SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY

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

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is winning nonprofit theater, nurtures the art of live theater at the center of our work. Our three-year, fully accredited through dynamic productions, intensive actor training, Master of Fine Arts Program is at the forefront of America’s and ongoing engagement with our community. Under the actor training programs. Meanwhile, our intensive Summer leadership of Artistic Director Carey Perloff and Executive Training Congress attracts students from around the world, Director Peter Pastreich, we embrace our responsibility to and the San Francisco Semester offers a unique study-abroad conserve, renew, and reinvent our rich theatrical traditions and opportunity for undergraduates. Other programs include literatures, while exploring new artistic forms and communities. Studio A.C.T.—our expansive course of theater study for Founded by William Ball, a pioneer of the regional theater adults—and the Professional Development Training Program, movement, A.C.T. opened its first San Francisco season in which offers actor training for companies seeking to elevate 1967. We have since performed more than 350 productions their employees’ business performance skills. Our alumni to a combined audience of more than seven million people. often grace our mainstage and perform around the Bay Every year we reach more than 250,000 people through our Area, as well as on stages and screens across the country. productions and programs. A.C.T. also brings the benefits of theater-based arts education Rising from the wreckage of the earthquake and fire of 1906 to more than 17,000 Bay Area students and educators each and hailed as the “perfect playhouse,” the beautiful, historic year. Director of Education & Community Programs Elizabeth Geary Theater has been our home since the beginning. When Brodersen oversees the world-famous Young Conservatory the 1989 Loma Prieta earthquake ripped the roof apart, San (for students ages 8 to 19) and our ACTsmart education Franciscans rallied together to raise a record-breaking $30 programs, including the Student Matinee (SMAT) program million to rebuild the theater. The Geary reopened in 1996 with that has brought hundreds of thousands of young people to a production of The Tempest directed by Perloff, who took over A.C.T. performances since 1968. We also provide touring Will on in 1992 after the retirement of A.C.T.’s second artistic director, Wheels Shakespeare productions, teaching-artist residencies, gentleman artist Ed Hastings. in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 25-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, and the recent and theater made by, for, and about the Bay Area. Her fierce appointments of Pam MacKinnon as A.C.T.’s Artistic Director commitment to audience engagement ushered in a new era Designate and Jennifer Bielstein as A.C.T.’s Executive Director of InterACT events and dramaturgical publications, inviting Designate, A.C.T. plays a leadership role in securing the future everyone to explore what goes on behind the scenes. of theater for San Francisco and the nation.

American Conservatory Theater Board of Trustees (As of March 2018) The Board of Directors of the M.F.A. Program Kirke M. Hasson Ray Apple Carey Perloff EMERITUS CHAIR Lesley Ann Clement Robina Riccitiello ADVISORY BOARD Abby Sadin Schnair Kay Yun Richard T. Davis-Lowell Sally Rosenblatt Barbara Bass Bakar CHAIR PRESIDENT Jerome L. Dodson Rusty Rueff Rena Bransten Nancy Livingston Michael G. Dovey Abby Sadin Schnair Jack Cortis Sara Barnes IMMEDIATE PAST CHAIR Olympia Dukakis Lori Halverson Schryer Joan Danforth Carlotta Dathe Celeste Ford Frannie Fleishhacker Jeff Spears Dagmar Dolby Frannie Fleishhacker VICE CHAIR Ken Fulk Robert Tandler William Draper III Arnie Glassberg Priscilla Geeslin Patti Hart Patrick S. Thompson John Goldman Christopher Hollenbeck VICE CHAIR Dianne Hoge Joaquin Torres Kaatri Grigg Luba Kipnis Jo S. Hurley Jeffrey W. Ubben James Haire David Riemer Linda Kurtz VICE CHAIR Jeri Lynn Johnson Adriana López Vermut Kent Harvey Jennifer Lindsay Alan Jones Susy Wadsworth Sue Yung Li Steven L. Swig Toni Ratner Miller Jascha Kaykas-Wolff Nola Yee Christine Mattison VICE CHAIR Joseph Ratner James H. Levy Joan McGrath Linda Jo Fitz Toni Rembe Heather Stallings Little Deedee McMurtry TREASURER Sally Rosenblatt Janet V. Lustgarten Mary S. Metz Daniel E. Cohn Anne Shonk Jamie Martin Toni Rembe SECRETARY Melissa Smith Jeffrey S. Minick Cherie Sorokin In Memoriam: Patrick S. Thompson Michael P. Nguyen Barry Lawson Williams Alan L. Stein Martim Oliveira Carlie Wilmans CHAIR EMERITUS Peter Pastreich

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

415.749.2228 5

BACK BY

“A great storytelling success” POPULAR DEMAND! San Francisco Chronicle

A THOUSAND SPLENDID SUNS BY Ursula Rani Sarma

BASED ON THE NOVEL BY Khaled Hosseini

ORIGINAL MUSIC WRITTEN AND PERFORMED BY David Coulter

DIRECTED BY Carey Perloff

“At once haunting and hopeful; shattering and uplifting . . . a searing adaptation”

Broadway World “Gripping! There’s two-week engagement. returns to itsartistic homefor alimited, California. InJuly, thistheatrical masterpiece Alberta; London, Ontario;andSanDiego, across NorthAmerica,withrunsinCalgary, incredible story hasbeenmoving audiences its world premiere at The Gearyin2017, this After itsfive-year development at A.C.T. and strength to raise thenext generation. and war. Together they findthehopeand remarkable resilience intheface ofhardship generations ofAfghan women andtheir beloved novel, thisepicstory follows three of Bay Area author KhaledHosseini’s of AThousand SplendidSuns.Anadaptation encore ofourcriticallyacclaimed production Back by populardemand,A.C.T. presents an Huffington Post play’s power” no denying the act-sf.org/suns |415.749.2228 “Epic .trulyradiant!” “Packs thecathartic emotional A.C.T.’S GEARY THEATER a bestseller” power that madethebook Stark Insider Bay Area News Group JULY 17–29

Photography: © Shaul Schwarz/Getty Images. Design by David Mann Calligraphy/Stephen Raw.

INTRODUCING A.C.T.’S STEELWORKS STOUT FOUNDRY FATHERS READING 18 19 LAGER IPA

JOIN OUR NEXT CHAPTER WITH NEW ARTISTIC DIRECTOR PAM MACKINNON

SEP 26–OCT 21, 2018 AT THE GEARY

FEB 13–APR 14, 2019 AT THE STRAND MAR 6–31, 2019 AT THE GEARY OCT 17–DEC 16, 2018 AT THE STRAND JAN 23–FEB 17, 2019 AT THE GEARY

Find out more about these six extraordinary productions (plus one more to be announced) from A.C.T. Artistic Director Designate PAM MACKINNON on page 32. SUBSCRIBE TODAY act-sf.org/join | 415.749.2228

APR 17–MAY 12, 2019 AT THE GEARY B:8.625” T:8.375” S:7.375” B:11.125” T:10.875” S:9.875”

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1 Encore_Castro Saved at 03-10-2018 from by Printed At None

Job info Approvals Fonts & Images Job 309886 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None 03-10-18 hr 309886 Version:01 309886cpm01_Encore_Castro PHOTO BY TAYLOR STEINBECK TAYLOR BY PHOTO

WHAT’S INSIDE The cast of A Walk on the Moon and A.C.T. staff get into the ’60s spirit at the first rehearsal. ABOUT THE PLAY INSIDE A.C.T.

