SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY
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Untitled-2 1 12/17/18 4:39 PM February 2019 Volume 17, No. 6 music dance theater 2018/19 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY Shakespeare’s Paul Heppner Julius Caesar President Théâtre National de Bretagne by William Shakespeare Mike Hathaway Directed by Arthur Nauzyciel Senior Vice President
French director Arthur Nauzyciel revives his Kajsa Puckett production of Julius Caesar, highlighting Vice President, Sales & Marketing the continuing relevance of Shakespeare’s great political tragedy—with costumes and Genay Genereux design that evoke the era of JFK, a live jazz Accounting & Office Manager trio, and provocative staging. Production “Visually stunning, musically Susan Peterson Vice President, Production moody, and unceasingly stylish.” —The Boston Globe Jennifer Sugden Assistant Production Manager
April 26–28 ZELLERBACH HALL Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers
Sales Marilyn Kallins, Terri Reed Song of the Goat Theatre San Francisco/Bay Area Account Executives
Songs of Lear Devin Bannon, Brieanna Hansen, Directed by Grzegorz Bral Amelia Heppner, Ann Manning Music by Jean-Claude Acquaviva and Maciej Rychly Seattle Area Account Executives
This award-winning production Carol Yip retells the tragic king’s story as a Sales Coordinator dramatic oratorio blending Corsican folk music and Gregorian chant— Marketing a production the New York Times Shaun Swick called “viscerally awe inspiring.” Senior Designer & Digital Lead
Ciara Caya May 11 & 12 ZELLERBACH PLAYHOUSE Marketing Coordinator
Encore Media Group 425 North 85th Street Eifman Ballet Seattle, WA 98103 The Pygmalion Effect p 800.308.2898 | 206.443.0445 (US Premiere) f 206.443.1246 [email protected] For 40 years, the defiantly controversial www.encoremediagroup.com choreographer Boris Eifman has created productions punctuated by sumptuous costumes, exquisite dancing, and riveting Encore Arts Programs and Encore Stages are published monthly drama. Here, the company presents the by Encore Media Group to serve musical and theatrical events United States premiere of his brand new in the Puget Sound and San Francisco Bay Areas. All rights ballet, set to a score by Johann Strauss Jr. reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. “This Russian dancemaker and his dancers are among the most fascinating artists before the public today.” —San Francisco Chronicle
May 31–Jun 2 ZELLERBACH HALL
Season calperformances.org/tickets Sponsor:
4 ACT-SF.ORG SAN FRANCISCO'S THEATER COMPANY American Conservatory Theater, San Francisco’s Tony attracts students from around the world, while the San Award–winning nonprofit theater, nurtures the art of live Francisco Semester offers a unique study-abroad opportunity theater through dynamic productions, intensive actor for undergraduates. Other programs include Studio A.C.T.— training, and ongoing community engagement. We embrace our expansive course of theater study for adults—and the our responsibility to conserve, renew, and reinvent our rich Professional Development Training Program, which offers theatrical traditions, while exploring new artistic forms actor training for companies seeking to elevate employees’ and communities. Founded by William Ball, a pioneer of the business performance skills. Our alumni often grace our regional theater movement, A.C.T. opened in San Francisco in mainstage and perform around the Bay Area, as well as on 1967. We have since performed more than 400 productions to stages and screens nationwide. more than seven million people. A.C.T. brings the benefits of theater-based arts education to Hailed as the “perfect playhouse,” the beautiful Geary Theater more than 17,000 Bay Area students and educators each year. has been our home since the beginning. When the 1989 Loma Among our Education & Community Programs are the Prieta earthquake ripped the roof apart, San Franciscans Young Conservatory (students ages 8–19), our Fellowship raised a record-breaking $30 million to rebuild the theater. Program for emerging theater professionals, and our The Geary reopened in 1996 with The Tempest, directed by ACTsmart school and community programs, including the Carey Perloff, who took over as A.C.T.’s third artistic director Student Matinee (SMAT) program that has brought hundreds in 1992 after the retirement of Edward Hastings. of thousands of young people to A.C.T. performances since Perloff’s tenure was marked by translations of classical 1968. We also provide touring Will on Wheels Shakespeare works; cross-disciplinary performances and international productions, teaching-artist residencies, in-school collaborations; and theater made by, for, and about the Bay workshops, and study materials to Bay Area schools and Area. Exploring powerful stories by celebrated artists and community-based organizations. introducing audiences to extraordinary emerging voices in With the appointment of Artistic Director Pam MacKinnon American theater continues under A.C.T.’s current artistic and Executive Director Jennifer Bielstein, our continuing director, Pam MacKinnon. commitment to the development of new work and new A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, artists, and our increased presence in the Central Market is at the center of our work. Our three-year, fully accredited neighborhood with The Strand and The Costume Shop Master of Fine Arts Program is at the forefront of America’s theaters, A.C.T. plays a leadership role in securing the future actor training programs. Our Summer Training Congress of theater for San Francisco and the nation.
American Conservatory Theater Board of Trustees (As of January 2019) The Board of Directors David Riemer Jennifer Bielstein Abby Sadin Schnair of the M.F.A. Program Chair Lesley Ann Clement Lori Halverson Schryer Jerome L. Dodson Jeff Spears Abby Sadin Schnair Kay Yun Olympia Dukakis Patrick S. Thompson Chair President Rod Ferguson Joaquin Torres Patrick S. Thompson Kirke M. Hasson Frannie Fleishhacker Jeffrey W. Ubben Vice Chair Immediate Past Chair Ken Fulk Nola Yee Nancy Livingston Patti Hart Dianne Hoge Emeritus Advisory Board Norman Abramson Chair Emerita Jo S. Hurley Barbara Bass Bakar Sara Barnes Celeste Ford Alan Jones Rena Bransten Carlotta Dathe Vice Chair David L. Jones Jack Cortis Frannie Fleishhacker Priscilla Geeslin Jascha Kaykas-Wolff Joan Danforth Arnie Glassberg Vice Chair James H. Levy Dagmar Dolby Dianne Hoge Heather Stallings Little William Draper III Christopher Hollenbeck Robina Riccitiello Janet V. Lustgarten John Goldman Luba Kipnis Vice Chair Pam MacKinnon Kaatri Grigg Linda Kurtz Steven L. Swig Jamie Martin James Haire Jennifer Lindsay Vice Chair Rodman Marymor Kent Harvey Katherine McGee Sue Yung Li Toni Ratner Miller Linda Jo Fitz Jeffrey S. Minick Christine Mattison Mary Ann Munro Treasurer Marcy S. Nathan Joan McGrath Joseph Ratner Adriana López Vermut Michael P. Nguyen-Hormel Deedee McMurtry Toni Rembe Secretary Gerine Ongkeko Mary S. Metz Lori Halverson Schryer Toni Rembe Cherie Sorokin Anne Shonk Michael Richter Barry Lawson Williams Melissa Smith Sally Rosenblatt Carlie Wilmans Rusty Rueff American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92. Carey Perloff,Artistic Director 1992–2018. 415.749.2228 5 UP NEXT AT THE GEARY
BY LAUREN YEE DIRECTED BY LISA PETERSON FEATURING BD WONG “[This] imaginative vault over the decades . . . asserts a quiet, beautifully unexpected power” DON’T JUST SIT THERE . . . Denver Post
Director Lisa Peterson loved The Great Leap as soon as she read it, but it wasn’t until she heard actors performing it at the 2017 New Strands Festival that it came
alive. “It’s dynamic to read on the page,” At A.C.T.’s free InterACT events, you can she says, “but the humor and the depth mingle with cast members, join interactive workshops with theater artists, and meet of feeling, you can’t really tell until you fellow theatergoers at hosted celebrations in our lounges. Join us for The Great Leap see it and hear it in the mouths of actors.” and InterACT with us!
Now, Peterson brings us the story of BIKE TO THE THEATER NIGHT MAR 6, 7PM a 1989 basketball exhibition game in Take advantage of secure bike parking, China pitting a smack-talking Jewish low-priced tickets, and our preshow mixer, presented in partnership with the San American coach against his former Francisco Bicycle Coalition. protégé. Will the actions of a scrappy PROLOGUE MAR 12, 5:30 PM Chinese American player who has fought Go deeper with a fascinating preshow his way onto the team escalate the discussion with a member of the Great Leap artistic team. fractured history between these coaches? AUDIENCE EXCHANGE MAR 19, 7 PM; MAR 24, 2 PM; MAR 27, 2 PM The Great Leap isn’t just a story about Join us for an exciting Q&A with the cast BY basketball. Award-winning playwright following the show. Lauren Yee has laced elements of the OUT WITH A.C.T.* LAUREN YEE MAR 20, 8 PM game into the language, the visuals, Mix and mingle at this hosted postshow DIRECTED BY even the staging of the production. LGBTQ+ party. “There’s the same excitement and WENTE VINEYARDS WINE SERIES LISA PETERSON MAR 26, 7 PM tempo and rhythm that you get when Meet fellow theatergoers at this hosted you’re watching a game,” she says. wine-tasting event. PLAYTIME MAR 30, 12:45 PM Soaring through time and leaping across Get hands-on with theater at this interactive preshow workshop. continents from the hardball courts of *Events take place immediately following San Francisco’s Chinatown to a Beijing on the performance. the brink of revolution, The Great Leap builds tension right up to the buzzer.
MAR 6–31, 2019 A.C.T.’S GEARY THEATER
To learn more about act-sf.org/leap our InterACT events, 415.749.2228 visit act-sf.org/interact. Develop innovative strategies for your classroom. Embrace your inner artist. Experience the thrill of performance. Earn academic credit. Come to Back to the Source, A.C.T.’s immersive professional development program for teachers and teaching artists.
Taught by A.C.T. professional artists and leading arts educators, this comprehensive course integrates voice, movement, text, and performance to generate creative approaches applicable to all subject areas.
JUL 28–AUG 3, 2019 ENROLL NOW! act-sf.org /backtothesource
Scholarship Application Deadline: May 27 | Final Application Deadline: May 30 PHOTOS BY JAY YAMADA JAY BY PHOTOS PHOTO BY ELSPETH SWEATMAN BY PHOTO
WHAT’S INSIDE FROM LEFT Actor Kimberly Scott, director Victor Malana Maog, actor Aneisa Hicks, playwright Mfoniso Udofia, and actor Eunice Woods at the first rehearsal for A.C.T.’s 2019 production of Her Portmanteau. ONSTAGE NOW A.C.T. TODAY
11 LETTER FROM THE ARTISTIC 25 TESTING AND LEARNING EDITOR SIMON HODGSON AND EXECUTIVE DIRECTORS A Conversation with A.C.T. Board Member Jascha Kaykas-Wolff ASSOCIATE EDITOR 14 I AM NIGERIAN. I AM AMERICAN. By Simon Hodgson ELSPETH SWEATMAN I WILL NOT CHOOSE. CONTRIBUTORS An Interview with Playwright 26 THEORY INTO PRACTICE JENNIFER BIELSTEIN Mfoniso Udofia PAM MACKINNON By Elspeth Sweatman M.F.A. Program Actors on the Mainstage ANNIE SEARS By Elspeth Sweatman 16 REDUCING THE DISTANCE 28 SHAPING LIVES An Interview with Director San Francisco Arts Organizations Unite Victor Malana Maog VOLUNTEER! in Schools By Simon Hodgson A.C.T. volunteers provide an invaluable service By Annie Sears with their time, enthusiasm, and love of theater. Opportunities include helping out in our performing arts library and ushering in our theaters.
act-sf.org/volunteer
Learn more at act-sf.org/conservatory.
415.749.2228 9 A.C.T.’S YOUNG CONSERVATORY PRESENTS
the WOLVES THE WOLVES by SARAH DELAPPE Directed by JESSICA HOLT Try to keep up with teenage soccer team the Wolves as they stretch, run drills, and size up the opposition. But in between their passes are performance anxieties, family tensions, and complex conversations . . . Left lunge. Global genocide. Tampons. Do they have Skype in Cambodia? Right lunge. She got Plan B? There’s the college recruiter! You’re coming to the party this weekend? For these nine young women, becoming an adult doesn’t always come with a game plan.
THE RUEFF AT APR 17–20, 2019 A.C.T.’S STRAND THEATER
To purchase tickets, visit act-sf.org/ycshows. FROM THE ARTISTIC AND EXECUTIVE DIRECTORS
Welcome to Her Portmanteau! Dear Friends,
When I was preparing for my job interview at A.C.T., I met In working with Mfoniso Udofia, it is exciting to experience with Emily Morse, the artistic director of New Dramatists, a writer who is in the midst of creating an ambitious an organization in New York that supports playwrights with cycle of plays. Not only do these plays build on each other, residencies that can include workshops, free printing, housing, intertwining their powerful stories, but at the same time each space to write or rehearse, and terrible coffee. As a director, play delivers an impactful, unique experience for audiences. I would read plays by their members in their library (and occasionally drink the coffee), but last year I went there to pick Family is a strong throughline this season. In Her Emily’s brain about playwrights with Bay Area roots. Portmanteau, you’ll watch one mother grapple with her past decisions about how to care for her two powerful and very Our conversation led to Mfoniso Udofia, an A.C.T. M.F.A. different daughters. As with so many things in life, there is no Program alum (class of 2009) who’d recently been at New single right answer. Dramatists to work with actors on her Ufot Family cycle. Emily could not stop talking about how powerful Mfoniso’s Exploration of family relationships abounds in our M.F.A. plays were—both individually and combined together—and Program’s spring productions, playing at The Costume Shop the experience of seeing actors transfiguring to play multiple Theater and The Rueff at The Strand Theater in repertory generations through the years. from May 8–12. Medea and Sense and Sensibility explore the question of how we relate to our family members. Medea, When I talked about Mfoniso in my job interview, jilted by her husband, Jason, after she sacrifices everything Conservatory Director Melissa Smith took great pride in her for him, realizes that the system is rigged against her. She former student, and I learned that A.C.T. had commissioned vows to take revenge, and while we might suspect how that play eight of the nine-play cycle. Several weeks and interviews ends, this production, directed by Associate Conservatory later, I was offered and accepted the job and immediately set Director Peter J. Kuo, will examine how she gets there. out to program Her Portmanteau, play four. Sense and Sensibility’s Marianne and Elinor Dashwood are While this is a homecoming for Mfoniso Udofia, it represents completely different, much like Iniabasi and Adiaha, the two A.C.T.’s active commitment to a great playwright at the start sisters in Her Portmanteau. While Elinor represents down- of her powers, an artist who cut her teeth in our theater, to-earth thinking, Marianne is starry-eyed in her approach to performed in A.C.T.’s Christmas Carol, and learned in our finding love and happiness. When their father’s death leaves studio spaces how a strong action feels as an actor. She is an them vulnerable, they must learn to rely on each other and artist I want to support, to work for, and to collaborate with. hopefully find their own happy endings. Excitingly, we are partnering with Magic Theatre, which is simultaneously producing In Old Age (the fifth play), so that This vibrant and modern adaptation of Sense and Sensibility Bay Area audiences can binge-watch this Nigerian American, was written by Kate Hamill, the acclaimed New York immigrant, mother-daughter, sister-sister, multigenerational playwright who adapted another 19th-century classic, Vanity reconciliation story. Fair, which we’re producing on the Geary stage in April, directed by Jessica Stone. I invite you to listen to how Mfoniso uses language. She disorients an audience, expecting them to catch up and I encourage you to dive deep into all of these productions and perhaps feel before they know exactly what to think. As well as enjoy the range of strong female characters and how they face English, you will hear Ibibio, one of Nigeria’s more than 500 and embrace life’s adventures! languages, spoken by native speakers and as a second language. Mfoniso brings language back to its emotional core: word as See you at the theater, sound, word as memory, word as tradition, culture, home, and family.
