Inc. Apple Up to $4,999 AT&T Foundation Alameda Theatre + Cineplex Bank of America Aquarium of the Bay Caterpillar Foundation Archer Norris Chevron Humankind Aurora Theater Company Google B Cellars J.P. Morgan Chase Foundation Berkeley Acupuncture Project McKesson Foundation SEASON Berkeley Repertory Theatre Sidley Austin Boisset Wine Living Visa PRODUCTION PARTNERS Cafe Rouge Wells Fargo The Carneros Inn Caterpillar Foundation Organizations Providing Donor-Advised Chez Panisse Funds Classic Catering The San Francisco Foundation Clif Family Winery Foundation Source David Rubin Travel Fidelity Charitable Gift Fund Delfina Restaurant Renaissance Charitable Foundation Dodge & Cox Schwab Charitable Fund DuMol Wine Company Jewish Community Federation Electronic Arts Bank of America Charitable Gift Fund East Bay Community Foundation

encoreartsprograms.com 27 BOARD OF DIRECTORS

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

*ex-officio

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

PICTURED, TOP TO BOTTOM: YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS CALIFORNIA SHAKESPEARE THEATERTWELFTH NIGHT WWW.CALSHAKES.ORG 28 (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA). 2014 COMPANY Jonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR

ASSOCIATE ARTISTS ARTISTIC LEARNING FINANCE AND ADMINISTRATION Jenny Bacon, ACTOR Clive Worsley, DIRECTOR OF ARTISTIC LEARNING Noralee Rockwell, DIRECTOR OF FINANCE L. Peter Callender, ACTOR Beverly Sotelo, ARTISTIC LEARNING PROGRAMS Joyce Fleming, DIRECTOR OF HUMAN RESOURCES Ron Campbell, ACTOR MANAGER Jamie Buschbaum, OPERATIONS MANAGER/ Nancy Carlin, ACTOR Whitney Grace Krause, ARTISTIC LEARNING EXECUTIVE ASSISTANT James Carpenter, ACTOR COORDINATOR Marivie Koch, BUSINESS OFFICE ASSISTANT Catherine Castellanos, ACTOR MaryBeth Cavanaugh, CHOREOGRAPHER PRODUCTION DEVELOPMENT Julie Eccles, ACTOR Tirzah Tyler, PRODUCTION MANAGER Megan Barton, DIRECTOR OF DEVELOPMENT Daniel Fish, DIRECTOR Chris Hammer, TECHNICAL DIRECTOR Ian Larue, ANNUAL FUND MANAGER Dan Hiatt, ACTOR Naomi Arnst, COSTUME DIRECTOR Andrew Page, GRANTS MANAGER Jennifer King, TEACHING ARTIST Shelly Jackson, SPECIAL EVENTS MANAGER STAGE MANAGEMENT Domenique Lozano, ACTOR Renée Gholikely, DEVELOPMENT COORDINATOR Christina Hogan, Laxmi Kumaran, Karen Szpaller, Andy Murray, ACTOR STAGE MANAGERS MARKETING & COMMUNICATIONS Meg Neville, COSTUME DESIGNER Cheryle Honerlah, Christina Larson, Cordelia Janet Magleby, DIRECTOR OF MARKETING & Ryan Nicole Peters, WRITER AND ACTOR Miller, PRODUCTION ASSISTANTS COMMUNICATION Lisa Peterson, DIRECTOR Marilyn Langbehn, MARKETING & PR MANAGER Andre Pluess, COMPOSER/SOUND DESIGNER SCENERY Keith Spencer, PUBLICATIONS MANAGER Jake Rodriguez, COMPOSER/SOUND DESIGNER Colin Suemnicht, ASSISTANT