13 LETTER FROM THE 31 NURTURING GROWTH EDITOR SIMON HODGSON ARTISTIC DIRECTOR Meet A.C.T. Trustee Abby Sadin Schnair ASSOCIATE EDITOR 16 THE POWER OF YOUTH By Taylor Steinbeck ELSPETH SWEATMAN An Interview with Book Writer Pamela Gray CONTRIBUTORS 32 THE NEXT CHAPTER CAREY PERLOFF By Taylor Steinbeck A.C.T. Artistic Director Designate TAYLOR STEINBECK Pam MacKinnon on the 2018–19 Season 18 THE SUMMER OF 1969 By Simon Hodgson A Snapshot of America By Elspeth Sweatman 34 FROM STUDENT TO TEACHER M.F.A. Program Actors Teaching As Citizen Artists VOLUNTEER! A.C.T. volunteers provide an invaluable service By Taylor Steinbeck with their time, enthusiasm, and love of theater. Opportunities include helping out in our performing 36 RENAISSANCE ARTIST arts library and ushering in our theaters. A Celebration of Carey Perloff act-sf.org/volunteer By Elspeth Sweatman

A WALK ON THE MOON THEATER ON THE COUCH* OUT WITH A.C.T.* DON’T JUST SIT THERE . . . JUN 15, 8 PM JUN 20, 8 PM (JUN 9–JUL 1) Sponsored by Kaiser Permanente, Mix and mingle at this hosted AT THE GEARY THEATER this exciting postshow discussion postshow LGBTQ+ party. series addresses audience questions KDFC PROLOGUE and explores the minds, motivation, WENTE VINEYARDS WINE SERIES JUN 12, 5:30 PM and behavior of the characters. JUN 26, 7 PM Go deeper with a fascinating preshow Meet fellow theatergoers at discussion with a member of the AUDIENCE EXCHANGE* this hosted wine-tasting event. Walk on the Moon artistic team. JUN 17, 2 PM; JUN 19, 7 PM; JUN 27, 2 PM PLAYTIME BIKE TO THE THEATER NIGHT At A.C.T.’s free InterACT Join us for an exciting Q&A JUN 30, 12:45 PM JUN 12, 7 PM events, you can mingle with with the cast following the show. Get hands-on with theater at this Ride your bike to A.C.T. and take interactive preshow workshop. cast members, join interactive advantage of secure bike parking and workshops with theater artists, low-priced tickets at our preshow and meet fellow theatergoers mixer, presented in partnership with at hosted celebrations in our the San Francisco Bicycle Coalition. lounges. Join us for A Walk on the Moon and InterACT with us! To learn more and order tickets for InterACT events, visit act-sf.org/interact.

*Events take place immediately following the performance.

415.749.2228 11 PHOTO BY JAY YAMADA JAY BY PHOTO

(L TO R) TIANA BISHOP, CITLALI PEREZ, AND TYLA CANN IN THE 2017 COLLABORATIVE YOUTH ARTS PROJECT PRODUCTION OF BLACK BUTTERFLIES.

SEACHANGE URINETOWN: THE MUSICAL A COLLABORATIVE YOUTH ARTS PROJECT Book and Lyrics by Greg Kotis Music and Lyrics by Mark Hollman by Marisela Treviño Orta Directed by Jessica Bird Directed by Elizabeth Carter AUG 8–18 In partnership with The Rembe at A.C.T.’s Strand Theater JUL 24–29 In a world of water shortages, corporate greed, The Rueff at A.C.T.’s Strand Theater and bureaucratic mismanagement, you’re either and Destiny Arts Center, Oakland one of the powerful or one of the powerless. But Diving into the world of Bay Area teenagers, for the residents outside Public Amenity #9, the this vibrant and fast-moving collage of time has come to stand up to the Urine Good interlinked stories is a partnership between Company and assert their rights to pee for free. the Young Conservatory, A.C.T.’s Education This Tony Award–winning musical is a comic look & Community Programs, and Destiny Arts at the forces that divide and unite us. Center in Oakland. This new play asks resonant and challenging questions about how the changing face of San Francisco affects young people today.

To purchase tickets visit, act-sf.org/ycshows or call 415.749.2228. FROM THE ARTISTIC DIRECTOR

Dear Friends,

Welcome to the world premiere of A Walk on the Moon! collaborators such as designers Linda Cho and Robert Wierzel (A Thousand Splendid Suns) and actors Zak Resnick (The Last It’s always particularly exciting to give birth to something Five Years) and Brigid O’Brien (A Little Night Music), and some entirely new on the Geary stage. I first heard aboutA Walk on remarkable new talent that we’ve searched nationally and the Moon from lighting designer Robert Wierzel, who joined internationally to find. I hope you will be as moved and surprised the creative team early in the process through his association by this beautiful piece as we are. with producers Ruth and Steve Hendel, with whom he had worked on the astonishing Fela! As soon as Robert described As this is my last letter to you in my position as A.C.T.’s artistic the musical to me, I was intrigued, as I had loved Pamela Gray’s director, I want to take a moment to thank all of you who have original film so much and was also a fan of theater director shared the work with me over the past 25 years. It is the passion, Sheryl Kaller, who was helming this production. As I listened to engagement, and intelligence of A.C.T.’s audience that has kept Paul Scott Goodman’s exquisite score for the first time, A.C.T. me here for so long—it is such a joy to make work knowing that was in the midst of the run of A Night with Janis Joplin; we the audience is adventurous enough to go almost anywhere, and were experiencing the passionate feelings the Bay Area still had generous enough to respond honestly. From my first chaotic year, for the Summer of Love and for the explosion of political and when there were pickets outside performances of The Pope and creative energy that happened in the late ’60s across America. the Witch and a letter-writing campaign against The Duchess of The timing seemed perfect. Malfi, I have tried to listen and respond to the plethora of voices out there, and to share my thinking about artistic choices even A Walk on the Moon is the story of a middle-class Jewish family when they might be controversial. I am incredibly grateful to that visits a Catskills bungalow colony every summer, including each and every one of you for making the time and commitment the fateful summer of 1969 when Neil Armstrong walked on the to be part of A.C.T., to attend not only our productions but also moon. It’s the story of a thirtysomething woman, Pearl, who longs discussions, readings, symposia, anniversary celebrations, and so for adventure in her life, and the astonishing moment when her much more. I hope you will keep engaging, keep pushing us, and yearnings and the moonwalk collide. It’s also about a mother and keep supporting the theater as a place of civic discourse and of a daughter who come of age at the same time, in an era when so joy! We could never do it without you. much of the world around them was turning upside down. Since every piece of theater is its own crazy moonshot, it is Fifty years after that summer, America is reckoning with many perhaps fitting that I end my tenure withA Walk on the Moon, of the changes that period introduced, and wondering how far in celebration of our endless quest to discover new worlds the profound civil rights and feminist struggles so central to that and strive for new frontiers. That’s what I plan to do as I set moment have really progressed. So it’s thrilling to create a new off to create my own work as a writer and director around the work that looks back in such a complex way, through the lens of country and in Canada. But you haven’t seen the last of me, as characters from multiple generations who long for something the beautiful world of A Thousand Splendid Suns returns to The more in their lives. Geary on July 17 for a two-week encore run. We’re thrilled to bring this internationally acclaimed production back to its home We’ve spent the past year with Sheryl Kaller and the creative theater, and very much hope to see you there. team developing A Walk on the Moon for its debut at A.C.T. There is perhaps nothing more difficult to get right than a With enormous gratitude, new musical, but it’s also a joyful process of discovery and collaboration, and we’re so grateful to Ruth and Steve for helping to make Moon possible. Moon reunites us with favorite

Carey Perloff Artistic Director

13 MUSICAL NUMBERS

ACT ONE

FIRST SATURDAY NIGHT OF THE SUMMER PEARL, ALISON, MARTY, AND COMPANY OUT OF THIS WORLD PEARL HEY MISTER PRESIDENT ROSS WORLD WITHOUT MEN PEARL, RHODA, ELEANOR, BUNNY, AND LILLIAN FEELING FEELINGS ALISON AND MYRA SOMETHING NEW WALKER GROUND BENEATH MY FEET PEARL DANCING WITH YOU MARTY AND THE MEN GO! ALISON AND ROSS OUT OF THIS WORLD (REPRISE) PEARL HOW COME YOU’RE SO BEAUTIFUL?/ WORLD SPINS ROUND WALKER, PEARL, AND COMPANY

ACT TWO

I CAN DO THIS PEARL WATERFALL PEARL AND WALKER UNEXPECTED WALKER THE MICROSCOPE LILLIAN WORLD WITHOUT MEN (REPRISE) ELEANOR, RHODA, BUNNY, LILLIAN, NEIL, IRV, AND STAN OUT OF THIS WORLD (REPRISE) PEARL LANDED PEARL, WALKER, ALISON, ROSS, MYRA, AND COMPANY YESTERDAY TODAY ALISON, MYRA, ROSS, PEARL, AND MARTY WE MADE YOU MARTY, PEARL, AND ALISON I JUST CAME TO SAY GOODBYE PEARL AND WALKER HEY MISTER PRESIDENT/FEELING FEELINGS (REPRISE) ROSS, ALISON, AND MYRA WALKING ON THE MOON MARTY, PEARL, AND COMPANY

THE BAND GREG KENNA KEYBOARDS DAVE MACNAB GUITAR 1 SCHUYLER MCFADDEN GUITAR 2 DEBORAH PRICE VIOLIN MICHELLE KWON CELLO RICHARD DUKE BASS KEN BERGMANN DRUMS KEVIN PORTER MUSIC CONTRACTOR

New musicals are constantly evolving. Please note that this song list is accurate as of May 22. Any changes will be reflected in a program insert.