Enjoy! Jennifer Bielstein Executive Director
Pam MacKinnon Artistic Director 11 T S
A special celebration in support of our artist training and education and community programs
SATURDAY 06.01.19 GEARY THEATER 6pm cocktails · 7pm performance of Rhinoceros
AUGUST HALL 8:30pm dinner + student performances + dancing + games + bowling!
E E T CO CHA S EAD SPO SO
ABBY SADIN SCHNAIR & LORI HALVERSON SCHRYER
FOR FURTHER INFORMATION, VISIT act-sf.org/fling. PAM JENNIFER MACKINNON BIELSTEIN Artistic Director Executive Director
CAST (in order of appearance) PRESENTS Iniabasi Ekpeyong Adiaha Ufot Abasiama Ufot EUNICE WOODS* ANEISA HICKS KIMBERLY SCOTT*
by MFONISO UDOFIA Directed by UNDERSTUDIES VICTOR MALANA MAOG
Iniabasi Ekpeyong, Adiaha Ufot Abasiama Ufot BRITNEY FRAZIER* CATHLEEN RIDDLEY*
THIS PRODUCTION MADE STAGE MANAGEMENT POSSIBLE BY
Producers Stage Manager Assistant Stage Manager Stage Management Fellow DIANNE AND RON HOGE DANI BAE* CHERYLE HONERLAH* BRIANNA GRABOWSKI DONALD J. AND TONI RATNER MILLER ROBINA RICCITIELLO ANNE AND MICHELLE SHONK
CREATIVE TEAM OFFICIAL HOTEL PARTNER Scenic Designer Costume Designer Lighting Designer DAVID ISRAEL REYNOSO SARITA FELLOWS YAEL LUBETZKY
Sound Designer Props Design Associate Voice and Dialect Coach JAKE RODRIGUEZ JACQUELYN SCOTT LISA ANNE PORTER
Dramaturg Casting Director Movement Support JOY MEADS JANET FOSTER, CSA DANYON DAVIS
Developed and created as part of I Am Soul—Playwright Residency Program at Dr. A.C.T. PRODUCING TEAM Barbara Ann Teer’s National Black Theatre in Harlem, NYC.
Her Portmanteau was developed, in part, at Associate Artistic Director General Manager Director of Production SPACE on Ryder Farm. ANDY DONALD LOUISA BALCH MARTIN BARRON Her Portmanteau had its world premiere at New York Theatre Workshop (Jim Nicola, Artistic Director; Jeremy Blocker, Managing Director) in 2017 in association with The Playwrights Realm.
Her Portmanteau is presented by special arrangement with Dramatists Play Service, Inc., New York. *Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States
13 PHOTO BY BRAD OGBONNA FOR THE NEW YORK TIMES
ONSTAGE NOW I AM NIGERIAN. I AM AMERICAN. I WILL NOT CHOOSE. AN INTERVIEW WITH PLAYWRIGHT MFONISO UDOFIA BY ELSPETH SWEATMAN
14 ACT-SF.ORG A.C.T. Master of Fine Arts Program alum Mfoniso Udofia is taking the American theater by storm.
Her ambitious nine-part Ufot Family You can have multiple time modalities How does your work tackle the cycle has been workshopped at leading happening at once. Take runboyrun. misconception that all Africans are from impoverished war-torn areas? new-play incubators, including SPACE There is no beginning, middle, and end; on Ryder Farm and Dr. Barbara Ann it’s on a constant loop, the past Africans from those areas exist, and the Teer’s National Black Theatre. Three of and present occurring within the plays that chronicle their lives can be the plays—Sojourners, runboyrun, and same space. illuminating and impactful. But if those Her Portmanteau—have been produced representations become the only truths at The Playwrights Realm, Magic What does the Nigerian language of you see related to an African body, that’s Ibibio provide you as a playwright? Theatre, and New York Theatre problematic. The Africa that I know, Workshop. Now, she is back at A.C.T. I’m interested in the power politics and the Nigeria that I know, do not look with Her Portmanteau. We chatted of language. In Her Portmanteau, you like that. Did we have a cataclysmic, with Udofia about her influences have characters who have varying terrifying war? Yes. The first modern, and the importance of having Black degrees of ease within Ibibio. Iniabasi African civil war—the Biafran War— bodies onstage. believes Adiaha does not understand happened in my ancestral homeland. anything of her culture, so she has a But do we also barbecue at our house in Who are your writing inspirations? loaded conversation with her mother Massachusetts? Yeah. When I first started playwriting, in Ibibio so her sister won’t hear. She’s I couldn’t name many playwright surprised when Adiaha actually has a It’s important for audiences to see inspirations. I read primarily non- half understanding. She can hear, but different kinds of Blackness in relation dramatic narratives by contemporary not speak. to each other. In TV shows or plays, African writers: Chinua Achebe, you see only Nigerians in Nigerian A big theme in Her Portmanteau is stories, African Americans in African Chimamanda Ngozi Adichie, and Ben identity. It’s a tricky place to live, caught Okri. Around 2013, I had a very bad between multiple cultures, languages, American stories, Jamaicans in case of writer’s block. I asked myself, and countries. Jamaican stories; you never see us all interacting. My Ufot cycle looks at what “What African dramatic literature do It is. Especially as the country you are happens when we do interact, and from I absolutely adore?” I could name only from becomes more and more unlike a place of love. two African playwrights: Wole Soyinka the country you’re now in. The United and Athol Fugard. So I went searching States is a very individualistic society. How does it feel to be coming back and found Ama Ata Aidoo, Ola Rotimi, Nigeria is more collectivist. Being a to A.C.T.? Tawfiq al-Hakim, and more, more, Nigerian in America, it’s always a fight It’s an incredible thing. It will be good more. Reading them helped me see between the “I”—“I want to succeed”— to be back in the Bay and see this thing where my plays fit in the African and the “we”: “This is what we need to called The Strand Theater that I’ve dramatic literary canon. do.” There’s always a struggle within the heard amazing things about and now get second-generation offspring; I can look What African storytelling tropes do you to be on. draw from? at my foreign-born parents’ culture and I AM NIGERIAN. I AM AMERICAN. understand it, but also look at American A.C.T. has commissioned another play in In Nigeria, there is a multiplicity of culture and understand that. As a the Ufot cycle. Can you tell us anything languages [over 520]. You can’t write a playwright, I want to illuminate that about it? truly authentic Nigerian play without intersection, because I actually live it. It’s Kufre’s play (Iniabasi’s son). A I WILL NOT CHOOSE. using different languages. Also, in a lot I am Nigerian and I am American and I chil dren’s play. [Laughs] I need to of Nigerian storytelling, the spirit world will not choose. The more we see stories start writing. n AN INTERVIEW WITH PLAYWRIGHT MFONISO UDOFIA and the corporeal world inhabit the that live in this intersection, the easier it same space. Time can work differently. will be for those of us who live there. BY ELSPETH SWEATMAN The narrative doesn’t have to be linear.
415.749.2228 15 ONSTAGE NOW REDUCING THE DISTANCE AN INTERVIEW WITH DIRECTOR VICTOR MALANA MAOG BY SIMON HODGSON
Across three decades in American theater, director Victor Your own background spans different cultures and Malana Maog has earned a reputation as an insightful communities. How does that prepare you for telling this story? storyteller unafraid to dive deep into the tangled As a person born in the Philippines and raised in America, culture of contemporary America. This thoughtful, I’m interested in stories that wrestle with otherness. unassuming, and collaborative Filipino American When I was one year old, my mom got an opportunity director has developed work with most of the major US to work in America. My mom and dad left me with theater incubators, including Ma-Yi Theater Company, family. And when I reunited with them in America, I New Dramatists, The Lark, and The Playwrights Realm, was six. My newborn sister was six months old. On the last of which paired him with playwright Mfoniso a deep, personal level, I know what it means to be in Udofia for a reading ofSojourners in 2013. That reading another country, to be ripped from your parents, and the sparked a partnership across multiple plays in Udofia’s childish hope—even the adult hope—of reconnecting. nine-part Ufot Family cycle. We spoke with Maog about I’m interested in the alienation and separation that can hope, hunger, and the challenge of the American story. happen between two countries, and when those beliefs and expectations create friction. How do human beings W heard that as part of your collaboration on Her Portmanteau, We heard that during your collaboration on Her Portmanteau, survive being dropped into worlds they don’t know? you asked Mfoniso to read the entire you asked Mfoniso to read the entire script aloud. script aloud. When we were working together on new pages at SPACE on How can you use The Strand to investigate those worlds? Ryder Farm [a new play incubator in upstate New York], I This theater can take this naturalistic play and give it would ask her to read the play—just like Arthur Miller used epic proportions. Part of our design is to bring the work to do at first rehearsals—so I could funnel all the language forward as far as possible. It’s easy, I can imagine, to and all the intention of the characters through her voice. think, “That’s not my story; that’s a Nigerian story.” We want as much of a connection as we can between the What did you hear in her spoken words that you didn’t read actors and the audience. We want to reduce the distance. on the page?
Mfoniso is a magnificent actor. Through her voice, I heard To bring the audience closer to the action? the musicality more. I also started to feel the internal We’re going to put the world of these characters incinerator of the characters—the hunger driving them and Adiaha’s apartment in the audience’s lap. To be forward. When audiences think of mother-daughter stories, able to smell the breaths and the interactions and they sometimes yearn to have a complete resolution. The to watch these human beings closely. What happens unconscious impulse might be to flatten foreign characters when you’re with your family? There’s a sense of and easily box in narratives. In this play, all of the women suffocation—uncomfortable things happen, you are incredible heroes. All of them can be monsters too— want to scream but can’t. In those small spaces, you simultaneously wronged in some way and longing for a can have decades of conflict, misunderstandings, deep connection. or wants that you can’t express. We have three great actors who are not afraid of this, and are willing to share that nightly with an audience.
16 ACT-SF.ORG PHOTO BY ELSPETH SWEATMAN
Director Victor Malana Maog, scenic designer David Israel Reynoso, and playwright Mfoniso Udofia at the first rehearsal for A.C.T.’s production of Her Portmanteau (2019).
You’re directing Her Portmanteau at A.C.T. and In Old Age at Magic Theatre. What draws you to Mfoniso’s storytelling? What I love about her is the grandness with which she arrived. She said, “I will cover generations.” She wanted to put Black bodies onstage, to represent stories that she had not seen before. These characters— Want to know more about Her Portmanteau? Abasiama, Iniabasi, and Adiaha—are roles of a Words on Plays is full of interviews and original lifetime. It tells you of her strength and the vastness articles that give you a behind-the-scenes look. Proceeds from sales of Words on Plays benefit of her vision. She is one of our great writers, our artist A.C.T.’s education programs. warriors. In 500 years, someone’s going to open up this time capsule and, because of these plays, better Available at the box office and lobby, at the bar, understand the complexity of the American story. n and online at act-sf.org/wordsonplays.
415.749.2228 17 PHOTOS BY MARK KITAOKA AND TRACY MARTIN AND TRACY MARK KITAOKA BY PHOTOS REAL THEATER CLASSES FOR REAL PEOPLE
Register today for our spring session! April 1–May 26 act-sf.org/studio
18 ACT-SF.ORG WHO'S WHO IN HER PORTMANTEAU
ANEISA HICKS Wallace; Amira in Party People, by BRITNEY (Adiaha Ufot) UNIVERSES; Viola Pettus in FRAZIER* is an actor whose American Night, by Culture Clash; and (Understudy) is theater credits Cynthia in Sweat. Scott also created a Bay Area actor, include The Dark at the role of Molly in Joe Turner’s Come director, the Top of the Stairs and Gone on Broadway (Tony and playwright, and (Eclipse Theatre Drama Desk Award nominations). teaching artist. She Company), Scott’s screen credits include the films has had the Graveyard Shift (Goodman Theatre), Love & Other Drugs, World Trade blessing of creatively collaborating as The End of TV (Manual Cinema), Center, The Abyss, and many an actor with Campo Santo, Cutting Neverwhere (Lifeline Theatre), and television appearances. She received Ball Theater, Shotgun Players, Brava! The House That Will Not Stand her MFA from Yale School of Drama. for Women in the Arts, Ubuntu (Victory Gardens Theater). Her Theater Project, San Francisco television credits include NBC’s EUNICE International Arts Festival, Berkeley Chicago Med, Showtime’s The Chi, WOODS* Repertory Theatre, San Francisco Fox’s The Exorcist, NBC’s Chicago (Iniabasi Playhouse, PlayGround, and A.C.T. As Justice, and Fox’s Empire. Hicks can Ekpeyong) is a teaching artist, Frazier has taught also be seen in the web series The delighted to make and directed for Disney Theatrical Haven. Hicks received her MFA in her A.C.T. debut. Productions in New York and for Bay acting from the University of Iowa Woods is based in Area Children’s Theatre as a part of its in 2015 and completed Folio I and Chicago, so she’s Disney Musicals in Schools program. Folio II training at Chicago also delighted to spend the winter in She’s also taught with California Shakespeare Theater in 2016–17. San Francisco. Select credits from Shakespeare Theater, East Bay Center castingnetworks.com/aneisahicks Chicago include The Curious Incident for the Performing Arts, StageWrite, of the Dog in the Night-Time and Yerba Buena Center for the Arts, The KIMBERLY Familiar (understudy) at Steppenwolf Marsh, and A.C.T. As a playwright, she SCOTT* Theatre Company, Father Comes has birthed three original plays: (Abasiama Home from the Wars (Parts 1, 2 & 3) Obeah, Dysphoria, and Pressure High. Ufot) makes her (understudy) at Goodman Theatre, In 2018, TheatreFIRST commissioned A.C.T. debut in Her Hinter at Steep Theatre, No Blue Frazier to write Laveau, a solo, ritual Portmanteau. Her Memories: The Life of Gwendolyn performance tribute to Marie Laveau. theater credits Brooks at Manual Cinema, Parade at Most recently, Frazier was seen in include Lynn Writers Theatre, 10 out of 12 at Candlestick with Campo Santo. Nottage’s Sweat (Arena Stage), Tarell Theater Wit, Little Shop of Horrors at Alvin McCraney’s Head of Passes American Blues Theater, and The CATHLEEN (Berkeley Repertory Theatre), and the Project(s) at American Theater RIDDLEY* world premieres of Danai Gurira’s Company, among others. Her (Understudy) is Familiar (Yale Repertory Theatre) television credits include Shameless proud to be and Jeff Whitty’sFurther Adventures and Chicago P.D. Woods is working with of Hedda Gabler (South Coast represented by Gray Talent Group. A.C.T. again. She is Repertory). At the Oregon Instagram: @eunicewoods a multiple award- Shakespeare Festival, she has winning actor who performed in Henry V (directed by has performed at numerous Bay Area Rosa Joshi), Henry IV, Parts One and theaters. Riddley’s favorite roles Two (directed by Lileana Blain-Cruz include Mercutio in Romeo and Juliet and Carl Cofield, respectively), at Queen Mab Productions, Lena in and Ruined (directed by Liesl brownsville song (b-side for tray) at Tommy), as well as created the roles of Shotgun Players, Lucy in The America Dembi in The Liquid Plain, by Naomi Play at Thick Description Theatre Company, Nurse in Medea at African-
* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 415.749.2228 19 American Shakespeare Company, Mrs. Price in Tree at San Francisco Playhouse, and Azucar in Bondage at Alter Theater. She is particularly proud of having performed every role numerous times in the year-long run of Hamlet at Shotgun. Riddley is a proud member of Actors’ Equity Association and Theatre Bay Area, and she is a company member at Shotgun and the PlayGround Center for New Plays. She is an alumna of the Juilliard School Drama Division, a certified ASL interpreter, and has an MA from the University of Pennsylvania.