TECHNICAL DIRECTOR Callie Cullum, GRAPHIC DESIGNER/WEBMASTER Stacy Ross, ACTOR Patrick Fitzgerald, Erin Gibb, Megan Lush, Mark Rucker, DIRECTOR CARPENTERS PATRON SERVICES Susannah Schulman, ACTOR Pam Webster, PATRON SERVICES MANAGER Danny Scheie, ACTOR SCENIC ART Molly Conway, PATRON SERVICES ASSISTANT Lynne Soffer, DIALECT AND TEXT COACH Letty Samonte, SCENIC CHARGE ARTIST MANAGER Sophia Fong, Shannon Walsh, OVERHIRE PAINTERS Octavio Solis, PLAYWRIGHT Steven Bailey, Ashleigh Edelsohn, Nan Noonan, Stephen Barker Turner, ACTOR ELECTRICS Rhoda Slanger, Sheila Yee, PATRON SERVICES Scott Zielinski, LIGHTING DESIGNER ASSOCIATES Del Medoff, MASTER ELECTRICIAN TEACHING ARTISTS Melina Cohen-Bramwell, SEASON FOLLOWSPOT Elizabeth Carter, Scott Coopwood, Allysa Hamilton Guillén, LIGHTING RUN SUPERVISOR BOX OFFICE & FRONT OF HOUSE Evans, Brett Jones, ZZ Moor, Dan Saski, Anna Derik Cowan, BOX OFFICE MANAGER Schneiderman, Lauren Spencer, Trish Tillman, SOUND Kelvyn Mitchell, ASSISTANT BOX OFFICE MANAGER Marissa Wolf, Clive Worsley, Elena Wright, Will McCandless, AUDIO SYSTEMS CONSULTANT Molly Conway, Kimberlee Hicks, Jasmine Malone, CLASSROOM RESIDENCIES Brendan Aanes, Lawton Lovely, Xochitl Loza, Brittany White, BOX OFFICE ASSOCIATES MIXERS Michael Ross, HOUSE MANAGER Molly Aaronson-Gelb, Heidi Abbot, Elizabeth Christopher Lossius, SOUND BOARD OP Carter, Allysa Evans, Brit Frazier, Susan-Jane Jordan Battle, LEAD ASSISTANT HOUSE MANAGER Harrison, Laura Marlin, Erin Merritt, Ryan COSTUMES & WARDROBE Carolyn Day, Heidi Hayame, Belgica Rodriquez, O’Donnell, Carla Pantoja, Patrick Russell, Clair Jessa Dunlap, RENTALS MANAGER HOUSE ASSOCIATES Slattery, Tommy Statler, Anna Smith, Trish Eva Herndon, DESIGN ASSISTANT Tillman, Wendy Wisely, Marissa Wolf, Elena Liesl M. Seitz Buchbinder, RAISIN CUTTER/DRAPER Wright, Elizabeth Vega, Kat Zdan, SUMMER JoAnne Martin, Karly Tufenkjian, FIRST HANDS SHAKESPEARE CONSERVATORY DIRECTORS AND Linda Ely, Franzesca Mayer, Coeli Polanski, TEACHERS STITCHERS Meave Kelly, Suzanne Ryan, VOLUNTEER STITCHERS Derek Fischer, Anna Smith, Jacinta Sutphin, Trish Jessa Dunlap, CRAFTSPERSON Tillman, Elena Wright, CLASSES & AFTER SCHOOL Marcy Frank, CRAFTS OVERHIRE PROGRAMS Jessica Carter, WIG & MAKEUP DESIGNER Shannon Dunbar, WARDROBE LEAD Katy Adcox, Brett Jones, SUMMER SHAKESPEARE CONSERVATORY COORDINATORS PROPERTIES Seren Helday, PROPERTIES MASTER ARTISTIC & DRAMATURGY Sarah Spero, PROPERTIES ARTISAN Rebecca Novick, DIRECTOR OF ARTISTIC Brittany White, Sean Carroll, PROPERTIES ENGAGEMENT OVERHIRES Philippa Kelly, RESIDENT DRAMATURG Sonya Taylor, COMMUNITY PARTICIPATION FACILITIES COORDINATOR Trevor Carter, ENGINEER AND FACILITIES MANAGER Clea Shapiro, ARTISTIC ASSOCIATE Brittany White, Noel Payne, MAINTENANCE TECHNICIANS