14 ACT-SF.ORG CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director PRESENTS

BOOK BY PAMELA GRAY MUSIC AND LYRICS BY PAUL SCOTT GOODMAN ADDITIONAL LYRICS BY PAMELA GRAY BASED ON THE MIRAMAX AND VILLAGE ROADSHOW MOTION PICTURE A WALK ON THE MOON WRITTEN BY PAMELA GRAY PRODUCTION STAGE MANAGER MATT DICARLO* CHOREOGRAPHED BY JOSH PRINCE DIRECTED BY SHERYL KALLER

CREATIVE TEAM CAST SCENIC DESIGNER DONYALE WERLE NEIL JEFFREY BRIAN ADAMS* COSTUME DESIGNER LINDA CHO PEARL KATIE BRAYBEN* LIGHTING DESIGNER ROBERT WIERZEL STANLEY JAKE BRONSON* SOUND DESIGNER LEON ROTHENBERG DANNY ELIJAH COOPER† PROJECTION DESIGNER TAL YARDEN RHODA MONIQUE HAFEN* MUSIC SUPERVISOR GREG ANTHONY RASSEN BUNNY MOLLY HAGER* MUSIC DIRECTOR GREG KENNA MYRA NINA KISSINGER ORCHESTRATIONS MICHAEL STAROBIN ELEANOR ARIELA MORGENSTERN* VOCAL DESIGNER ANNMARIE MILAZZO ALISON BRIGID O’BRIEN* ASSOCIATE DIRECTOR JESSICA BIRD LILLIAN KERRY O’MALLEY* ASSISTANT CHOREOGRAPHER MEREDITH JOELLE MARTY JONAH PLATT* CHARLSON IRV VINCENT RANDAZZO* VOCAL COACH CHRISTINE ADAIRE WALKER ZAK RESNICK* DRAMATURG MICHAEL PALLER ROSS NICK SACKS* CASTING DIRECTOR JANET FOSTER, CSA DANNY ALTERNATE NATE WAYNE†

THIS PRODUCTION MADE POSSIBLE BY UNDERSTUDIES COMPANY SPONSORS JERI LYNN AND JEFFREY W. JOHNSON WALKER, MARTY JEFFREY BRIAN ADAMS* MARY AND STEVEN SWIG RHODA, BUNNY, PRODUCERS ELEANOR JENNIFER APPLE* MARY AND GENE METZ ALISON, MYRA LYLE BELGER DONALD J. AND TONI RATNER MILLER SALLY AND TOBY ROSENBLATT NEIL, STANLEY, IRV DEREKTRAVIS COLLARD* ABBY AND GENE SCHNAIR PEARL MONIQUE HAFEN* ASSOCIATE PRODUCERS ROSS RYAN KAIN* MARCIA AND JIM LEVY DRS. MICHAEL AND JANE MARMOR LILLIAN ARIELA MORGENSTERN* MILTON MOSK AND THOMAS FOUTCH MARCY AND PAUL NATHAN BARBARA PHILLIPS JOSEPH E. AND JULIE RATNER STAGE MANAGEMENT LORI HALVERSON SCHRYER PAUL AND JULIE SEIPP ASSISTANT STAGE MEGAN MCCLINTOCK* VERA AND HAROLD STEIN MANAGERS MARCY VICTORIA REED* AND SPECIAL FUNDING FROM STAGE MANAGEMENT MIRANDA ERIN CAMPBELL, BARBARA RAVIZZA AND JOHN S. OSTERWEIS FELLOWS BRI OWENS, ERIN SWEENEY CORPORATE AND FOUNDATION OPENING NIGHT SPONSOR PRODUCTION SPONSORS Originally presented by New York Stage and Film & Vassar College in the Powerhouse Season, July 2014. Produced with the generous support of Ruth and Stephen Hendel *Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States Commercial Executive Producer: Roy Gabay †Member of the A.C.T. Young Conservatory

415.749.2228 15 ABOUT THE PLAY PHOTO COURTESY PAMELA GRAY

THE POWER

Every summer from age three to fifteen, Pamela Gray was whisked away from the hubbub of New York City to the Catskill Mountains. Paying $250 for the entire season, Gray’s family lived OF YOUTH with other working-class Jewish families in bungalow colonies. AN INTERVIEW WITH BOOK “These Jewish housewives lived in this matriarchal world,” says Gray, “where they’d be visited by vendors: the blouse man, WRITER PAMELA GRAY the dress man, the bathing-suit man.” Seeing the storytelling BY TAYLOR STEINBECK potential in these childhood memories, Gray wrote about ’60s Borscht Belt life in her first screenplay,The Blouse Man, which later became the movie A Walk on the Moon (1999). More than ten years later, producers approached her to adapt Moon into a musical; she leaped at the opportunity. Before rehearsals in San Francisco, Gray reminisced with us about the Catskills, Woodstock, and the process of creating a new musical.

16 ACT-SF.ORG In the summer of 1969, your family was just a few miles from Woodstock. How conscious were you of the festival? Nobody in the bungalow colonies really knew what Woodstock was going to be, but there was an awareness that this other world was encroaching. I was a fan of the musicians performing and, since friends were going, I asked my mother if I could. She initially said okay, but then she came over to me a couple weeks later and said, “Do you know the National Guard might be there? You are not going to that concert!” PHOTO COURTESY PAMELA GRAY

Other kids from the colony snuck out, but I didn’t have the nerve. I remember being by the pool with my mother, grandmother, and brother. Through the fence, I could see hippies walking to Woodstock. I had this strong feeling of wanting to burst through that fence and join them.

Do you identify with your protagonists, Pearl and Alison? Definitely. I wrote the script in my thirties, and, while I didn’t OPPOSITE have Pearl’s life, I was starting to reflect on things I thought Writer Pamela Gray at the Humanitas Prize Awards in 2018.

would be happening in my life by that time that weren’t. Pearl ABOVE probably wouldn’t even know the word “feminist,” but she has Gray on the set of the 1999 movie A Walk on the Moon. this feeling that a lot of women had at the time—she wants to live fully and be seen as more than just a wife and mother. What have you enjoyed most about the process of creating a new musical? I also identify strongly with Alison. In A Walk on the Moon, she The collaboration has been thrilling. As a creative person, I experiences her first love, and I too had my first little love affair can’t think of anywhere I’d rather be than sitting in a room in the Catskills. I was 13 and it was with a boy from town, on with smart, talented people and hearing everyone’s ideas. I the other side of the bungalow colony. It wasn’t scandalous, love that every artist is seeing the story through the lens of but I’d never really been around a non-Jew before. There craft. The cast and creative team showed me things about this was something exciting about this summer romance with story—a story that is in my DNA—that I hadn’t seen before. someone not from my culture—he was my little blouse man.

Why do you think this musical will resonate with today’s San Francisco audience? A lot of what happened in the summer of ’69 wouldn’t have happened without 1967’s Summer of Love. Even though this story takes place on the East Coast, its themes of transformation and revolution capture the energy of the Bay Area.

Want to know more about A Walk on the Moon? The 1960s was an era similar to today when teenagers had Words on Plays is full of interviews and original essays a stake in what was happening politically. I’ve heard young that give you a behind-the-scenes look. Proceeds gun control activists from Parkland, Florida, saying, “People from sales of Words on Plays benefit A.C.T.’s of our age group haven’t had a voice since the ’60s.” Just education programs. like the kids of today, the kids in the ’60s didn’t trust their government, but they didn’t believe they were powerless. In Available at the box office and lobby, at the bars, Moon, Alison says that Woodstock is going to end the war and online at act-sf.org/wordsonplays. in Vietnam. There was this belief in the power of youth.

415.749.2228 17 ABOUT THE PLAY THE SUMMER OF 1969 Looking back, the summer of 1969 seems idyllic. A hamburger A SNAPSHOT OF AMERICA cost 10 cents, a gallon of gas, 35. But throughout those dog days, a sense of revolution was sweeping the nation. On the BY ELSPETH SWEATMAN streets, beehive hairdos were giving way to tie-dye shirts and bell-bottom jeans. On the airwaves, girl groups were competing with rock ’n’ roll and protest anthems. On television, Bonanza was followed by footage of the Vietnam War. Like Pearl and Alison in A Walk on the Moon, many Americans felt they were on the cusp of radical change. Here’s a snapshot of America in that life-changing year.