MFONISO UDOFIA (Playwright), a first-generation Nigerian American storyteller and educator, attended Wellesley College, obtained her M.F.A. from American Conservatory Theater and, while at A.C.T., co-pioneered The Nia Project, which provided artistic outlets for youth residing in Bayview– Hunters Point. Productions of her plays Sojourners, runboyrun, and Her Portmanteau have been seen at New York Theatre Workshop (NYTW), The Playwrights Realm, Magic Theatre, National Black Theatre, and Boston Court. She’s the recipient of the 2017 Helen Merrill Playwright Award, the 2017–18 McKnight National Residency and Commission at The Playwrights’ Center, and is a member of New Dramatists. She will be returning to NYTW in Fall 2019 with productions of runboyrun and In Old Age. She’s currently commissioned by PlayOn!, Hartford Stage, Denver Center for the Performing Arts, A.C.T., McCarter Theatre Center, Round House Theater, and South Coast Repertory. Her plays have been developed by Manhattan Theatre Club, McCarter, New Dramatists, Berkeley Repertory Theatre’s Ground Floor, Hedgebrook, Sundance Institute’s Theatre Lab, SPACE on Ryder Farm, and many more.
20 ACT-SF.ORG VICTOR MALANA MAOG including The Old Globe, La Jolla (Director), named one of American Playhouse, American Repertory Theatre magazine’s “People to Theater, Seattle Repertory Theatre, Watch,” makes his A.C.T. debut with Arena Stage, Contra-Tiempo, Proud to Her Portmanteau. He has directed Commonwealth Shakespeare and developed work at The Public Company, Milwaukee Repertory Support Theater, Williamstown Theatre Theater, Gloucester Stage Company, Festival, Hartford Stage, Signature and Lyric Stage Company of Boston. A.C.T. Theatre Company, Mabou Mines, His scope of work extends beyond Drury Lane Theatre, Second theater to experiential and exhibit Generation Productions (2g), The designs, such as PostSecret and Lark, New Dramatists, ABC/Disney, Living with Animals for the San and large-scale stage shows, live Diego Museum of Man. Reynoso is Personal attention events, and spectaculars at Disney the recipient of the Creative Catalyst thoughtful litigation Parks Live Entertainment. Upcoming grant, an Elliot Norton Award, a Craig final resolution productions include the world Noel Award nomination, and multiple premiere of Mfoniso Udofia’s In Old IRNE and BroadwayWorld Award Our goal is to preserve our LAW FAMILY Age at Magic Theatre and Macbeth at nominations. davidreynoso.com client’s dignity and humanity. California Shakespeare Theater. In 2004, Maog was one of six directors SARITA FELLOWS (Costume Designer) makes her A.C.T. debut in the nation to receive a place at FA M I LYLAW G R OUP, P. C . the National Endowment for the with Her Portmanteau. Her previous work in New York includes Macbeth, Arts/Theatre Communications 575 Market Street, Suite 4000 The Winter’s Tale, and Measure Group (TCG) Career Development San Francisco, CA 94105 Program for Theatre Directors. for Measure (New York Classical 415.834.1120 www.sflg.com He is the board president of The Theatre); A Chronicle of the Death Consortium of Asian American of Two Worlds (New York Theatre Theaters & Artists. He has also been Workshop); Loving and Loving awarded the Van Lier Directing (Stella Adler Studio of Acting); Mud, Fellowship, Altvater Fellowship Prospect, and Fabuloso! (Boundless at Cornerstone Theater Company, Theatre Company); The Forbidden and the Presidential Award with City and A Bright Room Called Day the Theatre Arts Project, and was (The Juilliard School); Familiar recently chosen as an inaugural TCG (associate costume designer; SPARK Leadership Program leader. Playwrights Horizons); and Turn Me Loose (associate costume designer;
He has a BA in global leadership BRUCE DAMONTE BY PHOTO and performance studies from New Westside Theatre). Regionally, York University’s Gallatin School of she’s designed for Two Trains Individualized Study. victormaog.com Running (Weston Playhouse Theatre Company); Berta, Berta and A Late DAVID ISRAEL REYNOSO Morning [in America] with Ronald (Scenic Designer) is a scenic and Reagan (Contemporary American costume designer who is pleased to Theater Festival); Having Our Say: return to A.C.T., having previously The Delany Sisters’ First 100 Years designed Hamlet for the Geary stage. (Philadelphia Theatre Company); and He is the Obie Award–winning The Adventures of Robin Hood and costume designer for Punchdrunk’s The Dancing Princesses (Summer international sensation, Sleep No Theatre of New Canaan). Fellows More (New York and Shanghai), also designs for film, dance, and and the creator/director of Optika- opera, and is an associate professor Moderna’s innovative Waking La at Princeton University and New
Llorona. Reynoso is recognized for York University’s Tisch School of the Visit act-sf.org/rentals his widespread work with regional Arts, where she earned her MFA. or contact Eric Brizee at theaters and dance companies [email protected].
415.749.2228 21 YAEL LUBETZKY (Lighting post-electric play (A.C.T., the Guthrie Designer) is a New York–based Theater). Rodriguez is the recipient lighting designer. She has designed of a 2004 Princess Grace Award. productions in New York City and regionally including the Broadway JACQUELYN SCOTT (Props production of Russell Simmons’ Design Associate) works as Def Poetry Jam. She reunites with props master, set designer, and director Victor Malana Maog after art director for theaters and film recently collaborating on South companies throughout the Bay Area. Pacific (Drury Lane Theatre, Illinois). Her previous credits include Men on Additional recent designs include Boats, Vietgone, and John (A.C.T.); Cabaret (Paramount Theatre, Illinois; She Loves Me, Seared, Stage Kiss, Joseph Jefferson Award nomination); Company, Tree, Into the Woods, Downtown Race Riot (The New Jerusalem, Abigail’s Party, and A Group); Evita and Smokey Joe’s Cafe Behanding in Spokane (San Francisco (Riverside Theatre, Florida); Newsies Playhouse); Fool for Love, A Lie of the (NewArts, Connecticut); Mamma Mind, Buried Child, The Happy Ones, Mia! (Arkansas Repertory Theatre); Annapurna, The Lily’s Revenge, The and The Three Musketeers (Syracuse Brothers Size, Goldfish, and Octopus Stage; Syracuse Area Live Theater (Magic Theatre); Stories by Emma Award nomination). Her off-Broadway Donoghue and Colm Tóibín and Stories designs include productions at The by Alice Munro (Word for Word Public Theater, Playwrights Horizons, Performing Arts Company); Assassins Women’s Project Theater, Theatre and God’s Plot (Shotgun Players); at St. Clement’s, The Duke on 42nd Hundred Days and The Companion Street, Cherry Lane Theatre, INTAR Piece (Z Space); and American Theatre, New Ohio Theatre, York Hwangap (The Play Company, Theatre Company, and National New York). wrenarthouse.com Yiddish Theatre Folksbiene. Regional LISA ANNE PORTER (Voice theater designs include productions and Dialect Coach) is the head at Chicago Shakespeare Theater, of text and dialects at A.C.T. She has Trinity Repertory Company, served on the faculties of UC Berkeley, Children’s Theatre Company, UC Davis, Shakespeare & Company, and Clarence Brown Theatre. the Tepper Semester at Syracuse JAKE RODRIGUEZ (Sound University, Naropa University, California Shakespeare Theater, and Designer) is a sound designer and composer based in the San Berkeley Repertory Theatre. She Francisco Bay Area. His recent was an associate professor of voice, credits include Women Laughing acting, and text in the BFA program Alone with Salad and The Events at Syracuse University, where in her (Shotgun Players); Sweat and Vietgone first year of teaching she was awarded (A.C.T.); Everybody (California the Most Inspirational Faculty award. Shakespeare Theater); Angels in She has coached voice and dialect in America and An Octoroon (Berkeley more than 70 productions nationwide. Repertory Theatre); we, the invisibles As a professional actor, she has (Actors Theatre of Louisville); A performed with numerous repertory Thousand Splendid Suns (A.C.T., companies and Shakespeare festivals Theatre Calgary, Grand Theater, throughout the country. Porter has The Old Globe); The Christians an M.F.A. in acting from A.C.T., a (Playwrights Horizons, the Mark BA in theater and American studies Taper Forum); Girlfriend (Kirk from Wesleyan University, and is Douglas Theatre); and Mr. Burns, a certified in Linklater voice training.
22 ACT-SF.ORG JOY MEADS (Dramaturg), a Theatre, Steppenwolf Theatre native of Oakland, comes to A.C.T. Company, The Old Globe, and ADDITIONAL CREDITS from Center Theatre Group, where American Repertory Theater. Film, Mr. Essien E. Idiong, she served as literary manager/ television, and radio credits include Dialect Consultant artistic engagement strategist. Her Cosby, Tracey Takes On New York, May Liang, Assistant Director CTG dramaturgy credits include Rajiv The Deal, Advice from a Caterpillar, Dante Clarke, Head Carpenter Joseph’s Archduke, Ngozi Anyanwu’s The Day That Lehman Died (Peabody, Ana Gabriela Hernandez-McKig, Good Grief, Branden Jacobs-Jenkins’s SONY, and Wincott awards), and Head Electrician Appropriate, Dael Orlandersmith’s “T” Is for Tom (Tom Stoppard radio Ksenia Antonoff, Wigs Supervisor Forever, Jordan Harrison’s Marjorie plays, WNYC and WQXR). She also Mika Rubenfeld, Wardrobe Crew Prime (2015 Pulitzer Prize finalist), cast LifeAfter, a GE Theater podcast. Bruce Norris’s A Parallelogram, Marco Ramirez’s The Royale, Daniel DANI BAE* (Stage Manager) PHOTOGRAPHS AND Alexander Jones’s Radiate, and Naomi returns to A.C.T. for Her Portmanteau. RECORDINGS Iizuka’s SLEEP (a co-commission Recent A.C.T. credits include with Ripe Time, Brooklyn Academy of Heisenberg, The Birthday Party, and Audience members may take photos in the theater before and after the Music, and Yale Repertory Theatre). A Thousand Splendid Suns. Local performance and during intermission. If stage management credits include you post photos on social media or Previously, Meads was literary elsewhere, you must credit the manager at Steppenwolf Theatre Detroit ’67 and Dry Powder (Aurora production’s designers by including the following names: Company and associate artistic Theatre Company). Other stage management credits are A Thousand David Israel Reynoso (Scenic Designer), director at California Shakespeare Instagram: @designreynoso Theater. She has also developed Splendid Suns (Seattle Repertory Sarita Fellows (Costume Designer), plays with the Oregon Shakespeare Theatre), the Bard Music Festival www.saritafellows.com Yael Lubetzky (Lighting Designer) Festival, New York Theatre (Bard SummerScape), and Urinetown: The Musical (American Theatre of Jake Rodriguez (Sound Designer), Workshop, Berkeley Repertory twitter: @sounjaerk Actors). She recently completed a Theatre, Denver Center for the Please note: Photos are strictly stage management fellowship at A.C.T. prohibited during the performance. Performing Arts, the Eugene O’Neill Photos of the stage are not permitted if Theater Center, Ojai Playwrights Bae has a BFA in stage management an actor is present. Video recording is not permitted in the theater at any time. Conference, Portland Center Stage, from Syracuse University. @ACTSanFrancisco South Coast Repertory, and Campo CHERYLE HONERLAH* #HerPortmanteau Santo, among others. Meads is a (Assistant Stage Manager) proud co-founder of The Kilroys. is excited to work with A.C.T. this JANET FOSTER, CSA (Casting) season. She has worked with many has cast for A.C.T. for seven seasons, theaters in the Bay Area, including including Edward Albee’s Seascape, California Shakespeare Theater Men on Boats, Sweat, Hamlet, A (black odyssey, Quixote Nuevo, and Thousand Splendid Suns, The Hard The Glass Menagerie), TheatreWorks Problem, King Charles III, Arcadia, (Tuck Everlasting and Daddy Long Stuck Elevator, The Orphan of Zhao, Legs), Douglas Morrisson Theatre Napoli!, and Endgame and Play. On (Charley’s Aunt ’66, Book of Days, Broadway, she cast The Light in the and Hank Williams: Lost Highway), Piazza (Artios Award nomination), Shotgun Players (The Mousetrap), Lennon, Ma Rainey’s Black Bottom, and African-American Shakespeare and Taking Sides (co-cast). Off- Company (Cinderella, The Tempest, Broadway credits include True Love, Medea, and Much Ado about Nothing). Floyd Collins, The Monogamist, A Honerlah holds a BA in technical Cheever Evening, and Later Life. theater from California State Regionally, she has worked at University, East Bay, and is a proud Intiman Theatre, Seattle Repertory member of Actors’ Equity Association. Theatre, California Shakespeare Theater, Berkeley Repertory Theatre, Yale Repertory Theatre, Goodman
* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States
415.749.2228 23 PRESENTS THEATER TOURS 2019 BROADWAY IN NEW YORK CITY THE OREGON SHAKESPEARE FESTIVAL
Experience the bright lights of Broadway Explore charming Ashland at the Oregon Shakespeare (plus optional tickets to Harry Potter and the Cursed Festival, plus a vineyard tour Child, Parts One and Two!) July 16–21, 2019 May 14–20, 2019 DUBLIN THEATER TOUR LONDON THEATER TOUR
Uncover the performing arts of Ireland and the Journey to the original theater town—London—plus Dublin Theatre Festival, plus a tour of the glorious an exclusive tour of Highclere Castle, the home of West of Ireland! Downton Abbey! Sep 23–30, 2019 Oct 1–7, 2019
ALL THEATER TOURS ARE LED BY A.C.T. ARTISTIC STAFF AND INCLUDE: • Tickets to world-class productions • Receptions and cocktail hours • Luxury accommodations • Complimentary breakfast each morning in our hotel • Discussions with guest artists • Sightseeing excursions and walking tours • Welcome and farewell dinners • Travel companions who love theater
For more information, visit act-sf.org/theatertours or contact Caitlin A. Quinn at [email protected] or 415.439.2436. A.C.T. TODAY TESTING AND LEARNING A CONVERSATION WITH A.C.T. BOARD MEMBER JASCHA KAYKAS-WOLFF BY SIMON HODGSON
Jascha Kaykas-Wolff, the chief marketing officer at Mozilla, had enjoyed several shows at The Geary. But it wasn’t until M.F.A. Program board member Chris Hollenbeck and his wife, Holly, invited him and his wife, Rebecca, to the Spooked at The Strand Halloween-themed fundraiser in 2015 that Kaykas-Wolff discovered A.C.T.’s sheer range of work. That introduction sparked a partnership between Mozilla and A.C.T. that now PHOTO COURTESY JASCHA KAYKAS-WOLFF includes a series of new play readings, sponsorship of the M.F.A. Program play Clickshare in 2017, support for the New Strands Festival, and sponsorship of new content for the LED screen at The Strand. It also resulted in Kaykas- Wolff joining A.C.T.’s Board of Trustees.