PRODUCTION PROGRAM Volume 23, No. 1 Keith Spencer, EDITOR-IN-CHIEF Callie Cullum, ART DIRECTOR All listings current as of September 5, 2013 September of as current listings All Janet Magleby, EXECUTIVE EDITOR

encoreartsprograms.com 29 FYI IMPORTANT INFORMATION FOR OUR PATRONS CONTACT US ACCESSIBILITY Box Office: 510.548.9666 or [email protected] Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and our (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm) free shuttle.” Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710 Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes. We Website: calshakes.org can also book seats, adjacent to yours, for up to three companions. (Make sure Social Media: Facebook.com/calshakes Twitter.com/calshakes to request this seating at time of purchase.) Pinterest.com/calshakes Assistive Listening Devices: Available at no charge from the blanket kiosk on a Group Sales (10+): 510.809.3290 first-come, first-served basis. General: 510.548.3422 or [email protected] Open-captioned Performances: Cal Shakes is proud to provide open caption- Program Advertising: Mike Hathaway, Encore Media Group, ing for patrons who are deaf or hard-of-hearing on the following dates: May 28 800.308.2898 x105 or [email protected] (A Raisin in the Sun), July 2 (The Comedy of Errors), August 6 (Pygmalion), Facilities Rental: 510.548.3422 x123 and September 10 (A Midsummer Night’s Dream). Open captioning utilizes an Costume Rental: 510.548.3422 x111 unobtrusive screen at the front of the theater to display dialogue spoken during a performance. No special equipment is required by patrons; one can simply TICKETS AND SEATING glance at the screen to read the text while watching the action on stage. Ticket Exchange & Replacement: Subscribers and Flex Subscriber may exchange tickets at no cost up to 24 hours in advance of the time and date AMPHITHEATER ETIQUETTE of their scheduled performance; single ticket holders may do so for a $10 Arrive on time: Latecomers will be seated at an appropriate interval at the fee. If you lose or misplace your tickets, the Box Office can arrange for House Manager’s discretion. replacements at no extra charge. Silence all electronic devices before the performance begins. Discounts: For information on discounted tickets for military, age 30 and Recording: The video and/or audio recording of this performance by any means younger, and student/senior rush, visit calshakes.org/discounts. whatsoever are strictly prohibited. 20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance Keep the aisles clear during the performance. this season, making it easier for more people to enjoy theater. Simply call Do not take photos of the performance. The use of any type of camera, video the Box Office between noon and 2pm the day of the show and ask to or audio recorder in the amphitheater is strictly prohibited. Such devices may purchase “20 for $20” tickets. (Subject to availability.) be confiscated at the House Manager’s discretion. Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sec- Observe all signage including directional signage on the grounds. It is posted tions, you will need to bring your own chair or rent one from us. If you for your safety. choose to bring your own, it must be a low-backed beach chair with a Smoking is restricted to area designated: Look for the bench and ashtray on seat no more than six inches off the ground and a backrest no taller than the plaza across from the café. Electronic cigarettes are allowed in the groves, shoulder height. If you need to rent a chair from us, you’ll find them at the plaza, and anywhere on the grounds with the exception of the Amphitheater. upper entrance to the Terrace for just $3. Be scentsitive: Perfumes or scented lotions may cause discomfort to other patrons and may attract yellow jackets. Please keep use to a minimum. BRUNS AMPHITHEATER Picnicking: You’re welcome to enjoy food and beverages during the perfor- 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mail- mance, but please be courteous to others. Unwrap all items before the perfor- ing address) mance begins or at intermission so as not to disturb your fellow patrons. Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of ENVIRONMENTAL STEWARDSHIP the main Amphitheater entrance for a suggested $2 donation; please Recycling: Please use the labeled recycling bins to discard glass, aluminum, dress warmly for cold nights and bring sunscreen and a hat for matinees. plastic, and paper; a portion of the proceeds from the value of our recycled To keep yellow jackets at bay, keep food covered whenever possible and materials is donated to area schools. promptly dispose of trash and recyclables. We’ve also found fabric softener Solar: Cal Shakes is one of largest solar-powered outdoor professional theaters dryer sheets work well to keep repel yellow jackets. in the country. The 144 260-watt panels and four 9000-watt inverters of our Take BART and our free shuttle: Cal Shakes provides free, wheelchair Turn Key 37.4 kilowatt DC solar electric system are designed to supply up to lift-equipped shuttle service between the Orinda BART station and the 98% of the power needs to the Bruns Amphitheater. Theater beginning 2 hours prior to and at the end of each performance. Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon The shuttle runs approximately every 20 minutes; the final shuttle leaves Simpson Center’s living roof boasts native, drought-resistant plants. the Orinda BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza. EVACUATION PLAN SHARON SIMPSON CENTER AMENITIES Café by Classic Catering: Offering a wide selection of gourmet meals, STAG E wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens EXIT two hours before the performance and at intermission. Catering is avail- able for groups (10+) and special events; call 925.939.9224. THE SHARON SIMPSON EXIT CENTER Restrooms: Located to the left of the Café. (Additional restrooms are EXIT located in the Upper Grove.) P EXIT First Aid: For assistance, please go to the House Management Office, located inside to the left of the restrooms. EXIT ROUTE Emergency Phone: Since we ask all patrons to silence cell phones PRIMARY AREA OF REFUGE during performances, you may leave the House Office phone number (MEETING PLACE FOR ALL AUDIENCE MEMBERS)