President Nixon orders Clothing company Construction of Walt The Stonewall secret bombing Levi Strauss begins selling Disney World begins riots take place of Cambodia bell-bottom jeans in Orlando, Florida in New York

BURNING DRAFT CARDS ONE SMALL STEP

On June 27, Life magazine published photos of the 241 At 7:56 p.m. PST on July 21, Apollo 11 astronaut Neil Armstrong American soldiers killed in Vietnam during a one-week uttered the iconic line, “That’s one small step for a man, one period. The public response was immediate, visceral, and giant leap for mankind,” as he stepped onto the surface of divided. Some criticized the magazine for supporting the the moon. He was joined a few minutes later by fellow crew growing anti-war sentiment among American youth. Others member Buzz Aldrin. Together, they planted the US flag and a admonished the magazine for taking so long to shine plaque reading, “We came in peace for all mankind.” It was the light on this unwinnable conflict. culmination of a decade of dreams, successes, and failures for American space exploration. By 1969, US armed forces had been in Vietnam for almost 15 years. Although most Americans initially viewed this Nationwide, 120 million people tuned in to watch the moon intervention as necessary in the fight against communism, landing on their television sets. At a time when the American as the body count rose, many lost confidence in the US people felt more divided than ever, it was a patriotic moment government. Anti-war protests grew. Young men burned their shared from coast to coast. The moon landing remains a draft cards. Songs such as Creedence Clearwater Revival’s beacon of American technological achievement. “Fortunate Son” captured public opinion. Anti–Vietnam War sentiment would grow until US troops withdrew in 1975.

Today’s dollar Cost of a Cost of a Cost of a was worth: hamburger: gallon of milk: dozen eggs: $6.94 $0.10 $1.10 $0.65

18 ACT-SF.ORG PHOTO BY WARREN K. LEFFLER. COURTESY LIBRARY OF CONGRESS.

A WOMEN’S RIGHTS DEMONSTRATION IN WASHINGTON, DC.

The Stonewall David Bowie releases World’s first email Sesame Street First military riots take place “Space Oddity” sent by teams at premieres draft lottery in New York UCLA and Stanford since World War II

THE ROAD TO WOODSTOCK WOMEN’S MOVEMENT

For three hot August days, more than 400,000 people Inspired by anti-war protests, female rock musicians, and crowded into an upstate New York dairy farm to hear their books such as Betty Friedan’s The Feminine Mystique (1963), favorite musicians: Janis Joplin, the Who, Jimi Hendrix, Joan many women were reexamining their lives and joining the Baez, Jefferson Airplane, and 26 other acts. Traffic jams, fight for freedom and equality in the 1960s. For some women, thunderstorms, and a shortage of food couldn’t dampen such as Pearl in A Walk on the Moon, this meant ditching tight their spirit. 1950s girdles in favor of loose-fitting clothing and reassessing their dreams and desires. For others, such as Pearl’s daughter The Woodstock Music & Art Fair would become a defining Alison, it meant joining the second-wave feminist movement. moment, not just in music but in American culture. It instantly All over the country, women were marching for equal rights became a shining example of social harmony, and an in all aspects of society. “You can’t contain the human spirit illustration of the power of the anti-war movement that would indefinitely,” wrote journalist Natalie Gitelson in the July issue gain traction in the 1970s. It was immortalized in Joni Mitchell’s of Harper’s Bazaar. “There comes at last the unquenchable 1970 song “Woodstock” and in the Academy Award–winning urge to explore, to seek the new, to confront the dangers and documentary of the same name. In 2017, the Woodstock site take the consequences of forging a new morality.” was added to the National Register of Historic Places.

Average cost of Average cost of Cost of a Cost of a a house: a new car: gallon of gasoline: black-and-white $27,900 $2,000 $0.35 television: $125

415.749.2228 19 EAP full-page template.indd 1 4/4/18 2:23 PM WHO'S WHO IN A WALK ON THE MOON

JEFFREY BRIAN television shows Luther, The Alienist, MONIQUE ADAMS* (Neil) is Doctor Who, King Charles III, and Vera, HAFEN* (Rhoda) making his return to and in the films Self-Help: A Serial has performed the Geary stage after Killer’s Guide to Life, This Way Out, and across the Bay Area performing as the This Love. at San Jose Stage understudy for Jamie Company (Sweeney in The Last Five JAKE BRONSON* Todd: The Demon Years. Other recent (Stanley) is a Bay Barber of Fleet credits include Happily After Ever at Area native currently Street, The Threepenny Opera, and 59E59 Theaters in New York, Death of a living in Oakland. His Avenue Q), Center REPertory Company Salesman and The Addams Family at San Bay Area theater (The Liar, The Storytelling Ability of a Jose Stage Company, and San Francisco credits include Boy), San Jose Repertory Theatre Playhouse’s productions of Dogfight, Into Fabricio in The Light (Spring Awakening), TheatreWorks (New the Woods, She Loves Me (2017 Bay Area in the Piazza and Works Festival 2017), and five seasons Theatre Critics Circle Award for Principle Courier in 1776 (Spreckels Theatre with San Francisco Playhouse (Harper Actor in a Musical), and Promises, Company), Curly in Oklahoma! (Altarena Regan, My Fair Lady, Company, City of Promises. Adams holds an MFA from The Playhouse), and Pinelino in Gianni Schicchi Angels, She Loves Me, Noises Off, and New School for Drama in New York City. (Waffle Opera). Other theater credits Camelot). Hafen is the honored recipient include Princeton in Avenue Q and Tobias of Bay Area Theatre Critics Circle Awards KATIE in Sweeney Todd: The Demon Barber of for her work in My Fair Lady (Eliza), BRAYBEN* Fleet Street (Stockton Civic Theatre), Company (Amy), She Loves Me (Amalia), (Pearl) trained Candide in Candide (Townsend Opera), and Camelot (Guinevere), as well as a at Rose Bruford Malcolm in The Full Monty (Gallo Center Theatre Bay Area Award for her role as College. Her theater for the Arts), and Chip Tolentino in The Polly Peachum in The Threepenny Opera. credits include The 25th Annual Putnam County Spelling Bee She is a graduate of Santa Clara Spoils (Trafalgar (Good Company Players). Bronson was University’s theater department. Studios); My Mother named Best Principal Male Actor in a Said I Never Should (St. James Theatre); Musical for The Light in the Piazza (San MOLLY HAGER* Beautiful: The Carole King Musical Francisco Bay Area Theatre Critics Circle (Bunny) is making (Aldwych Theatre; Olivier Award for Awards) and Best Supporting Male Actor her A.C.T. debut with Best Actress in a Musical); King Charles in a Musical for Sweeney Todd: The A Walk on the Moon. III (Almeida Theatre; Wyndham’s Demon Barber of Fleet Street (Stockton She is an original cast Theatre); American Psycho (Almeida Civic Theatre’s Willie Awards). @Jake_ member of Waitress Theatre); Joking Apart (Nottingham My_Bronson on Broadway and will Playhouse; Salisbury Playhouse); return to the role of Ragtime the Musical and A Midsummer ELIJAH Mother later this summer. Other notable Night’s Dream (Regent’s Park Open Air COOPER† theater credits include Heathers: The Theatre); 13 (Royal National Theatre); (Danny) was most Musical (New World Stages), Pump Boys John & Jen (Landor Theatre); Friday 4pm recently seen in and Dinettes (Weston Playhouse), and (Arcola Theatre); Company (Southwark Ragtime at Berkeley Fat Camp (off Broadway, regional, and Playhouse); Is Everyone OK? (nabakov; Playhouse as Little New York Musical Theater Festival Nu:Write Theatre Festival Zagreb); Boy. Previous productions). Hager was most recently Counted? (UK tour); The Great British Berkeley Playhouse seen on television in Showtime’s Happyish Country Fete (Bush Theatre); Skin Tight credits include Chip in Disney’s Beauty and on film in It’s Kind of a Funny Story (Riverside Studios); Mamma Mia! and the Beast and Michael Darling in Peter (Focus Features). (ten-year anniversary cast, international Pan. He also played Chip in Mountain tour, and West End); Return to the Play’s production of Disney’s Beauty and Forbidden Planet (UK tour); and Some the Beast. He has taken multiple classes Girls Are Bigger Than Others (Lyric and camps through Berkeley Playhouse Hammersmith; Dublin Theatre Festival). Conservatory and attends Walden Center On screen, Brayben can be seen in the & School in Berkeley.