What drew Mozilla to work with A.C.T.? interact with their customers. That’s We’ve got amazing writers and creative not a finite tool that you deliver, it’s a people; when you put smart creators We were first interested in A.C.T. mindset. The more we introduce the together, good things happen. because we saw a unique parallel in way that A.C.T. thinks about product the way we both developed products. development, the better off we We also think that the Strand’s LED You do something magical at a very are overall. screen is an amazing vehicle to get our high frequency; you create products word out to San Franciscans. We want (or productions) that you’ve got to test, Any ideas about future collaboration everyone to understand that when they learn from, and continually improve between Mozilla and A.C.T.? choose Firefox as their browser or any upon—and you get to experience that When we brought your M.F.A. actors Mozilla product, it gives them more testing and learning in front of a live and Artistic team into our office, it control of their online life. Working audience. It’s complementary to the generated something really cool. I’ve with your creative team to design way many technology companies think had conversations with [Associate a message that makes sense in the about developing products. Mixing Artistic Director] Andy Donald about context of The Strand, its location, your processes with ours is inspiring. setting up a hotdesk arrangement with and the plays happening at A.C.T.— Over the last couple of seasons, dozens a playwright in Mozilla’s headquarters. that’s intriguing. n of Mozilla folks have experienced A.C.T.’s work. What results have you seen in your own colleagues? For more information about how to start a similar collaboration with A.C.T. or how to join A.C.T.’s Board of Trustees, visit Every time we bring your team into act-sf.org/support or contact A.C.T. Director of Development our offices, our teams are inspired Caitlin A. Quinn at 415.439.2436 or [email protected]. to think differently about how they
415.749.2228 25 A.C.T. TODAY
THEORY INTO PRACTICE M.F.A. PROGRAM ACTORS ON THE MAINSTAGE BY ELSPETH SWEATMAN PHOTOS BY KEVIN BERNE.
26 ACT-SF.ORG As actors walk from their dressing rooms up to the stage of 2019)—put their newly acquired Geary experience to use of The Geary or The Strand, they pass the names and straightaway as the understudies for the lizards in Edward photographs of thousands of performers who have trodden Albee’s Seascape. And Her Portmanteau is written by class the same path. For our current and recently graduated of 2009 alum Mfoniso Udofia. Master of Fine Arts Program actors, these names empower, inspire, and energize them in the brief moments before the For each up-and-coming actor, performing in front of an curtain rises. “It became a preshow ritual to look at all those A.C.T. audience is a rush. “The first time I performed on names,” says recent M.F.A. graduate Kadeem Ali Harris the Geary stage, I climbed up a ladder into smoke, fog, and (class of 2018), who played Chris in this season’s opener, darkness and said the first lines ofHamlet [2017],” says Sweat. “There’s power in knowing the long history of people Vincent Randazzo, a class of 2018 grad who also performed who came before you. It’s a blessing to be able to get up there in A Walk on the Moon and will soon be back at A.C.T. in and do the same.” Vanity Fair. “My heart was beating so fast, I thought I was going to pass out and fall backward into the trap.”
But in that moment, Randazzo knew that the theater “THERE’S POWER IN KNOWING training he had received in the M.F.A. Program had more than prepared him to command the stage. “At A.C.T., you don’t just become ‘Geary ready,’ but ‘theater ready.’ The THE LONG HISTORY OF training gets you to a place where you realize, ‘I can do this everywhere,’” says Randazzo. Current third-year actor ACTORS WHO CAME BEFORE Ash Malloy, who played Annabelle in A Christmas Carol (2018), agrees. “A.C.T.’s M.F.A. Program is rigorous, one that YOU. IT’S A BLESSING TO BE prepares the entirety of the actor’s instrument to express the full range of the human experience. I’ve learned so much ABLE TO GET UP THERE AND from my mentors. Conservatory Director Melissa Smith taught me the power of truth in acting. Voice teacher Lisa DO THE SAME.” Anne Porter showed me that vulnerability is the greatest gift, and that theater is a place where the most beautiful —M.F.A. PROGRAM ALUM KADEEM ALI HARRIS and broken parts of us can be put on full display. The M.F.A. Program has irrevocably changed me and I am forever grateful.” This season, more of our actors-in-training have experienced this power than ever before; every mainstage “I have a vivid memory,” says Katherine Romans (class of production has featured a third-year M.F.A. Program actor 2019), “of sitting in the balcony of The Strand watching The or alum. Alongside Harris in Sweat was current M.F.A. Unfortunates [2016] during my final callback for the M.F.A. actor Will Hoeschler (class of 2019), who understudied the Program and thinking, ‘I hope I get into this program so that role of Jason. In Men on Boats, Katherine Romans (class of I can perform on a stage like this one day.’ Opening night of 2019) played Bradley, while her classmate Jerrie R. Johnson Men on Boats was surreal. To be on the same stage with Amy understudied multiple roles. In December, the entire third- Lizardo, whom I saw in The Unfortunates—I felt like I’d won year M.F.A. class performed in A Christmas Carol; two the lottery.” n of those actors—Ash Malloy and Göran Norquist (class
OPPOSITE (CLOCKWISE FROM TOP LEFT) M.F.A. Program graduates Rod Gnapp (class of 1987) and Kadeem For more information about A.C.T.’s Master of Fine Ali Harris (class of 2018) in Sweat; Annemaria Rajala and M.F.A. Program actor Katherine Romans (class of 2019) in Men on Boats; Arts Program, visit act-sf.org/mfa. M.F.A. Program graduates Peter Fanone and Vincent Randazzo (class of 2018) in Hamlet.
415.749.2228 27 A.C.T. TODAY BY JUAN MANZO JUAN BY PHOTO
Teachers from Aptos Middle School participate in an Introduction to Arts Integration professional development In 1944 at the Terezin concentration camp in what was then seminar led by Lisa Edsall Giglio. Czechoslovakia, 17-year-old Jerry Rosenstein—when he had precious free time—would perch in the barracks’ dusty rafters to watch fellow inmates rehearse The Threepenny Opera. Terezin was a holding space for select Jews, particularly artists. The Nazis were staging a propaganda film at Terezin, depicting a thriving arts culture as cover for the atrocities occurring at this and other camps. Prisoners of Terezin, including Rosenstein, were later separated and sent to hard labor or extermination camps. But while they were together, Terezin inmates used music to encourage SHAPING one another. “It was my nightly pleasure,” said Rosenstein. “I learned that opera word for word, totally and completely.”
Rosenstein (1927–2016) endured five years in LIVES concentration camps, including surviving Dr. Joseph Mengele’s selection process at Auschwitz. “Music SAN FRANCISCO ARTS ORGANIZATIONS provided him an anchor in the death camps,” says Martin Tannenbaum, Rosenstein’s close friend and trustee of his UNITE IN SCHOOLS estate, as well as co-chair of the Education & Community BY ANNIE SEARS Programs Committee of the A.C.T. Board of Trustees. “Even after being liberated from Auschwitz, opera and theater provided him sustenance. And in his later years, here in San Francisco, he attended as many as ten music and theater performances weekly.”
28 ACT-SF.ORG Because the arts “saved” Rosenstein during his adolescence, he wanted to ensure that other San Francisco youth— particularly with limited economic resources—would “HAVING JRAP ANCHOR THE EARLY have access to performing arts. In turn, Rosenstein left a seven-figure gift to the SFUSD Visual and Performing Arts DAYS OF OUR ARTS INTEGRATION Department. That gift is now funding the Jerry Rosenstein Arts Project, “JRAP” for short. “The playfulness of the name PLAN HAS ALLOWED US TO DREAM would not have been lost on Jerry!” says Tannenbaum. EVEN BIGGER” JRAP is a collaboration between several San Francisco —DONN HARRIS, SFUSD EXECUTIVE DIRECTOR arts organizations, including A.C.T., African-American FOR CREATIVITY AND THE ARTS Shakespeare Company, Performing Arts Workshop, SF Jazz, SF Film, and Yerba Buena Center for the Arts, with San Francisco Opera serving as the project’s lead. While the collaboration features numerous organizations, there’s only The plan is threefold. Firstly, JRAP is providing one mission: provide middle-school students in the SFUSD professional development for all SFUSD middle-school access to arts learning opportunities that build creativity, educators and extensive workshops with teachers at select resilience, and self-confidence. pilot schools. The goal is bolstering teachers’ ability to incorporate the arts into all curricula—from statistics to geography, chemistry to sociology. “Having JRAP anchor JERRY ROSENSTEIN (1927–2016) the early days of our arts integration plan has allowed us to dream even bigger and do even more for our students,” In 1946, just months after escaping the says Donn Harris, SFUSD executive director for creativity Nazi concentration camps in Eastern and the arts. “As we make decisions around educational Europe, the Rosenstein family emigrated priorities, it is important that we cover a lot of ground with from Paris to New York. Shortly thereafter, our programs, combining literacy, identity, collaboration, Jerry Rosenstein left for the West Coast, and personal growth into a unified educational experience. where he came out as gay and built an A.C.T. and JRAP are exceptional partners to us.” import/export business, which included importing hard woods for all Eichler Secondly, JRAP matches these educators with local artists, Homes. Rosenstein used his business who bring their expertise into the classroom for four to success to give back to others. twelve visits. This semester, students at Francisco Middle School, Aptos Middle School, Everett Middle School, and “Jerry was a gay Jewish man—with great Dr. Martin Luther King, Jr. Middle School will explore good looks, even in his late eighties—and acting, spoken word, photography, filmmaking, podcasting, enormous charm, wit, and curiosity,” and choreography under the leadership of teaching artists says Martin Tannenbaum. “He was a practicing in those fields. generous supporter of the arts, gay rights, and social justice.” The majority of his JRAP’s third element is rigorous evaluation. By tracking the estate was distributed to over 40 such effects of these professional development seminars with organizations. Rosenstein also gave of his educators and residencies with students, JRAP leaders can time and intellect to Congregation Sha’ar lay the groundwork for other arts integration initiatives Zahav, the American Civil Liberties Union, moving forward. “We’re hoping that the impact of this Merola Opera Program, A.C.T. (where he program on teachers and students will be profound, and was a longtime subscriber and donor), that the model can be replicated in more San Francisco and Jewish Family and Children’s Services schools and perhaps across the state and the country,” says (JFCS). A jack of all trades, Rosenstein Tannenbaum. “Jerry believed that art has the power to used his business skills to help JFCS change lives. It certainly changed his.” n develop long-term funding strategies and his performative skills to illuminate To learn more about JRAP, contact SFUSD Director the often-untold stories of gay Jews and for Creativity and the Arts Donn Harris at others in the camps. He was particularly [email protected]. To learn more about A.C.T.’s fond of sharing with young people. Education & Community Programs, including JRAP, visit act-sf.org/education.
415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during the December 1, 2017, to December 1, 2018, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].