(925.254.2395) as your contact number during a performance. SECONDARY AREA OF REFUGE UPPER GROVE FIRE HYDRANTS

30 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG LORRAINE HANSBERRY’S PLAYRIHT DreamS Lorraine Hansberry AN REAMS Deferred n April , , playwright Lorraine Hansberry scrawled a list of her “likes” and “dislikes” on a legal pad. This offhand scrawl is remarkable for the great insight it provides into Hansberry’s desires, fantasies, and feelings at the moment of composition—“Shakespeare,” “Eartha itt” and “being alone” are all listed as things she likes, while “what has happened to Sidney Poitier,” “racism,” and “my loneliness” she includes as “dislike.” (“My homosexuality” appears twice, in both columns.) IRETOR We asked director Patricia McGregor and actor PATRICIA MCGREGOR Margo Hall to write their own lists of likes and dislikes, in the spirit of Hansberry’s piece. We also solicited our fans on Facebook and Twitter to do the same. If you’d like to contribute, we encourage you to submit your likes and dislikes to the ongoing list. Just tweet at calshakes on Twitter with the hashtag likes, islikes or reas.

Cal Shakes fans:

@Zendaya #likes: sunsets, glamour, feeling fi erce... #dislikes: ignorance, judgments, hatred. #dreams: living my life!

@xo_nautica #likes: family, clothes, & roller coasters. #dislikes: rats, pie, & bullying #dreams: Be successful at everything I put my mind to.

@darceloverazor #likes: fashion, singing, family, acting, puppies. #dislikes: bullies, fear, racism. #dreams: be a successful singer and actress! ATOR MARGO HALL @megananomous #likes: horseback riding, music, dancing. #dislikes: folding fi tted sheets, hate of any kind. #dreams: everyone to love each other

@singingspice #dream: to be a part of something someone will remember for the rest of their lives

@livelongjne #dreams: I hope to write something - someday - that will put a smile on Lorraine Hansberry’s face. She inspires me. Reading her words gave me a much needed push, and I want to live - and breathe - “young, gifted, and Black.” :-)

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

PAUL TAYLOR DANCE COMPANY Paul Taylor Choreographer

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

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