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States † Member of the A.C.T. Young Conservatory 415.749.2228 21 NINA BRIGID Chicago Med, and many others. She is a KISSINGER O’BRIEN* (Alison) graduate of Duke University and the (Myra) has trained returns to the Geary Institute for Advanced Theater Training throughout high stage after playing at Harvard University. school in theater, the role of Fredrika @TheKerryOMalley dance, and vocal in A.C.T.’s production programs at A.C.T., of A Little Night JONAH PLATT* the San Francisco Music. Since (Marty) is most Opera Guild, the University of Michigan, O’Brien’s last performance at A.C.T., she well-known for his Carnegie Mellon University, Interlochen has played the title role in the Ross star turn as Fiyero in Center for the Arts, and RoCo Dance. Valley Players’ production of The Diary of Broadway’s smash She frequently performs with A.C.T.’s Anne Frank, Lydia Bennet in the IAM hit Wicked. Some of Young Conservatory as a member of its Theatre Company’s production of Pride his other favorite high school musical ensemble, as well as and Prejudice: The Musical, and a roles include Woof in with the San Francisco Opera Guild as a number of roles in productions at San Hair (Hollywood Bowl, starring Kristen member of its Opera Scouts Program. Marin High School, including Marian Bell), Homer in Floyd Collins (La Mirada She was most recently seen in Crazy for Paroo in The Music Man and Wednesday Theatre; Ovation Award for Outstanding You as part of Interlochen Center for the Addams in The Addams Family. O’Brien Musical), and Jason in Bare: A Pop Opera Arts’ Summer Arts Camp. She will covered the role of Young Kim at the San (Los Angeles Revival). He was seen most attend Northwestern University in the Francisco Opera’s production of Show recently on television in the critically fall. @ninakissinger Boat. She has also appeared in two acclaimed Jesus Christ Superstar Live in Mountain Play Theater productions, Concert, starring John Legend. Other ARIELA playing the roles of Marta von Trapp in television credits include Parenthood, MORGENSTERN* The Sound of Music and Amaryllis in Curb Your Enthusiasm, and the series (Eleanor) has The Music Man. @brigidobrienn finale of The Office. He also voices Milton recently moved back Moss on the upcoming season of Netflix’s to her hometown of KERRY animated series Trolls: The Beat Goes On! San Francisco after O’MALLEY* Platt is an accomplished producer and working in New York (Lillian) has director, as well as an award-winning for nearly ten years. appeared on vocal arranger and musical director. As a Favorite roles include Diana in Next to Broadway as Betty singer and musician, he has entertained Normal (Baltimore Center Stage); the Haynes in Irving audiences across the country with his understudy for Mrs. One and Two in Berlin’s White signature solo concerts. He is currently Adding Machine (off Broadway); Ms. Christmas, the co-writing the musical stage adaptation Wilde in Flashdance the Musical (national Baker’s Wife in Into the Woods (2002 of Lois Lowry’s best-selling novel The tour); Franca Naccarelli in The Light in revival), Sharone in On a Clear Day You Giver. @JonahPlatt the Piazza (Arena Stage; TheatreWorks); Can See Forever, Dolly Tate in Annie Get Aldonza in Man of La Mancha (Flat Rock Your Gun, and Billy’s Mum in Billy Elliot VINCENT Playhouse); Jenny in The Threepenny the Musical. Her off-Broadway credits RANDAZZO* Opera (West Bay Opera); and the title include Paula Vogel’s How I Learned to (Irv) is a graduate role in Carmen (San Francisco Lyric Drive (original cast), Conor McPherson’s of A.C.T.’s Master of Opera; Bay Shore Lyric Opera). A trained Dublin Carol, Finian’s Rainbow, Flight, Fine Arts Program opera singer, she has sung as a soloist and Paul Scott Goodman’s Bright Lights, (class of 2018). at Carnegie Hall, and has won The Kurt Big City. She played series regular roles Originally from Weill Foundation for Music’s Lotte in A&E’s Those Who Kill, Fox’s Costello, Syracuse, New York, Lenya Competition. She currently and NBC’s The Mike O’Malley Show; Randazzo was most recently seen on the teaches private acting classes for recurring roles on Showtime’s Shameless Geary stage as Thomas in A Christmas singers and voice as well as leadership and Brotherhood, HBO’s Boardwalk Carol and Guildenstern in Hamlet. communications at UC Berkeley’s Haas Empire, Amazon’s The Last Tycoon, Favorite Conservatory credits include School of Business. @arielamorg STARZ’s Survivor’s Remorse, and Netflix’s Danny and the Deep Blue Sea (Danny), Wet Hot American Summer: Ten Years The Last Days of Judas Iscariot (Judge Later; and guest star roles on The Littlefield/Caiaphas), Las Meninas Mentalist, The Orville, Rizzoli & Isles, (Painter/Doctor), and Romeo and Juliet Bones, Backstrom, Masters of Sex, (Friar Laurence/Lord Montague). In

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States † Member of the A.C.T. Young Conservatory 22 ACT-SF.ORG addition to his work in the Conservatory, Drama where some of his favorite roles NATE WAYNE† Randazzo has performed for the last included Jerry in The Full Monty and (Danny Alternate) three years in Orson Welles/Shylock— Orpheus in Eurydice. He also attended was most recently A Docu-Fantasy Radio Play (Orson the National Institute of Dramatic Arts seen in Junie B. Jones, Welles/Roger Hill) with The Shylock in Sydney, Australia. On television, Sacks Jr. with Bay Area Project in Italy and various fringe guest-starred opposite Christina Ricci Children’s Theatre’s festivals in Canada. in Z: The Beginning of Everything for Advanced Performers. Amazon. Sacks is a company member Other theater credits ZAK RESNICK* of Jennifer Jancuska + The BringAbout. include Annie, Jr.; Honk, Jr.; and a showcase (Walker) was last @nickkkks performance of Aladdin, Jr. at the Junior seen at A.C.T. in Theater Festival West. Dance credits The Last Five Years include a recent performance with Joy (San Francisco Bay in Motion’s Joy Crew Minis. Area Theatre Critics Circle Award nominee for Best Actor in a Musical). On Broadway, he was in Mamma Mia! and the off- Broadway shows Piece of My Heart: The Bert Berns Story (directed by Denis Jones) and Once upon a Mattress (directed by Jack Cummings III). Resnick has appeared on television in Lovestruck: The Musical (ABC Family) and The Marshalls (ABC). His regional credits include For the Record: Scorsese—American Crime Requiem Fed up with heat & eat? and Love Actually in Concert at the Wallis Annenberg Center for Performing Arts in Beverly Hills; Aida at The Muny in St. Louis opposite Michelle Williams; and BAZ at the Venetian in Las Vegas. Resnick is a company member of Los Angeles’s For the Record. He is a graduate of Carnegie Mellon University, and was an acting student at the National Institute of Dramatic Art in Sydney, Australia. @zakresnick

NICK SACKS* (Ross) is making his A.C.T. debut in A Come live a little. Walk on the Moon after originating the role in a workshop Your best years are ahead of you. earlier this year. Get started at PlanYourBestYears.com • To learn Sacks recently made his Broadway debut as Jared more about our full-service condos for adults 60+ Kleinman in Dear Evan Hansen. Prior to in San Mateo, call Terrie at 650-425-4237. that, he appeared in the developmental production of Kait Kerrigan and Brian Lowdermilk’s The Bad Years in New York, and played the role of Henry in Next to Normal at TheaterWorks Your Life. Your Way. Hartford. Sacks is a recent graduate of