† A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter * Leadership Circle Member
Season Presenters JEROME L. AND JAMES C. HORMEL AND TONI REMBE AND JEFF AND LAURIE UBBENw THAO N. DODSON† MICHAEL P. NGUYEN-HORMELw ARTHUR ROCKw Jeff is a founder of ValueAct Capital Jerry is president of Parnassus James, the first openly gay US Past chair of A.C.T.’s Board of and a director of 21st Century Fox Investments and serves on the boards ambassador, founded the James C. Trustees, Toni is a retired partner at Inc. and Willis Towers Watson PLC. of San Francisco Opera and A.C.T. Thao Hormel Gay & Lesbian Center at the Pillsbury Winthrop Shaw Pittman. He serves on the boards of Duke and Jerry have established scholarships San Francisco Public Library (SFPL). Arthur was one of America’s first University, Northwestern University, for music education at the San Francisco Michael works alongside James on their venture capitalists. Along with other and the E. O. Wilson Biodiversity Symphony, undergraduate education at charitable giving foundation, and has community endeavors, they are Foundation. Laurie founded San UC Berkeley, and high school education served on the SFPL Commission for cofounders of the Arthur and Toni Francisco’s Bird School of Music. for 125 girls in Vietnam. two terms. A trustee of A.C.T., Michael Rembe Rock Center for Corporate is profoundly passionate about the arts Governance at Stanford Law School. KAY YUN AND ANDRE PRISCILLA AND KEITH GEESLIN†w and humanities. NEUMANN-LORECK†w Priscilla is a vice chair of A.C.T.’s ROBINA RICCITIELLO†w President of A.C.T.’s Board of Trustees, Board of Trustees and Development FRED M. LEVIN AND NANCY Robina is communications director for Kay is a partner at private equity fund Committee chair. She is vice president LIVINGSTON, THE SHENSON the Million Person Project, a company Health Evolution Partners. She is a of the SF Symphony, Grace Cathedral, FOUNDATIONw that helps people identify their core trustee of Parnassus Funds and a board and past chair of NARAL Pro-Choice Nancy is the Chair Emerita of A.C.T.’s values to tell their personal story. She member of San Francisco University America’s Foundation Board. Board of Trustees. She serves on the is involved with the UCLA Depression High School. Andre, the founder of On A principal of Francisco Partners, boards at the College of Fine Arts at Grand Challenge, an effort to cure Tap Consulting, has held executive roles Keith is president of SF Opera’s board Boston University and the National depression by the end of this century, in startups and Fortune 500 companies. of trustees and a board member of Council for the American Theatre. and with NARAL Pro-Choice America. Episcopal Community Services. Fred serves on the boards of the San Francisco Symphony, the Asian Art MARY AND STEVEN SWIGw Museum, and the SF Film Society. Steven has served on A.C.T.’s board since 1986 and is cofounder of Presidio Graduate School. Mary is on the Women’s Leadership Board of Harvard University’s John F. Kennedy School of Government. They serve on the boards of the Solar Electric Light Fund and the Americans for Cures Foundation.
Company Sponsors Executive Producers Barbara and Stephan Vermut Mary and Gene Metz ◆ Lesley Ann Clement and Mrs. Barbara Bakar Diane B. Wilsey Donald J. and Toni Ratner Miller ◆† Karl Lukaszewicz ◆ Bill Draper Nola Yee Clay Foundation - West Ray and Dagmar Dolby Family Fund ◆ Linda Jo Fitz ◆† Rich Rava and Elisa Neipp Frannie Fleishhacker Sakana Foundation Producers Norman and Janet Pease Kevin and Celeste Ford The Milledge and Patti Hart Family Paul Asente and Ron Jenks Elsa and Neil Pering Mr. and Mrs. Gordon P. Getty Dianne and Ron Hoge ◆† Nancy and Joachim Bechtle Merrill Randol Kirke and Nancy Sawyer Hasson ◆ Jo S. Hurley ◆ Lloyd and Janet Cluff Abby and Gene Schnair ◆† Jeri Lynn and Jeffrey W. Johnson Christopher and Leslie Johnson Daniel E. Cohn and Lynn Brinton Kathleen Scutchfield Mr. and Mrs. Robert McGrath John Little and Heather Stallings Little The New Ark Fund Anne and Michelle Shonk ◆ Burt and Deedee McMurtry Janet V. Lustgarten Concepción and Irwin Federman Cherie Sorokin David and Carla Riemer ◆† Nion McEvoy and Leslie Berriman ◆ Marcia and Jim Levy Emmett and Marion Stanton Patti and Rusty Rueff ◆ Barbara Ravizza and John S. Osterweis Jennifer S. Lindsay Valli Benesch and Bob Tandler Aaron Vermut and Sally and Toby Rosenblatt ◆ The Marymor Family Fund Adriana López Vertmut ◆† Lori Halverson Schryer ◆† Don and Judy McCubbin Jack and Susy Wadsworth ◆ Matthew and Lisa Sonsini Mr. and Mrs. J. A. McQuown Barry Williams and Lalita Tademy ◆
Associate Producers Carol Dollinger Luba Kipnis and David Russel Sara Eisner Richter and Michael Richter ◆ Vicki and David Fleishhacker Linda Kurtz ◆ Rick and Cindy Simons Paul Angelo Marilee K. Gardner Ken Lamb Vera and Harold Stein Sara and Wm. Anderson Barnes Fund Dr. and Mrs. Richard E. Geist Mr. and Mrs. John P. Levin Dr. Martin and Elizabeth Terplan Dr. Barbara L. Bessey Arnie and Shelly Glassberg Ann McNamee Mrs. Katherine G. Wallin and Linda K. Brewer Glasser Family Fund Milton Mosk and Thomas Foutch Mr. Homer Wallin Linda Joanne Brown Dr. Allan P. Gold and Mr. Alan C. Ferrara Marcy S. and Paul Nathan Katherine Welch Gayle and Steve Brugler Marcia and John Goldman The Bernard Osher Foundation Beverly and Loring Wyllie Carlotta and Robert Dathe ◆† Stephen and Diane Heiman Mr. and Mrs. Tom Perkins James and Julia Davidson Hilton San Francisco † Barbara Phillips Richard Davis-Lowell and Bill Lowell Betty Hoener Joseph E. and Julie Ratner ◆†
30 ACT-SF.ORG DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR
We are privileged to recognize these members’ generosity during the December 1, 2017, to December 1, 2018, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].
† A Dickens of a Holiday event sponsor/lead supporter w Lead Gala supporter
Benefactors Mr. Daniel Murphy Robert Ellis Mr. and Mrs. Merrill E. Newman Susan and Ralph G. Coan, Jr. Paula and John Murphy Barb and Gary Erickson Ms. Mary D. Niemiller Philip and Judy Erdberg Peter Pastreich and Jamie Whittington Joseph Fanone Barbara O’Connor Tom Frankel John Riccitiello Mr. Alexander L. Fetter and Ms. Mary Jo O’Drain Dr. and Mrs. Fred N. Fritsch Susan Roos Ms. Lynn Bunim Emilie and Douglas Ogden Mr. and Mrs. Thomas A. Gallagher Scott and Janis Sachtjen Mr. Robert Feyer and Ms. Marsha Cohen Don and Sally O’Neal Kaatri and Doug Grigg George and Camilla Smith Mr. and Mrs. Patrick F. Flannery Janet and Clyde Ostler Mr. Joel Krauska and Ms. Patricia Fox Lee and Carolyn Snowberg Mr. and Mrs. Richard Fowler Mr. and Mrs. William Pitcher Sue Yung Li and Dale K. Ikeda The Somekh Family Foundation Mrs. Susan Fuller Sandi and Mark Randall Marmor Foundation/Drs Michael Laura and Gregory Spivy † William Garland and Michael Mooney Jeff and Karen Richardson and Jane Marmor Diana L. Starcher Mr. Michael R. Genesereth Gary and Joyce Rifkind Jeffrey and Elizabeth Minick Roselyne C. Swig ◆ Susan and Dennis Gilardi Rick and Anne Riley Terry and Jan Opdendyk John and Sandra Thompson ◆ Dr. A. Goldschlager Mr. Orrin W. Robinson, III Lisa and John Pritzker Family Fund Patrick S. Thompson ◆ Barbara Grasseschi and Tony Crabb Deborah Romer and William Tucker Gordon Radley Pasha and Laney Thornton Marcia and Geoffrey Green Gary Rubenstein and Nancy Matthews Dr. James Robinson and Mrs. Helena Troy Wasp Mark and Renee Greenstein Betty and Jack Schafer Ms. Kathy Kohrman Ms. Allie Weissman Mr. Bill Gregory Kent and Nancy Clancy Matt and Yvonne Rogers Barbara and Chris Westover Raymond and Gale L. Grinsell Mr. and Mrs. John Shankel Mr. Laurence L. Spitters Mr. and Mrs. Bruce White Naren and Vinita Gupta Mr. James Shay and Mr. Steven Correll Kenneth and Sharon Wilson James Haire and Timothy Cole Te Smith and Dennis Cress Mr. and Mrs. Richard Halliday Kristine Soorian and Bryce Ikeda Playwrights Vera and David Hartford Ms. Valerie Sopher Anonymous (3) Directors Ms. Kendra Hartnett and Robert Santilli Mr. Richard Spaete Ray and Jackie Apple Anonymous (3) Kent Harvey Mr. and Mrs. Robert S. Spears The Tournesol Project Mr. Howard J. Adams Lenore Heffernan Steven and Chris Spencer Paul Blake Martha and Michael Adler Mrs. Deirdre Henderson Vibeke Strand, MD and Jack Loftis, PhD Roger and Helen Bohl Bruce and Betty Alberts Mr. and Mrs. Henry Paul Hensley Richard and Michele Stratton Ms. Donna Bohling and Lynn Altshuler and Stanley D. Herzstein Ms. Marcia Hooper Mr. Jay Streets Mr. Douglas Kalish Sharon L. Anderson Bannus and Cecily Hudson Dawna Stroeh Christopher and Debora Booth Ms. Kay Auciello Rob Hulteng Mr. M. H. Suelzle Ed Brakeman Jeanne and William Barulich Robert Humphrey & Diane Amend Susan Terris Dolly Chammas Mr. Michael Bassi and Ms. Christy Styer Robert and Riki Intner Nancy Thompson and Andy Kerr Richard DeNatale and Craig Latker David V. Beery and Norman Abramson ◆ Harold and Lyn Isbell John R. Upton Jr. and Ms. Roberta Denning Donna L. Beres and Terry Dahl Franklin Jackson & Maloos Anvarian Janet Sassoon-Upton William H. Donner Foundation David and Rosalind Bloom Anne Jamieson Arnie and Gail Wagner Anne and Gerald Down Peter Blume Phil and Edina Jennison Mr. and Mrs. James Wagstaffe Charles and Susan Fadley Mr. Mitchell Bolen and Stephanie and Owen Jensen Joy and Ellis Wallenberg, Nancy and Jerry Falk Mr. John Christner Ms. Pamela L. Kershner Milton Meyer Foundation Mr. Rodney Ferguson and Brenda and Roger Borovoy Mr. R. Samuel Klatchko Ms. Margaret Warton and Ms. Kathleen Egan ◆ Benjamin Bratt and Talisa Soto Harold L. Wyman Foundation Mr. Steve Benting Sue and Ed Fish Susan Breyer Harold and Leslie Kruth Ms. Carol Watts Lynda Fu Mrs. Libi Cape Harriet Lawrie Ms. Patricia Tomlinson and Sameer Gandhi and Monica Lopez Steven and Karin Chase Julius Leiman-Carbia Mr. Bennet Weintraub Bruce Golden Teresa Clark and Martin Lay Mr. Michael Levy and Irv Weissman and Family Kenneth Hitz Mr. and Mrs. David Crane Mr. Michael Golden Ms. Beth Weissman Alex Ingersoll and Martin Tannenbaum Ms. Karen T. Crommie Ms. Helen S. Lewis Marie and Daniel Welch Alan and Cricket Jones ◆† Joan T. Dea and Lionel F. Conacher Ms. Gayla Lorthridge Dr. and Mrs. Andrew Wiesenthal Sy Kaufman and Kerstin Edgerton Madeline and Myrkle Deaton Dr. Thane Kreiner and Mr. and Mrs. David Wilcox Paola and Richard Kulp Robert and Judith DeFranco Dr. Steven Lovejoy Mr. and Mrs. Roy B. Woolsey Melanie and Peter Maier, John Brockway Ingrid M. Deiwiks Richard N. Hill and Nancy Lundeen Mr. and Mrs. Roger Wu Huntington Foundation Mrs. Julie D. Dickson John B. McCallister Christine and Stan Mattison Art and JoAnne Dlott Elisabeth and Daniel McKinnon Mr. and Mrs. Roger Miles Bonnie and Rick Dlott Ms. Kathleen Dumas Ms. Nancy Michel
make dreams come true... become a Friend of A.C.T. today! For a full listing of member benefits, visit act-sf.org/memberships or contact A.C.T.’s Development Department at 415.439.2353.
415.749.2228 31 We are privileged to recognize Friends of A.C.T. members’ generosity during the December 1, 2017, to December 1, 2018, period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Hillary Bray at 415.439.2353 or [email protected].