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415.749.2228 23 Job: PR-278 MAT Heat & Eat Ad ME.01 Date: 2/26/18 Publication: ACT Walk on the Moon_2018 Ad Size: Bleed: Trim: 4.75 x 7.375” in Live: Sign Off: AD: LM Proofer: AE: JG JENNIFER DEREKTRAVIS the Samuel Goldwyn Writing Award, APPLE* COLLARD* received a Golden Satellite nomination, (Understudy) is an (Understudy) was and led Variety to name her “One of actor, singer, and recently seen in Ten Screenwriters to Watch.” Gray’s photographer who 42nd Street as Bert other screenwriting credits include hails from New York Barry with Pacific Conviction, starring Hilary Swank City and has just Coast Repertory and Sam Rockwell, and Music of the graduated from Theatre. He has Heart, starring Meryl Streep. Gray’s the A.C.T. Master of Fine Arts Program. performed around the Bay Area in Ghost playwriting credits include Healin’ Dirt Favorite M.F.A. credits include Untitled and Pageant (“OMG, I Love That Show!” Diner, co-written with Mary Casey Tegan and Sara Musical (Ruby), Productions); Company and The Mystery (Theatre Rhinoceros), and Supernormal Clickshare (Ria), The Good Woman of of Edwin Drood (Town Hall Theatre Clutches (Celebration Theatre). She Setzuan (Shen Te/Shui Ta), Bystander Company); She Loves Me (Center dedicates this musical to her father Effect (self-created solo show), Love REPertory Company); Disney’s Beauty Larry Gray, the world’s best storyteller. and a Bottle (Leanthe), Cardenio (Doris), and the Beast (Pacific Coast Repertory and Lungs (W). Select New York and Theatre); and Les Misérables, Hairspray, PAUL SCOTT GOODMAN (Music regional credits include Detroit ’67 Little Shop of Horrors, and Oliver! (Contra and Lyrics) is a Scottish composer (Caroline) and Romeo & Juliet (Lady Costa Musical Theatre). Other theater who wrote the book, music, and lyrics Capulet) at Chautauqua Theater credits include The Gold Wutahkee for Bright Lights, Big City, directed by Company; The Theory of Relativity (Lincoln Center Theater Directors Lab); Michael Greif, which premiered at New (Catherine) at Goodspeed Musicals; Funny, Baroo, A Moose Tale, and Dr. York Theatre Workshop in 1999. The Something Funny’s Going On: A Seuss’s How the Grinch Stole Christmas! soundtrack features Patrick Wilson, Cabarevue (directed by Martin Charnin) (The Old Globe); Pageant (North Coast Sherie Rene Scott, Jesse L. Martin, at Musical Theatre Factory; Monty Repertory Theatre); and numerous and Christine Ebersole. Goodman’s Python’s Spamalot (Lady of the Lake) readings and workshops in New York other musicals include Him & Her at Lees-McRae Summer Theatre; and City. He has also worked in the Bay Area (2002 Best Performance Award, New Fiddler on the Roof (Tzeitel/Hodel) at with TheatreWorks, A.C.T., Bay Area York International Fringe Festival), Pennsylvania Shakespeare Festival and Children’s Theatre, Berkeley Repertory Rooms: A Rock Romance (New World Cape Fear Regional Theatre, respectively. Theatre, and 42nd Street Moon. Stages, Outer Critics Circle Award Apple holds a BA in theater, creative nomination for Best Musical), and Alive writing, and philosophy from Muhlenberg RYAN KAIN* in the World (2006 New York Musical College. www.jenniferapple.net (Understudy) is Festival). Goodman is the recipient of making his A.C.T. the Songwriters Hall of Fame Award LYLE BELGER debut with A Walk for Best New Songwriter and the (Understudy) is on the Moon. He Jonathan Larson Award for excellence making her A.C.T. recently appeared as in songwriting. Other shows include mainstage debut Davey in Newsies God Save the New Wave, Metropolitan with A Walk on the with Children’s Music, and Just East of Broadway. He Moon. She recently Musical Theater San Jose. He also is currently writing Open Road for performed in Marin recently appeared in 9 to 5: The Musical Tony Award–winning producers Steve Theatre Company’s as Josh at Foothill College. Ryan lives in and Ruth Hendel. Goodman dedicates Wolves, playing #2 in the high school San Carlos, California, and majors in the score of A Walk on the Moon to cast understudying the professional theater at Foothill College. his beloved wife Miriam and their production. Belger is a regular performer children Shayna, Glory, and Gordon. with Bread & Roses Presents, bringing PAMELA GRAY (Book and music to audiences that would otherwise Additional Lyrics) is a screenwriter JOSH PRINCE (Choreographer) not have access. She has performed as who wrote the 1999 film A Walk on the has choreographed for New York City part of A.C.T.’s Young Conservatory in Moon, which was produced by Dustin Center, Carnegie Hall, Lincoln Center, multiple summer musicals and is Hoffman, directed by Tony Goldwyn, The John F. Kennedy Center for the currently a member of the YC’s high and starred Diane Lane, Liev Schreiber, Performing Arts, Signature Theatre, school cabaret. Belger is a sophomore Viggo Mortensen, and Anna Paquin. The Writers’ Theatre, Disney Cruise Line, at Redwood High School in Marin. film premiered at the Sundance Film Town Hall, Brooklyn Academy @lylebelger Festival and won a National Board of of Music, and The New Group. His Review Award. Gray’s original screenplay choreography has appeared on (which was called The Blouse Man) won Broadway, the West End, and around

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 24 ACT-SF.ORG 415.749.2228 Greatest joys: Scott, Tobey, andTess. and Geoffrey Nauffts,amongothers. Lively, Tyler Beattie, Jonatha Brooke, Dan Fogler, AnnMarieMilazzo, Emma work withBillyPorter, Ryan Spahn, Theater). Sheiscurrently developing Daniel Beaty’s Mr. Joy (Lincoln Center (Roundabout Theatre Company), and of Too Much, Too Much,Too Many Theatre), MeghanKennedy’s production Company, Kansas CityRepertory A LittleMore Alive (Barrington Stage Stages), NickBlaemire’s new musical Porter’s play While IYet Live (Primary directed theworld premieres ofBilly Disney CruiseLines.Shealsorecently Spectacular withJoshPrince for Holzman, andFrozen, AMusical by JoshRadnor, Choice by Winnie Pasadena Playhouse, Sacred Valley Town The White Chipby SeanDaniels, Our Nauffts. Some recent projects include production ofNext Fall by Geoffrey for Best Director for theBroadway received aTony Award nomination on Broadway, starring Tyne Daly. Kaller Award–nominated Mothers andSons directed Terrence McNally’s Tony DONYALE WERLE SHERYL KALLER Lab. www.broadwaydancelab.org and artistic director ofBroadway Dance Toronto, Canada.Prince isthefounder Grease at theWinter Garden Theatre in recently directed andchoreographed Hall, andThe Royal AlbertHall,and worked at The OldVic, Royal Festival Award nomination). InLondon, hehas Shrek The Musical(Outer CriticsCircle Musical (Olivier Award nomination) and the world inBeautiful:The Carole King Center seasons,includingRunaways , (Signature Theater); five Encores! Off- Theatre Company); Daphne’s Dive The RobberBridegroom (Roundabout of Georgia McBride(MCC Theater); include Alice by HeartandThe Legend Allegiance. Heroff-Broadway credits Hewes DesignAward), InTransit , and Jackson (Tony Award nomination, (Tony Award), BloodyAndrew credits include Peter andtheStarcatcher Designer) withDeafWest Theatre and isadesignerwhoseBroadway (Director) (Scenic (Scenic has has designedproductions withopera debut Dreams and Nightmares. Wierzel nomination), andDavid Copperfield’s Grill, themusicalFELA!(Tony Award include Lady Day at Emerson’s & Bar and abroad. HisBroadway productions music onstages throughout thecountry theater, opera, dance, andcontemporary diverse disciplinesandbackgrounds in Designer) ROBERT WIERZEL LINDA CHO MFA from Yale SchoolofDrama. Festival inCanada.Shereceived her Company in EnglandandtheStratford costumes at theRoyal Shakespeare Internationally, Chohasdesigned Saint Louis, andMetropolitan Opera. Goodspeed Musicals,Opera Theatre of the Oregon Shakespeare Festival, Theatre, ChicagoShakespeare Theater, Globe, theGuthrieTheater, Goodman Jolla Playhouse, Arena Stage, The Old been seenat Los AngelesOpera, La Company. Regionally, herdesignshave Department, andAtlantic Theater Theater, Classic Stage Company, Drama Club, Second Stage Theatre, The Public other shows at Manhattan Theatre for Theatre for aNew Audience, and has designedThe Merchant of Venice Velocity of Autumn . OffBroadway, she Costume DesigninaMusical),andThe Love andMurder (Tony Award for Best nomination), AGentleman’s Guideto credits includingAnastasia (Tony Award Thousand SplendidSuns.HerBroadway returns to A.C.T. for thefirst timesince A design practices for theater. @djwerle She speaksinternationally onsustainable Design, andorganizes for USA Local 829. Green Alliance andWingspace Theatrical She isaffiliated withthe Broadway Performing Arts,andTwo River Theater. Hartford Stage, Denver Center for the La JollaPlayhouse, The OldGlobe, Geffen Playhouse, Writer’s Theatre, Werle hasworked at 5th Ave Theatre, York Theater Workshop. Regionally, Theater, Vineyard Theatre, andNew Club); andproductions at The Public The Club(Manhattan Explorer’s Theatre Broke-ology (Lincoln Center Theater); Little Shopof Horrors , andAssassins; hasworked withartists from (Costume Designer) (Lighting

, andADoll’sin theBand House, Part 2. nomination), theupcoming The Boys Turner’s Come andGone (Tony Award (Tony Award), The Heiress, Joe Violet, The Realistic, The Jones Nance Crazy. HisBroadway credits include he designedBetween Riverside and Designer) University’s Tisch SchooloftheArts. and isonthefaculty ofNew York partner at SparkDesignCollaborative among many others.Wierzel isacreative Old Globe, andtheMarkTaper Forum, Wharf Theatre, GoodmanTheatre, The Theater, theGuthrieTheater, Long Hartford Stage, ChicagoShakespeare designed at regional theaters including Jones/Arnie ZaneCompany. Hehas work includes33years withtheBillT. Glimmerglass Festival. Wierzel’s dance productions over 29seasonswith Washington, DC,aswell asnumerous Diego, Houston, Dallas,Chicago, and Norway, Toronto, Boston, Seattle, San companies inNew York, Paris, Tokyo, LEON ROTHENBERG A.C.T. Support to Proud www.sflg.com 415.834.1120 San Francisco, CA94105 575 Market Street, Suite 4000 client’s dignityandhumanity. Our goalisto preserve our final resolution thoughtful litigation Personal a returns to The Geary, where F A M I L YL ttention A

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25 FAMILY LAW Regionally, he has designed at Geffen GREG ANTHONY RASSEN Glorious Ones, Adrift in Macao, The Playhouse, Pasadena Playhouse, Spoleto (Music Supervisor) is a Drama Desk House of Bernarda Alba, The 25th Festival, Portland Center Stage, Arena Award winner and Tony Award nominee Annual Putnam County Spelling Bee, Stage, Seattle Repertory Theatre, La Jolla for Bandstand. His other Broadway The Adventures of Tom Sawyer, A New Playhouse, The Old Globe, Long Wharf credits include An American in Paris, Brain, A Christmas Carol (Madison Theatre, Williamstown Theater Festival, Bullets Over Broadway, The Little Square Garden), Hello Again, Guys and Delaware Theater Company, New York Mermaid, The Book of Mormon, Rodgers Dolls (1992 revival), My Favorite Year, Stage and Film, and Two River Theater. and Hammerstein’s Cinderella, and In Trousers, Closer Than Ever, Legs Off Broadway, Rothenberg has worked A Chorus Line (revival). His work as Diamond, Carrie: The Musical, Birds of at Second Stage Theater, New York City arranger/orchestrator includes Jerry Paradise, Rags, Three Guys Naked from Center, Manhattan Theatre Club, and Springer: The Opera (The New Group), the Waist Down, and The Death of von The Public Theater, among others. He Between the Lines (Kansas City Richthofen as Witnessed From Earth. He has designed for the international tours Repertory Theatre), and The Beast in the orchestrated the films Tangled, Home of Dirty Dancing and Cirque du Soleil’s Jungle (Vineyard Theatre). He has been on the Range, and The Hunchback Kooza and Wintuk, and the virtual reality commissioned by New York Pops, Boston of Notre Dame. He has composed series Fire Escape (upcoming for iNK Pops Orchestra, Philly Pops, Indianapolis incidental scores for HBO, The Public Stories). He is on the faculty at California Pops, Ashley Brown, Sierra Boggess, Theater, Disney, McCarter Theatre Institute of the Arts. www.klaxson.net Jeremy Jordan, Norm Lewis, Darren Center, Cape May Stage, and Ringling Criss, Liz Callaway, Julia Murney, André Brothers Circus. www.starobin.com TAL YARDEN (Projection Designer) Previn, and John Williams. Rassen’s has created video and projection television credits include The Late Show ANNMARIE MILAZZO (Vocal designs for numerous stage productions, with Stephen Colbert, Live with Kelly & Designer) is a Grammy and Tony Award– including Indecent, Sunday in the Park Michael, and The View. Upcoming work nominated artist who composed the with George, and The Crucible on includes André Previn’s Concerto for music and lyrics for the short film Pretty Broadway. His recent international work Orchestra. Love to Jeremy, Gabriel, and Dead Girl, winner of the Special Jury includes David Bowie’s Lazarus (King’s Sylvia. www.greganthonymusic.com Award at the Sundance Film Festival. Cross Theatre), Network (National She co-composed and arranged the Theatre), Obsession and Antigone GREG KENNA (Music Director) music for the New York Spectacular (Barbican), Hamlet (West End), The most recently served as music director Starring the Radio City Rockettes. Damned (Comédie-Française), and of the world premiere of Monsoon Milazzo’s Broadway vocal arranging Oedipus (Toneelgroep Amsterdam). Wedding at Berkeley Repertory Theatre. credits include Spring Awakening, Off Broadway and regionally, Yarden His previous credits include Frozen Next to Normal, If/Then, and Finding has designed Lazarus, Indecent, King (workshop), An American in Paris Neverland. Her off-Broadway credits Lear, Distracted, Little Foxes, Liberty (Broadway and Paris), The Wiz Live! include Bright Lights, Big City and the City, Kaos, Beast, The Misanthrope, Lush (NBC), Dogfight (Second Stage Theater), 2012 revival of Carrie. Regionally, she Valley, Sounding, Futura, Swimming in The Sound of Music and Guys and Dolls has worked on Dangerous Beauty, March, and Pop! His work with director (Carnegie Hall), Hair (international Prometheus Bound, and Some Lovers. Ivo van Hove includes Kings of War, tour), Lempicka (Yale Repertory She and Michael Starobin orchestrated The Fountainhead, Cries and Whispers, Theatre; New Dramatists), You Never the 2017 Broadway revival of Once on Antonioni Project, Mourning Becomes Know, and Lysistrata Jones (Meadow This Island at the Circle in the Square Electra, Children of the Sun, The Brook Theatre). He holds a Bachelor Theatre. Additionally, she wrote the Russians, Angels in America, Husbands, of Music degree from the New York lyrics for Le Rêve at Wynn Las Vegas and Roman Tragedies (Toneelgroep University Steinhardt School of Culture, and for Franco Dragone’s Le Perle in Amsterdam). Yarden’s design for Education, and Human Development. Dubai. She is the vocalist for the East opera includes The Exterminating Village Opera Company on Universal Angel (Metropolitan Opera), Between MICHAEL STAROBIN Records and Aria Electronica. Worlds (English National Opera), (Orchestrator) won Tony Awards for Salome and Der Schatzgräber (Dutch his orchestrations of Next to Normal CHRISTINE ADAIRE (Vocal National Opera), La Clemenza de Tito (2009) and Assassins (2004). Other Coach) is head of voice at A.C.T. She and Idomeneo (Théâtre Royal de la orchestrations include Once on This is a Designated Master Linklater Voice Monnaie), Brokeback Mountain (Teatro Island, Sunday in the Park with George, Teacher, trained by the world renowned Real), and Macbeth (Opéra de Lyon). Falsettos, Kid Victory, If/Then, Annie voice teacher Kristin Linklater. She has (2012 revival), Dogfight, Leap of Faith, worked as an actor, voice coach, and Queen of the Mist, The People in the director in many American regional Picture, Sondheim on Sondheim, The theaters, including The Old Globe,

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 26 ACT-SF.ORG Milwaukee Repertory Theatre, the Guthrie and Scorched. On Broadway she cast Theater, Chicago Shakespeare, Goodman The Light in the Piazza (Artios Award Theatre, Lyric Opera, the Oregon nomination), Lennon, Ma Rainey’s Black Shakespeare Festival, Steppenwolf Bottom, and Taking Sides (co-cast). Theatre Company, Court Theatre, Off-Broadway credits include True Love, presence American Players Theatre, Theatre for a Floyd Collins, The Monogamist, A Cheever New Audience, Santa Cruz Shakespeare, Evening, and Later Life. Regionally, and Shakespeare & Company. Adaire she has worked at Intiman Theatre, has taught at DePaul University, National Seattle Repertory Theatre, California Theatre School of Canada, University Shakespeare Theater, Berkeley Repertory of Massachusetts–Amherst, University Theatre, Yale Repertory Theatre, of Wisconsin–Milwaukee, and Roosevelt Goodman Theatre, Steppenwolf Theatre University. She’s taught workshops in Company, The Old Globe, and American Shanghai, Barcelona, London, Australia, Repertory Theater. Film, television, and collaboration and New Zealand. Her current area of radio credits include Cosby, Tracey Takes research and writing is transgender voice. On New York, The Deal, Advice from a She works with transgender individuals Caterpillar, The Day That Lehman Died so that they can modify their voice to (Peabody, SONY, and Wincott awards), more fully express their gender identity. and “T” Is for Tom (Tom Stoppard radio plays, WNYC and WQXR). She also MICHAEL PALLER (Dramaturg) cast LifeAfter, a GE Theater podcast. joined A.C.T. as resident dramaturg and director of humanities in 2005, where MATT DICARLO* (Production Stage innovation he has been the dramaturg for more Manager) has worked on Broadway than 80 productions and workshops. as the production stage manager He began his professional career as for The Play That Goes Wrong, The literary manager at Center Repertory Color Purple, Honeymoon in Vegas, Theatre (Cleveland), then worked as and Rock of Ages, in addition to the script consultant for Manhattan Theatre off-Broadway production of Piece Club and the Eugene O’Neill Theater of My Heart: The Bert Berns Story. Center, and has since been a dramaturg DiCarlo has also stage-managed for for George Street Playhouse, the Broadway Bares 2017, several years leadership Berkshire Theatre Festival, Barrington of Broadway Backwards, La Jolla Stage Company, Long Wharf Theatre, Playhouse’s Up Here, and has worked Roundabout Theatre Company, and on over a dozen productions at Paper others. He dramaturged the Russian Mill Playhouse, including The Sound premiere of Tennessee Williams’s of Music, Peter Pan, Steel Magnolias, Small Craft Warnings at Moscow’s Little Shop of Horrors, and The Full Sovremennik Theater. Paller is the Monty. He is the associate director for author of Gentlemen Callers: Tennessee the current national tour of the Tony PROFESSIONAL Williams, Homosexuality, and Mid- Award–winning revival of The Color DEVELOPMENT Twentieth-Century Drama; Williams in Purple and is on the faculty at the State an Hour; and A Five-Act Play: 50 Years University of New York at Purchase. TRAINING of A.C.T. He has also written theater and book reviews for the Washington Post, MEGAN MCCLINTOCK* CLIENTS INCLUDE: Village Voice, and Newsday magazine. (Assistant Stage Manager) returns to Before his arrival at A.C.T., he taught A.C.T. with A Walk on the Moon. Past at Columbia University and the State A.C.T. credits include assistant stage- University of New York at Purchase. managing Small Mouth Sounds, King Charles III, Between Riverside and Crazy, JANET FOSTER, CSA (Casting A Little Night Music, and Indian Ink. She Director) has cast for A.C.T. for six stage-managed the US tour of 946: The seasons including Hamlet, The Hard Amazing Story of Adolphus Tips with To learn more, visit act-sf.org/growth or contact Program Director Dan Kolodny at Problem, King Charles III, John, Arcadia, Kneehigh Theatre Company. Other Bay [email protected]. Stuck Elevator, The Orphan of Zhao, Area credits include productions at Napoli!, Elektra, Endgame and Play, Berkeley Repertory Theatre, California