wLead Gala supporter * Leadership Circle Member
Patrons Julia Lobel Sustainers Ms. Evelyn Lockton Anonymous (3) Mr. and Mrs. Robert W. Logan Anonymous (3) Harold and Diane Lunde Mr. and Mrs. Harold P. Anderson Mr. and Mrs. Alexander Long Mr. and Mrs. James Michael Allen Mr. and Mrs. William Manheim Mr. Paul Anderson Jeff and Susanne Lyons Robert Anderson Marina and Andy Martin Ms. Patricia Wilde Anderson Mr. and Mrs. Bruce A. Mann Ms. Gwynn August Marsha Mason Mr. David N. Barnard Amelia Lis Donna and Dan Aykroyd Robert McCleskey Mr. and Mrs. Paul Berg Karen and John McGuinn Dick Barker Carol McCutcheon-Aguilar and Fred and Nancy Bjork Dr. Margaret R. McLean Mr. William Barnard Luis Aguilar Mr. John Blankenship and Mr. Byron R. Meyer Ms. Linda J. Barron Linda McPharlin and Nick Nichols Ms. Linda Carter Maris Meyerson Mr. Daniel R. Bedford Sue and Ken Merrill Ben and Noel Bouck Trudy and Gary Moore Monique and Avner Ben-Dor Ms. Jane E. Miller Mr. and Mrs. Bernard Butcher Thomas and Lydia Moran Mrs. Fowler A. Biggs Sharon and Jeffrey Morris Denis Carrade and Jeanne Fadelli Jane and Bill Neilson Mr. Igor R. Blake John and Betsy Munz Cecily Cassel & Larry Cassel Nancy and Bill Newmeyer Mr. Noel Blos Joseph C. Najpaver and Deana Logan Todd Charles in memory of Bruce Noble and Diane Elder John Boland and James Carroll Jon Nakamura Robert E. Scheid Melodee and Lee Nobmann Mr. Roland E. Brandel Ms. Berna Neumiller Jean and Mike Couch Ms. Lisa Nolan Marilyn and George Bray Jeanne Newman Mr. and Mrs. Ricky J. Curotto Ms. Susan O’Brien Ms. Angela Brunton Ms. Joanna Officier and Mr. Ralph Tiegel Reid and Peggy Dennis Mrs. Margaret O’Drain Jaime Caban and Rob Mitchell Jillian C. Robinson Ron Dickel Margo and Roy Ogus Ms. Jean Cardoza Marguerite Romanello Elizabeth Eaton Shelly Osborne Michael Charlson* Mr. L. Kyle Rowley Michael Kalkstein and Susan English Barbara Paschke and Ceil Cirillo* Ms. Diane Rudden Leif and Sharon Erickson David Volpendesta Drs. James and Linda Clever Laura Jo Ruffin Dr. Angela Sowa and Janine Paver and Eric Brown Rebecca Coleman Mr. Joshua Rutberg Dr. Dennis B. Facchino Caitlin A. Quinn and Peter C. Garenani Mr. Edward Conger Ms. Monica Salusky and M. Daniel and Carla Flamm Ms. Diane Raile Mr. Copley E. Crosby Mr. John Sutherland Elizabeth and Paul Fraley Mr. and Mrs. Jacob Ratinoff James Cuthbertson Louise Adler Sampson Ms. Susan Free Ms. Danielle Rebischung Ms. Kathleen Damron Mr. James J. Scillian Alan and Susan Fritz Maryalice Reinmuller Ira and Jerry Dearing Mr. Jim Sciuto Lisa Fung ◆ Mr. and Mrs. John A. Reitan William Dewey Mr. Jon Shantz John L. Garfinkle Albert and Roxanne Richards Fund Edward and Della Dobranski Catharine Shirley Ms. Nonie Greene and Mr. Todd Werby ◆ Barbara and Saul Rockman Ms. Kirsty Ellis Donna and Michael Sicilian Ms. Ann M. Griffiths Ms. Mary Ellen Rossi Ms. Winn Ellis and Mr. David Mahoney Jill Stanfield Bill and Nancy Grove Michele and John Ruskin Marilynne Elverson Mr. Ronald Steininger* Mr. Kim Harris and Bennet Marks Sonja Schmid Mrs. Samuel Engel Jeffrey Stern, M.D. Kathy Hart Andrew and Marva Seidl Karen and Stuart Gansky Margaret Stewart and Mr. John F. Heil Ms. Ruth A. Short Frederick and Leslie Gaylord Severin Borenstein Leni and Doug Herst Dr. Elliot and Mrs. Kathy Shubin David and Betty Gibson Mr. and Mrs. Monroe Strickberger Tracy Brown and Greg Holland Ms. Patricia Sims Kathleen and Paul Goldman Mr. Jason Surles Richard and Cheryl Jacobs Mr. Earl G. Singer David B. Goldstein and Julia Vetromile Ms. Kim Szelog Dr. and Mrs. John E. Jansheski Mr. Mark Small Dr. and Mrs. Gabriel Gregoratos Catherine Tait Ms. Carolyn Jayne Richard and Jerry Smallwood Mr. Harry Hamlin and Ms. Lisa Rinna Marvin Tanigawa Jeffrey and Loretta Kaskey Candrah Smith Ms. Margaret Handelman Ian and Olga Thomson Michael Kim Dr. Gary Stein and Jana Stein Dr. James and Suzette Hessler Melita Wade Thorpe George and Janet King Joe Tally and Dan Strauss Ginger and Bill Hedden Leon Van Steen Mr. and Mrs. Kevin Klotter Robert Tufts Ms. Rebecca Helme Susan A. Van Wagner Jennifer Langan Mr. Douglass J. Warner Susana Hernandez Mr. and Mrs. Ron Vitt Thomas and Barbara Lasinski Mr. David S. Wood and Ms. Sandra Hess Anita Watkins Mr. Richard Lee and Ms. Kathleen Garrison Edward L. Howes, MD Ms. Meredith J. Watts Ms. Patricia Taylor Lee Jacqueline L. Young Allan and Rebecca Jergesen Mr. Richard West Mrs. Gary Letson The Arthur and Charlotte Mrs. Zeeva Kardos Mr. Robert Weston Dr. Lois Levine Mundie Zitrin Foundation Dan and Gloria Kearney Fund Judie and Howard Wexler Jody Kelley Wypych Tim M. Whalen Dr. and Mrs. David Kessler Mr. Laird Williamson Ms. Nancy L. Kittle Mr. Steven Winkel Ms. Peggy Kivel Timothy Wu Edward and Miriam Landesman Marilyn and Irvin Yalom Carlene Laughlin Nancy and Kell Yang Barry and Ellen Levine Ms. Emerald Yeh Thomas Lange and Spencer Lockson Mr. and Mrs. Philip Zimbardo
For a full list of member benefits or to make a donation, visit act-sf.org/memberships or contact A.C.T.’s Development Department at 415.439.2353.
32 ACT-SF.ORG For more information about Prospero Society JO S. HURLEY, CHAIR membership, please contact A.C.T. gratefully acknowledges the Prospero Society members listed below, Tiffany Redmon, who have made an investment in the future of A.C.T. by providing for the theater in their estate plans. Deputy Director of
**Deceased Development Providing a Legacy for A.C.T. 415.439.2482 [email protected]. Gifts Designated to A.C.T. Michele Garside, PhD Mr. and Mrs. Michael R. Marron Herman Victor Anonymous (3) Dr. Allan P. Gold and John B. McCallister Ms. Nadine Walas Mr. Anthony Alfidi Mr. Alan C. Ferrara John G. McGehee Ms. Marla M. Walcott Judith and David Anderson Dr. A. Goldschlager Burt** and Deedee McMurtry Mrs. Katherine G. Wallin and Ms. Kay Auciello Ruth Goldstine and David Weber Mary and Gene Metz Mr. Homer Wallin Nancy Axelrod Ms. Carol A. Goodman and J. Sanford Miller Paul Weintraub and Ms. Mary Lou Baird Mr. Anthony Gane Milton Mosk and Thomas Foutch Raymond Szczesny Mr. Eugene Barcone Ms. JeNeal Granieri and Pennie Needham Ms. Beth Weissman Teveia Rose Barnes and Alan Sankin Alfred F. McDonnell James C. Hormel and Tim M. Whalen Robert H. Beadle Mr. Bill Gregory Michael P. Nguyen-Hormel Barry Williams and Lalita Tademy Ms. Susan B. Beer James Haire and Timothy Cole Mr. Dante Noto Kay Yun and Andre Neumann-Loreck David V. Beery and Norman Abramson Mr. and Mrs. Richard Halliday Shelly Osborne Ms. Terilyn Hanko Ms. Patricia Patton Leo and J. Michael Berry-Lawhorn Richard H. Harding Elsa and Neil Pering Gifts Received by A.C.T. Dr. Barbara L. Bessey The Estate of Barbara Beard Kent Harvey Barbara Phillips Mr. Arthur Bredenbeck and The Estate of John Bissinger William E. Hawn Robert and Marcia Popper Mr. Michael Kilpatrick The Estate of Ronald Casassa Betty Hoener Kellie Raines Linda K. Brewer The Estate of Rosemary Cozzo Dr. and Mrs. Richard W. Horrigan Bert and Anne Raphael Ms. Agnes Chen Brown The Estate of Nancy Croley Jo S. Hurley Mr. and Mrs. Jacob Ratinoff Martin and Geri Brownstein The Estate of Leonie Darwin Alex Ingersoll and Martin Tannenbaum John and Karen Kopac Reis Gayle and Steve Brugler The Estate of Mary Jane Detwiler Mr. Barry Johnson Arthur Rock and Toni Rembe Christine Bunn and William Risseeuw The Estate of Olga Diora Ms. Robin Johnson and Mary L. Renner Mr. Bruce Carlton The Estate of Mortimer Fleishhacker Ms. Dottie Lofstrom Ellen Richard Florence Cepeda and Earl Frick The Estate of Mary Gamburg Carol and Paul Kameny Jillian C. Robinson Ms. Paula Champagne and The Estate of Rudolf Glauser Dr. and Mrs. Stewart Karlinsky Susan Roos Mr. David Watson The Estate of Phillip E. Goddard Nelda Kilguss Ms. Andrea Rouah Steven and Karin Chase The Estate of Mrs. Lester G. Hamilton Heather M. Kitchen Dr. David Rovno Lesley Ann Clement The Estate of Sue Hamister Nina Hatvany and Jonathan Kitchen Ms. Pamela Royse and Karl Lukaszewicz The Estate of Howard R. Hollinger Catherine Kuss and Danilo Purlia Mr. and Mrs. Paul Sandberg Lloyd and Janet Cluff The Estate of William S. Howe, Jr. Stephanie Hencir Lamey and Andrew Smith and Brian Savard Mr. James L. Coran and The Estate of Ines R. Lewandowitz Patrick Lamey Sonja Schmid Mr. Walter A. Nelson-Rees The Estate of Thomas H. Maryanski Mr. Philip C. Lang Mr. Harold E. Segelstad Patricia Corrigan The Estate of Michael L. Mellor Mindy Lechman Dr. F. Stanley Seifried Jack and Susan Cortis The Estate of Bruce Tyson Mitchell Ms. Marcia Leonhardt Ms. Ruth A. Short Ms. Joan Danforth The Estate of Gail Oakley Marcia and Jim Levy Dr. Elliot and Mrs. Kathy Shubin Richard Davis-Lowell and Bill Lowell The Estate of Dennis Edward Parker Jennifer S. Lindsay Cherie Sorokin Mrs. Carl Degler The Estate of Rose Penn Fred M. Levin and Nancy Livingston, Ruth and Alan L.** Stein Sharon Dickson The Estate of Shepard P. Pollack The Shenson Foundation Bert and LeAnne Steinberg Jerome L. and Thao N. Dodson The Estate of Margaret Purvine Ms. Paulette Long Jasmine Stirling Bill Draper The Estate of Gerald B. Rosenstein Dr. Thane Kreiner and Mr. John E. Sweeney and Drs. Peter and Ludmila Eggleton The Estate of Charles Sassoon Dr. Steven Lovejoy Ms. Lana Basso Linda Jo Fitz The Estate of Olivia Thebus Mr. and Mrs. Jim Magill Ms. Jane Taber Frannie Fleishhacker The Estate of Ayn and Brian Thorne Melanie and Peter Maier, John Marilyn E. Taghon Kevin and Celeste Ford The Estate of Sylvia Coe Tolk Brockway Huntington Foundation Marvin Tanigawa Mr. and Mrs. Richard Fowler The Estate of Elizabeth Wallace Mr. Jeffrey P. Malloy Nancy Thompson and Andy Kerr Alan and Susan Fritz The Estate of Frances Webb The Kenneth and Muriel Marks Mr. Dayton E. Torrence Mr. and Mrs. Russell Fudge The Estate of William Zoller Marilee K. Gardner Living Trust Michael E Tully
The following members of the A.C.T. community made gifts in memory and in honor of friends, Memorial & Tribute Gifts colleagues, and family members of $100 or more during the December 1, 2017, to December 1, 2018, period.
Susan Medak and Gregory S. Murphy In Honor of Louisa Balch Carol and Don Hardesty In Memory of Bart Cannon Patrick Hobin In Honor of Giles Havergal Mr. David J. Pasta In Memory of Gloria J. A. Guth Dr. Sandra L. Lillie In Honor of Dakota Lillie Susan L. Kaplan In Memory of Richard M. Kaplan Anne Jamieson In Honor of Nancy Livingston and Fred Levin Dr. Margaret R. McLean In Memory of Teresa and Phillip McLean Ms. Roberta Denning In Honor of Carey Perloff Richard and Victoria Larson In Memory of Dennis Powers Bill Draper In Honor of Carey Perloff Ms. Peggy Kivel In Memory of Eva Ramos Dorothy Saxe In Honor of Carey Perloff Philip Huff In Memory of Mrs. Barbara Rosenblum Kristina Veaco In Honor of Carey Perloff Barbara C. Ross In Memory of Barbara Rosenblum Jacqueline L. Young In Honor of Carey Perloff and Linda Jo Fitz Rosenblum - Silverman - Sutton, SF Inc. In Memory of Mrs. Barbara Rosenblum The Kellners & The Bunises In Honor of David A. Riemer Susan Terris In Memory of Barbara Rosenblum Joan W. Sadler Trust In Honor of the Joan Sadler Award Ms. Carol Tessler In Memory of Barbara Rosenblum Jon Nakamura In Honor of Craig Slaight Wendy, David, Marisa, and Jared Robinow In Memory of Barbara Rosenblum Eric and Susan Nitzberg In Honor of Craig Slaight Alan P. Winston In Memory of Deborah Rush Mr. and Mrs. Sandy Dean In Honor of Adriana Vermut Richard Gibson and Paul Porcher In Memory of Robert Simpson Judy and Robert Aptekar In Memory of Alan Stein Anonymous In Memory of Ruth Asawa Sally-Ann and Ervin Epstein, Jr. In Memory of Alan Stein Michael Kim In Memory of Youngmee Baik Dan and Gloria Kearney Fund In Memory of Alan Stein Marilee K. Gardner In Memory of Winnie Biocini, Joey Chait, Susan Terris In Memory of Alan Stein Joe Greenbach, and Roland Lampert Susan and John Weiss In Memory of Alan Stein Ms. Agnes Chen Brown In Memory of Robert Elliott Brown Ms. Joy Eaton In Memory of Todd Wees 415.749.2228 33 Corporate Membership Program
As the Bay Area’s leading theater, A.C.T. provides unique partnership opportunities to the business sector, including visibility before an affluent and influential audience, entrée to creative and dynamic spaces for client entertaining and business meetings, and exceptional artistic insiders’ experiences like backstage tours, meet-and-greets with artists, and so much more. Member companies support the artistic mission of A.C.T., including A.C.T.’s investment in helping to develop the next generation of the Bay Area’s creative and empathetic workforce through our vibrant artist training and education and community outreach programs serving over 20,000 young people each year. For more information, please contact Caitlin A. Quinn at [email protected] or 415.439.2436.
Business Leadership Council PRESENTING PRODUCING PARTNERS Nancy Livingston, Co-Chair PARTNERS ($15,000–$24,999) A.C.T. Chair Emerita ($25,000–$49,999) BNY Mellon Wealth Management OFFICIAL HOTEL PARTNER Jamie Martin, Co-Chair Theatre Forward VP, Business Finance, PG&E
Lesley Clement, Clement & Associates EXECUTIVE Jerome L. Dodson, Parnassus PARTNERS Investments ($50,000 +) DIRECTING PARTNERS Celeste Ford, Stellar Solutions ($10,000–$14,999) Kirke M. Hasson, Pillsbury Winthrop Farella Braun & Martel Shaw Pittman LLP Perkins Coie LLP Jascha Kaykas-Wolff, Mozilla Pillsbury Winthrop Shaw Janet V. Lustgarten, Kx Systems, Inc. Pittman LLP Jeffrey Minick, Bank of America David Riemer, UC Berkeley Steven L. Swig, Presidio World College STAGE PARTNERS Patrick S. Thompson, Perkins Coie LLP ($5,000–$9,999) Jeffrey W. Ubben, ValueAct Capital RBC Wealth Management Kay Yun, Health Evolution Partners Schoenberg Family Law Group
Foundations and Government Agencies The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Director of Grants and Foundation Relations Nicole Chalas at 415.439.2337 or [email protected].
$100,000 and above $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Department of Children, The Edgerton Foundation Anonymous California Arts Council Anonymous Youth & Their Families National Endowment for Walter and Elise Haas Fund The Stanley S. Langendorf Davis/Dauray Family Fund Doris Duke Charitable the Arts The Kimball Foundation Foundation The Bill Graham Memorial Foundation The Bernard Osher MAP Fund Laird Norton Family Foundation The William Randolph Hearst Foundation The Harold & Mimi Foundation Edna M. Reichmuth Foundations Steinberg Charitable Trust The Kenneth Rainin Educational Fund of The William and Flora The Virginia B. Toulmin Foundation The San Francisco Hewlett Foundation Foundation San Francisco Arts Foundation Jewels of Charity, Inc. Commission Koret Foundation The Sato Foundation San Francisco Grants The Zellerbach Family for the Arts Foundation The Shubert Foundation
34 ACT-SF.ORG Theatre Forward Current Funders List as of October 2018
Theatre Forward advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theatres. Theatre Forward and its theaters are most grateful to the following funders:
THEATRE PACESETTERS DONORS SUPPORTERS Leslie C. Quick, Jr. and EXECUTIVES ($15,000–$24,999) ($10,000–$14,999) ($2,500–$9,999) Regina A. Quick Charitable American Express Aetna Joe Baio & Anne Griffin* Trust Foundation ($50,000+) Sarah Robertson AT&T ◆ AudienceView Mitchell J. Auslander• Sheri and Les Biller Elliott Sernel & Larry Falconio* Bank of America• Bloomberg Philanthropies DELL Foundation Ten Chimneys Foundation Citi• Paula A. Dominick• Dorsey & Whitney Foundation Sue Ann Collins* Theatermania The Hearst Foundations ◆ The Estée Lauder Bruce R. & Tracey Ewing• Dramatists Play Service, Inc. John Thomopoulos • The Schloss Family Foundation◆ • Companies Inc. Mary Kitchen & Jon Orszag* Kevin & Anne Driscoll* Ubiñas Family Charitable Trust James S. & Lynne P. Turley* ◆ • Alan & Jennifer Freedman* • KLDiscovery John R. Dutt* Michael A. Wall* Wells Fargo ◆ Frank & Bonnie Orlowski• Anthony & Diane Lembke* Jessica Farr Marsh & McLennan Lisa Orberg ◆ Lucy Fato & Matt Detmer* Mary Beth Winslow & Companies, Inc. Presidio Foresight Theatrical Bill Darby* BENEFACTORS • The Music Man Foundation◆ RBC Wealth Management Steven & Donna Gartner* Terrence P. Yanni ($25,000–$49,999) Westlake Reed Leskosky ◆ Buford Alexander & Pamela Farr• Meltwater Daniel A. Simkowitz & Glen Gillen & • The Augustine Foundation ◆ Pfizer, Inc. Mari Nakachi Michael Lawrence • • BNY Mellon Thomas C. Quick S&P Global Richard K. Greene ◆ Steven & Joy Bunson• Southwest Airlines † Evelyn Mack Truitt* Nancy Hancock Griffith* ◆ • • EY TD Charitable Foundation Isabelle Winkles Joyce & Gregory Hurst George S. Smith, Jr.* • Willkie Farr & Gallagher Jujamcyn Goldman, Sachs & Co. *National Society Membership MetLife UBS Rob Kauffman* †Includes in-kind support Morgan Stanley Jonathan Maurer & • Patti & Rusty Rueff Foundation• Gretchen Shugart ◆ Educating through Theatre Support Louise Moriarty & Stephanie Scott• •Advancing Strong Theatre Support Patrick Stack* Robin and Bob Paulson Charitable Fund For a complete list of funders visit, theatreforward.org.
Gifts in Kind A.C.T. thanks the following donors for their generous contributions of goods and services.
ACORN Winery The Marker Hotel CyberTools for Libraries Piedmont Piano Company Hafner Vineyard ad sheet Joe Tally and Dan Strauss Premium Port Wines, Inc. Kryolan Professional Make-up
HAFNER VINEYARD
www.hafnervineyard.com
HAFNER VINEYARD www.hafnervineyard.com Corporations Matching Annual Fund Gifts As A.C.T. is both a cultural and an educational institution, many employers will match individual employee contributions to the theater. The following corporate matching gift programs honor their employees’ support of A.C.T., multiplying the impact of those contributions.
Acxiom Corporation BlackRock GE Foundation Macy’s, Inc. The Clorox Company Adobe Systems Inc. Charles Schwab Google Merrill Lynch & Co. Foundation Apple, Inc. Chevron Hewlett-Packard Foundation, Inc. The James Irvine Foundation Applied Materials Chubb & Son IBM International Foundation Northwestern Mutual The Morrison & Foerster AT&T Foundation Dell Direct Giving Campaign JPMorgan Chase Foundation Foundation Bank of America Dodge & Cox Johnson & Johnson Family Pacific Gas and Electric TPG Capital, L.P. Bank of America Foundation Ericsson, Inc. of Companies Arthur Rock Verizon Bank of New York Mellon Federated Department Stores Levi Strauss Foundation Salesforce Visa International Community Partnership The Gap Lockheed Martin Corporation State Farm Companies John Wiley and Sons, Inc. Foundation
415.749.2228 35 A.C.T. STAFF
PAM MACKINNON JENNIFER BIELSTEIN MELISSA SMITH Artistic Director Executive Director Conservatory Director
Artistic Director Emerita The Strand: Front of House M.F.A. Program Core Faculty Carey Perloff Sarah Jacquez, Strand Sound Engineer Kevin Nelson, Theater Manager Christine Adaire, Head of Voice David Whitman, House Manager and Volunteer Danyon Davis, Head of Movement Producing Director Emeritus ADMINISTRATION Usher Coordinator Peter J. Kuo, Collaboration Building James Haire Coralyn Bond, Executive Assistant and Megan Murray, Genevieve Pabon, Joy Meads, Character and Text Board Liaison Tuesday Ray, House Managers Lisa Anne Porter, Head of Text and Dialects ARTISTIC April Andrickson, Receptionist Oliver Sutton, Security Jack Sharrar, PhD, Theater History Andy Donald, Associate Artistic Director Ramsey Abouremeleh, Monica Amitin, Melissa Smith, Head of Acting, Shannon Amitin, Forrest Choy, Bernadette Janet Foster, Director of Casting and Human Resources Conservatory Director Artistic Associate Amanda Williams, Human Resources Director Fons, Nailah Harper-Malveaux, Anthony Hernandez, Caleb Lewis, Svetlana Karasyova, Joy Meads, Director of Dramaturgy Amanda Roccuzzo, Human Resources M.F.A. Program Adjunct Faculty Susan Monson, Haley Nielsen, Trever and New Works Generalist Milissa Carey, Singing, Director Pearson, Scott Phillips, Pete Pickens, Miki Allie Moss, Literary Manager and Richmond, Travis Rowland, Tracey Sylvester, Andy Donald, Arts Leadership Artistic Associate General Management Cevie Toure, Robyn Williams, Bartenders Julie Douglas, Improv Ken Savage, Associate Producer Louisa Balch, General Manager Lauren English, The Actor’s Work Ariana Johnson, Kayla Minton Kaufman, Amy Dalba, Associate General Manager Susan Allen, Rodney Anderson, Branden Daniel Feyer, Accompanist Artistic Fellows Bowman, Serena Broussard, Danica Burt, Sabra Jaffe, Company Manager Janet Foster, Audition Jose Camello, Barbara Casey, Wendy Chang, Christina M. Sturken, Assistant Anthony Fusco, Acting Associate Artists Company Manager Niyjale Cummings, Kathy Dere, John Doll, Larry Emms, Doris Flamm, Claire Gerndt, Liz Jasmin Hoo, Citizen Artistry Marco Barricelli, Olympia Dukakis, Anthony Emma Penny, General/Company Management Githuka, Carol Grace, Blue Kesler, Ryszard Mark Jackson, Performance Making Fusco, Giles Havergal, Bill Irwin, Steven Fellow Anthony Jones, Andrew Polk, Tom Stoppard, Koprowski, Sharon Lee, Sadie Li, David Darryl Jones, Acting, Director Gregory Wallace, Timberlake Wertenbaker Linger, Joe MacDonald, Maria Markoff, Val W. D. Keith, On-Camera Acting Finance Mason, Sam Mesinger, Edvida Moore, Kathy Rob Fore, Chief Financial Officer Philip Charles MacKenzie, On-Camera Acting Coaches Napoleone, Mary O’Connell, Brandie Pilapil, Sharon Boyce, Accounting Manager Mark Saladino, Steve Salzman, Walter Heidi Marshall, On-Camera Acting Christine Adaire, Lisa Anne Porter, May Chin, Matt Jones, Ryan Jones, Finance Schoonmaker, Michael Sousa, Melissa Stern, Seana McKenna, Acting Voice and Text Associates Dale Whitmill, Lorraine Williams, June Yee, Danielle O’Dea, Combat Danyon Davis, Movement Ushers Caymichael Patten, On-Camera Acting Dave Maier, Danielle O’Dea, Fights Information Technology Kari Prindl, Alexander Technique Daniel Feyer, Music Thomas Morgan, Director The Strand Cafe Stacey Printz, Dance Joone Pajar, Network Administrator Rafael Monge, Cafe Manager Tiffany Redmon, Fundraising PRODUCTION LaRina Hazel, Barista Lindsay Saier, Stage Makeup Martin Barron, Director of Production Operations Virginia Scott, Clowning Robert Hand, Production Manager Eric Brizee, Operations and Facilities Manager EDUCATION & COMMUNITY Elyse Shafarman, Alexander Technique Jack Horton, Production Manager Jeffrey Warren, Assistant Facilities Manager PROGRAMS Lisa Townsend, Director, Choreographer Marlena Schwartz, Leopoldo Benavente, Matt Stewart-Cohn, Vincent Amelio, School & Community Programs Stephanie Wilborn, Citizen Artistry Assistant Production Manager Facilities Crew Members Operations Manager Chris Lundahl, Design and Production Associate Curtis Carr, Jr., Jesse Nightchase, Vanessa Ramos, School Programs Manager Studio A.C.T. Timothy Ward, Security Michelle Symons, Stephanie Wilborn, Mark Jackson, Program Director Conservatory Production Manager Jaime Morales, Geary Cleaning Foreman Community Programs Manager Liz Anderson, On-Camera Acting, Improv Conservatory Design and Jamal Alsaidi, Jeaneth Alvarado, Lidia Haley Miller, Jarrett Holley, School Programs Associate Heidi Carlsen, Acting, Voice, Movement Production Associate Godinez, Geary Cleaning Crew Elizabeth Halperin, Student Matinees Julie Douglas, Acting, Clown Sean Key-Ketter, Hannah Clague, School & Community Francie Epsen-Devlin, Musical Theater Conservatory Technical Director Development Programs Fellow Miranda Erin Campbell, Conservatory Caitlin A. Quinn, Director of Development Paul Finocchiaro, Acting Production and Stage Management Coordinator Tiffany Redmon, Deputy Director of YOUNG CONSERVATORY Margo Hall, Acting W. D. Keith, Acting Lavine Leyu Luo, Development Jill MacLean, Craig Slaight Director of Production Management Fellow Nicole Chalas, Director of Grants and the Young Conservatory Drew Khalouf, Speech, Shakespeare Foundation Relations Sophia Nguyen, Young Conservatory Kari Prindl, Alexander Technique Stage Management Jody Price, Director of Special Events & Studio A.C.T. Associate Mark Rafael, Acting Elisa Guthertz, Head Stage Manager Hillary Bray, Donor Relations and Rahel Zeleke, Young Conservatory Katie Rubin, Stand-Up Comedy, Acting Dani Bae, Samantha Greene, Elisa Guthertz, Membership Manager Administrative Assistant Patrick Russell, Acting, Clown Christina Hogan, Leslie M. Radin, Renée Gholikely, Development Research and Andy Alabran, Acting Naomi Sanchez, Musical Theater Cristine Reynolds, Stage Managers Prospect Manager Cristina Anselmo, Acting Michael Gene Sullivan, Playwriting Cheryle Honerlah, Maggie Manzano, Stephanie Swide, Development Operations Enrico Banson, Musical Theater Caitlyn Tella, Movement Chris Waters, Hannah Woodward, Manager Denise Blase, Musical Theater Laura Wayth, Acting, Musical Theater Assistant Stage Managers Emily Remsen, Special Events Associate Kimberly Braun, Musical Theater Amanda Marshall, Production Assistant Taylor Steinbeck, Development Assistant Nancy Gold, Physical Character, Acting Professional Development Brianna Grabowski, Miranda Ramos, Mads Leigh-Faire, Special Events Fellow Dan Griffith, Movement Liz Anderson, Fontana Butterfield, Mark Noah Usher, Stage Management Fellows Ashley Mareira, Development Fellow Jane Hammett, Musical Theater Rafael, Katie Rubin, Patrick Russell, Radhika Rao Prop Shop Marketing & Public Relations W. D. Keith, Director Abo Greenwald, Prop Shop Supervisor Director, Acting Joan Rosenberg, Director of Marketing Domenique Lozano, Conservatory Accompanists Syche Phillips, Associate Director of Marketing Danielle O’Dea, Stage Combat Costume Shop Lynden James Bair, Daniel Feyer, Christopher Simone Finney, Digital Content Manager Thaddeus Pinkston, Accompanist Hewitt, Louis Lagalante, Paul McCurdy, Jessie Amoroso, Costume Director Simon Hodgson, Publications Manager Corinna Rezzelle, Musical Theater Thaddeus Pinkston, Naomi Sanchez Callie Floor, Rentals Manager Kevin Kopjak/Charles Zukow Associates, Lauren Rosi, Musical Theater Keely Weiman, Build Manager/Draper Public Relations Counsel Vivian Sam, Musical Theater, Dance Library Staff Jef Valentine, Inventory Manager Matt Mullin, Senior Graphic Designer Lauren Spencer, Acting Joseph Tally, Head Librarian Maria Montoya, Head Stitcher Dani Karonis, Graphic Designer Trish Tillman, Acting G. David Anderson, Theresa Bell, Laurie Kelly Koehn, Accessories & Crafts Artisan Beryl Baker, Digital Content Associate Valerie Weak, Acting Bernstein, Helen Jean Bowie, Bruce Carlton, Barbara Cohrssen, William Goldstein, Pat Chanterelle Grover, First Hand Elspeth Sweatman, Publications Associate Krista Wigle, Musical Theater Hunter, Connie Ikert, Ashok Katdare, Martha Victoria Mortimer, Costume Administrator Samantha Wong, Conservatory Marketing Nina Bice, Kinsey Thomas, Costume Fellows Kessler, Nelda Kilguss, Barbara Kornstein, Associate CONSERVATORY Patricia O’Connell, Roy Ortopan, Maida Miranda Ashland, Marketing Assistant Peter J. Kuo, Associate Conservatory Director Wig Shop Paxton, Connie Pelkey, Christine Peterson, Aaron Higareda, Marketing Fellow Christopher Herold, Director of Summer Dana Rees, Roger Silver, Whitney Spaner, Wig Master Lindsay Saier, Annie Sears, Publications Fellow Training Congress Jane Taber, Aileen Thong, Susan Torres, Wigs Fellow Lyre Alston, Audrey Walker, Graphic Design Fellow Jack Sharrar, PhD, Director of Academic Affairs Joyce Weisman, Jean Wilcox, Marie Wood, Jerry Lopez, Director of Financial Aid Library Volunteers STAGE STAFF Ticket Services Sophia Nguyen, Young Conservatory & Studio Ian Fullmer, Director of Ticket Services A.C.T. Associate Accreditation A.C.T. is accredited by the Accrediting The Geary: Mark C. Peters, Subscriptions Manager Callie Garrett, Conservatory Associate, Commission for Senior Colleges and Miguel Ongpin, Head Carpenter David Engelmann, Head Treasurer Academic Programs Universities of the Western Association of Suzanna Bailey, Head Sound Matt Jones, Bursar/Payroll Administrator Elizabeth Halperin, Assistant Head Treasurer Schools and Colleges (WASC), 985 Atlantic Amy Domjan, Head Electrician Anthony Miller, Group Sales Miranda Reilly, Young Conservatory/Studio Avenue, Suite 100, Alameda, CA 94501, Candace Drucelle Shankel, Head of Props Scott Tignor, Subscriptions Coordinator A.C.T. Fellow 510.748.9001, an institutional accrediting Colin Wade, Flyman Andy Alabran, Liam Blaney, Richard Claar, Hannah Rosenzweig, body recognized by the Council on Mary Montijo, Wardrobe Supervisor Peter Davey, Leontyne Mbele-Mbong, Alex Conservatory/Academic Fellow Postsecondary Accreditation and the U.S. Diane Cornelius, Assistant Wardrobe Supervisor Mechanic, Katharine Torres, Treasurers Department of Education. Loren Lewis, Joe Nelson, Stage Door Monitors
36 ACT-SF.ORG A.C.T. PROFILES
PAM MACKINNON (Artistic Director) Bruce Norris’s Clybourne Park (Obie Award for Excellence in is celebrating her inaugural season as Direction, Tony and Lucille Lortel nominations). After five A.C.T.’s fourth artistic director. She is a years as board chair of Clubbed Thumb, a downtown New Tony, Drama Desk, and Obie Award– York theater company dedicated to new American plays, she winning director, having directed sits on its advisory board. She is an artistic associate of the upwards of 70 productions around the Roundabout Theatre Company, a Usual Suspect of New York country, off Broadway, and on Theatre Workshop, and an alumna of the Drama League, Broadway. Her Broadway credits Women’s Project, and Lincoln Center Theater’s Directors’ include Beau Willimon’s The Parisian Woman (with Uma Labs. She is also the executive board president of the Stage Thurman), Amelie: A New Musical, David Mamet’s China Directors and Choreographers Society (SDC). She grew up in Doll (with Al Pacino), Wendy Wasserstein’s The Heidi Toronto, Canada, and Buffalo, New York, acted through her Chronicles (with Elisabeth Moss), Edward Albee’s A Delicate teens, but majored in economics and political science at the Balance (with Glenn Close and John Lithgow), Edward University of Toronto and briefly pursued a PhD in political Albee’s Who’s Afraid of Virginia Woolf? (Tony Award, Drama science at UC San Diego, before returning to her true Desk Award, and Outer Critics Circle nomination), and passion: theater.
JENNIFER BIELSTEIN (Executive Theatres, Theatre Forward, the Arts and Cultural Director) joins A.C.T. with more than 25 Attractions Council, and other civic boards. She has years of theater management received the Center for Nonprofit Excellence’s Pyramid experience. She is currently president Award of Excellence in Leadership, and has been of the League of Resident Theatres recognized as one of Louisville’s Business First’s 40 (LORT)—an organization that Under 40. In 2017, Bielstein was named by Twin Cities represents 74 theaters nationwide— Business as a Person to Know, and, in 2018, Minnesota having previously served as LORT’s Business magazine named her as a Real Power 50 vice president; chair of its Equity, Diversity, and Inclusion member. Bielstein is a graduate of the University of North Committee; secretary; and on multiple union negotiating Carolina at Chapel Hill, attended Stanford’s Graduate teams. Before relocating to the Bay Area, Bielstein was the School of Business Executive Program for Nonprofit managing director of the Guthrie Theater in Minneapolis, Leaders in the Arts, and earned an MBA from Bellarmine managing director of Actors Theatre of Louisville, and University, where she received the MBA Faculty Merit executive director of Writers Theatre in Chicago. She has Award and was inducted into Beta Gamma Sigma, the also worked for Steppenwolf Theatre Company, About Face honor society for business programs. Theatre, Northlight Theatre, and the Lincoln Park Zoo, as well as serving on the boards of the League of Chicago
MELISSA SMITH (Conservatory leadership of the Conservatory, Smith was the director of Director, Head of Acting) has served as the Program in Theater and Dance at Princeton University. Conservatory director and head of She has taught acting classes to students of all ages in acting in the Master of Fine Arts various colleges, high schools, and studios around the Program at A.C.T. since 1995. During continental United States, at the Mid-Pacific Institute in that time, she has overseen the Hawaii, New York University’s La Pietra campus in expansion of the M.F.A. Program from Florence, and the Teatro di Pisa in San Miniato, Italy. She is a two- to a three-year course of study featured in Acting Teachers of America: A Vital Tradition. and the further integration of the M.F.A. Program faculty Also a professional actor, she has performed regionally at and student body with A.C.T.’s artistic wing, while also the Hangar Theatre, A.C.T., the California Shakespeare teaching and directing in the M.F.A. Program, Summer Festival, and Berkeley Repertory Theatre; in New York at Training Congress, and Studio A.C.T. In 2013, she launched Primary Stages and Soho Rep.; and in England at the the San Francisco Semester, a semester-long intensive that Barbican Centre in London and Birmingham Repertory deepens students’ acting. In 2016, she was honored by Theatre. Smith holds a BA from Yale College and an MFA in Theatre Bay Area as one of 40 individuals who have acting from Yale School of Drama. changed the face of Bay Area theater. Prior to assuming
415.749.2228 37 F.Y. I .
ADMINISTRATIVE OFFICES A.C.T. MERCHANDISE AFFILIATIONS Copies of Words on Plays, A.C.T.’s in-depth A.C.T.’s administrative and conservatory A.C.T. is a constituent of Theatre Communications performance guide, are on sale in the main offices are located at 30 Grant Avenue, San Group, the national organization for the nonprofit lobby, at the box office, and online. Francisco, CA 94108, 415.834.3200. On the professional theater. A.C.T. is a member web: act-sf.org REFRESHMENTS of Theatre Bay Area, the Union Square Strand Cafe hours are Thursday–Tuesday (8 Association, the San Francisco Chamber of a.m.–4 p.m.) and Wednesday (7 a.m.–noon) Commerce, and the San Francisco Convention BOX OFFICE INFORMATION for the general public. Full bar service, sweets, & Visitors Bureau. and savory items are available to patrons one A.C.T. BOX OFFICE A.C.T. operates under an agreement Visit us at 1127 Market Street at 7th Street, hour before performances. You can avoid the between the League of Resident Theatres across from the UN Plaza; or at 405 Geary long lines at intermission by preordering food and Actors’ Equity Association, the union of Street at Mason, next to the theater, one and beverages. Bar drinks are now permitted professional actors and stage managers in the United States. block west of Union Square. Walk-up hours in the theater. are Tuesday–Sunday (10 a.m.–15 minutes after CELL PHONES The Director is a member of the STAGE curtain) on performance days, and Monday– DIRECTORS AND CHOREOGRAPHERS If you carry a pager, beeper, cell phone, or Friday (noon–6 p.m.) and Saturday–Sunday SOCIETY, a national theatrical labor union. watch with alarm, please make sure that (noon–4 p.m.) on nonperformance days. it is set to the “off” position while you are The scenic, costume, lighting, and sound (For Geary Box Office walk-up hours, please in the theater. Text messaging during the designers in LORT theaters are represented visit act-sf.org.) Phone hours are Tuesday– performance is very disruptive and not allowed. by United Scenic Artists, Local USA-829 of Sunday (10 a.m.–curtain) on performance the IATSE. days, and Monday–Friday (10 a.m.–6 p.m.) PERFUMES and Saturday–Sunday (10 a.m.–4 p.m.) on The scenic shop, prop shop, and stage crew The chemicals found in perfumes, colognes, are represented by Local 16 of the IATSE. nonperformance days. Call 415.749.2228 and and scented aftershave lotions, even in use American Express, Visa, or MasterCard; small amounts, can cause severe physical or fax your ticket request with credit card A.C.T. is supported in part by an award from reactions in some individuals. As a courtesy to the National Endowment for the Arts. information to 415.749.2291. Tickets are also fellow patrons, please avoid the use of these available 24 hours a day on our website at products when you attend the theater. act-sf.org. All sales are final, and there are no A.C.T. is supported in part by a grant from the Grants for the Arts Tax Fund. refunds. Only current ticket subscribers and EMERGENCY TELEPHONE those who purchase ticket insurance enjoy Leave your seat location with those who ticket exchange privileges. Packages are may need to reach you and have them call available by calling 415.749.2250. A.C.T. gift 415.439.2397 in an emergency. certificates can be purchased in any amount online, by phone or fax, or in person. LATECOMERS STRAND THEATER EXITS A.C.T. performances begin on time. Latecomers SPECIAL SUBSCRIPTION DISCOUNTS will be seated before the first intermission only Seniors (65+) save $40 on 8 plays, $35 if there is an appropriate interval. on 7 plays, $30 on 6 plays, $25 on 5 plays, and $20 on 4 plays. Full-time students, LISTENING SYSTEMS educators, and administrators save up to Headsets designed to provide clear, amplified 50% off season subscriptions with valid ID. sound anywhere in the auditorium are Visit act-sf.org/educate for details. available free of charge in the lobby before performances. Please turn off your hearing aid G SINGLE TICKET DISCOUNTS when using an A.C.T. headset, as it will react to Joining our eClub is the best—and sometimes the sound system and make a disruptive noise. only—way to find out about special ticket offers. Visit act-sf.org/eclub for details. Find RESTROOMS are located on the basement us on Facebook and Twitter for other great level; on the ground floor (two ADA toilets deals. Beginning two hours before curtain, behind the box office); and toward the back a limited number of discounted tickets of the upper orchestra, on mezzanine 2. are available to seniors (65+), educators, Gender diversity is welcome at A.C.T. We invite administrators, and full-time students. For audiences to use the restroom that best fits matinee performances, all seats are just $20 your gender identity. If preferred, single-user for seniors (65+). Valid ID required—limit restrooms can be found at the rear of the lobby. one ticket per ID. Not valid for Premiere Wheelchair Seating is located at the Orchestra seating. All rush tickets are subject main cross aisle on the orchestra M1 to availability. level, at Box A on the orchestra level, and in the mezzanine. GROUP DISCOUNTS Groups of 15 or more save up to 50%! For A.C.T. is pleased to announce that an Automatic more information call Anthony Miller External Defibrillator (AED) is now available at 415.439.2424. in the Strand box office.
AT THE THEATER LOST AND FOUND A.C.T.’s Strand Theater is located at 1127 If you’ve misplaced an item while you’re Market Street. The lobby opens one hour still at the theater, please look for it at our before curtain. Bar service and refreshments merchandise stand in the lobby. Any items are available one hour before curtain. The found by ushers or other patrons will be taken theater opens 30 minutes before curtain. there. If you’ve already left the theater, please call 415.439.2471 and we’ll be happy to check our lost and found for you. Please be prepared M2 with the date you attended the performance and your seat location.
38 ACT-SF.ORG Based on the myths of Ovid Written and Directed by Mary Zimmerman Since 1968, we’ve from the translation by David R. Slavitt Co-production with the Guthrie Theater Main Season · Peet’s Theatre stood for theatre NOW THROUGH MAR 10 lovers like you.
Single tickets are available now for the remaining shows in our 50th anniversary season.
Created by Geoff Sobelle Scenic Concept by Steven Dufala Select 3+ shows and you’ll save Directed by Lee Sunday Evans Original Songs by Elvis Perkins as much as $12 per ticket off Limited Season · Roda Theatre current single-ticket prices and MAR 22–APR 21 get a slew of perks (including free ticket exchanges)!*
IT’S NOT TOO LATE! JOIN US. BE A SUBSCRIBER. BE A REP. BERKELEYREP.ORG/SUB 510 647-2949
*Full details are available online and via the box office. By Denis O’Hare and Lisa Peterson Directed by Lisa Peterson Main Season · Peet’s Theatre APR 25–JUN 9
Book by John Leguizamo and Tony Taccone Music by Benjamin Velez SEASON SPONSORS Lyrics by David Kamp, Benjamin Velez, and John Leguizamo Based on an original screenplay written by John Leguizamo and Stephen Chbosky Directed by Tony Taccone Main Season · Roda Theatre · World premiere MAY 28–JUL 14
Untitled-1 1 1/2/19 3:46 PM A.C.T.’s 18 19
JOIN OUR NEXT CHAPTER WITH
NEW ARTISTIC DIRECTOR PAM MACKINNON AND
NEW EXECUTIVE DIRECTOR
BY KATE HAMILL JENNIFER BIELSTEIN BASED ON THE NOVEL BY William Makepeace Thackeray DIRECTED BY JESSICA STONE A COPRODUCTION WITH Shakespeare Theatre Company act-sf.org/join 415.749.2228 19TH-CENTURY CLASS, 21ST-CENTURY SASS
BY EUGÈNE IONESCO TRANSLATED BY DEREK PROUSE DIRECTED BY FRANK GALATI THE ABSURD IS REAL