415.749.2228 27 Shakespeare Theater, The Curran, 2003. Jeri has been a member of A.C.T.’s ADDITIONAL CREDITS Aurora Theatre Company, Marin Theatre Board of Trustees and served as a chair Mike Casteel, Music Service, Copyist Company, Center REPertory Company, of its Education & Community Programs Craig Napoliello and Bradley and San Francisco Opera. Her favorite committee for several years. For over 30 Wehrle, Set and Model Drafts Berkeley Rep credits include Mary years, Jeffrey practiced law (specializing Morgan Badillo, Set Assistant Zimmerman’s Treasure Island, Girlfriend, in real estate) in San Francisco and now Ricky Lurie, Associate Costume Designer The Intelligent Homosexual’s Guide to concentrates on real estate development Paul Hackenmueller, Associate Capitalism and Socialism with a Key and investment. They have four adult Lighting Designer to the Scriptures, The Arabian Nights, children and two grandchildren. Daniel Gower, Assistant Sound Designer The White Snake, No Man’s Land, Dear Christopher Ash, Associate Elizabeth, and How to Write a New Book MARY AND STEVEN SWIG Video Designer for the Bible. She has a BA in theater (Company Sponsors) have supported Randy Cohen, Keyboard Programmer and history from Willamette University. A.C.T. and attended productions since Juan A. Ramos, Kevin Roland, the company’s arrival in San Francisco. Assistant Keyboard Programmers MARCY VICTORIA REED* Steven has served as an A.C.T. trustee Mike Wade and Brandon Rada, (Assistant Stage Manager), a stage since 1986 and is the cofounder and Automation Programmers manager and live events producer, returns president emeritus of Presidio Graduate Jesse Sanchez, Music Assistant to A.C.T. after previously stage-managing School. Mary and Steven serve together Alyssa Jacobson, Assistant Director Vietgone. Other credits include Berkeley on the boards of the Solar Electric Lynn Spector, Script Assistant Repertory Theatre (Hand to God, The Light Fund and the Americans for Set Built by F&D Scene Changes Madwoman in the Volvo), TheatreWorks Cures Foundation (stem cells), and Lighting and Video Equipment (The Four Immigrants: An American they are fellows in Harvard University’s Provided by 4Wall Entertainment LA Musical Manga and Sweeney Todd: The Advanced Leadership Initiative. They Sound Equipment Provided by Demon Barber of Fleet Street), California have cofounded and are co-chairs of the Sound Associates Shakespeare Theater (Measure for National Student Debt Jubilee Project. Measure), The Old Globe (Fiasco Theater’s Mary is also on the Women’s Leadership SPECIAL THANKS Into the Woods), McCarter Theatre Center Board of Harvard University’s John F. Center Theater Group (Into the Woods, The Convert, Sleeping Kennedy School of Government. At A.C.T., Creative Conners Beauty Wakes, A Christmas Carol, The Steven and Mary have produced No Carl Pantle How and the Why, An Iliad, and Are You Exit, Phèdre, Curse of the Starving Class, Jan Ruskin There, McPhee?), San Jose Repertory Hedda Gabler, and The Last Five Years. Craig Teague and Matt Talent, Theatre (The Big Meal and Crime 4Wall Entertainment and Punishment), New York Theatre NEW YORK STAGE AND FILM Ben Thoron, The Old Globe Workshop (An Iliad and Belleville), is a nonprofit company dedicated to Milwaukee Repertory Theater (The emerging and established artists in the Whipping Man), and La Jolla Playhouse development and production of new (Sleeping Beauty Wakes and An Iliad). She works for theater and film. Since 1985, holds a BFA in stage management and we’ve been a vital incubator for artists is a former intern at McCarter Theater. and their work, and a catalyst for stories that start with us and continue across the JERI LYNN AND JEFFREY W. country and around the world. Through JOHNSON (Company Sponsors) our Powerhouse Season in collaboration have supported the arts in the Bay with Vassar College, NYC Programming, Area for many years and have been Filmmakers’ Workshop, and educational executive producers of several A.C.T. initiatives, we support more than 500 productions. Jeri has been an A.C.T. artists annually and have launched season ticket holder since 1974 and dozens of celebrated projects, including credits a performance of Cyrano de Hamilton, The Humans, The Wolves, A Bergerac she saw at A.C.T. as a tourist 24-Decade History of Popular Music, as her prime motivation for relocating Tru, Doubt, Side Man, and American to San Francisco in her early twenties. Idiot. www.newyorkstageandfilm.org She was very involved in education in Marin County, volunteering in schools, serving on the school board, and finally working as the chief business official for the Reed Union School District, retiring in

28 ACT-SF.ORG PRESENTS LONDON THEATER TOUR

ALL THEATER TOURS ARE LED BY A.C.T. ARTISTIC STAFF AND INCLUDE: • Tickets to world-class productions • Luxury accommodations OCT 15–21, 2018 • Discussions with guest artists and behind-the-scenes tours • Welcome and farewell dinners • Complimentary breakfast each morning in our hotel • Sightseeing excursions and walking tours Discover the cultural • Travel companions who love theater legacy of London, plus a trip to Windsor FIVE STAR-STUDDED PRODUCTIONS INCLUDING: • King Lear with Ian McKellen Castle and the real-life • Martin McDonagh’s new play, A Very Very Very Dark Downton Abbey! Matter, starring Jim Broadbent • The Height of the Storm, featuring Jonathan Pryce and Eileen Atkins • Macbeth with Christopher Eccleston and Niamh Cusack • Director Marianne Elliott’s new production of Stephen Sondheim’s Company with Patti LuPone

For more information, visit act-sf.org/theatertours or contact Caitlin A. Quinn at [email protected] or 415.439.2436. THE FOR AN ENRICHED COMMUNITY

Performing-arts engagement is a vital part of a well-rounded education, improving creativity, critical thinking, empathy, communication and collaboration. When you support A.C.T.’s Education & Community Programs, you equip over 17,000 Bay Area students with the skills they need to succeed.

INCREASE YOUR IMPACT (AND BENEFITS) TODAY! When you increase your gift halfway to our next level, Bank of America will match your increase for a membership upgrade. Enjoy a year of new benefits for half the cost! Give a first or increased giftbefore June 30 to utilize this half-step challenge.

YOUR CURRENT LEVEL INCREASE YOUR GIFT YOUR NEW MATCHED LEVEL

Sponsor – $125 $215 $300 – Supporter Supporter – $300 $525 $750 – Sustainer Sustainer – $750 $975 $1,200 – Patron Patron – $1,200 $1,850 $2,500 – Director Director – $2,500 $3,750 $5,000 – Playwright Playwright – $5,000 $6,250 $7,500 – Benefactor Benefactor – $7,500 $8,750 $10,000 – Associate Producer Associate Producer – $10,000 $12,500 $15,000 – Producer

To make a gift, visit act-sf.org/support or call Donor Relations and Memberships Manager Hillary Bray at 415.439.2353.

(CLOCKWISE FROM TOP): Bessie Carmichael Elementary School students (photo by Ryan Montgomery), Will on Wheels student audience (photo by Alessandra Mello), Tenderloin Boys & Girls Club students (photo by Ryan Montgomery), the cast of Black Butterflies (2017) (photo by Jay Yamada) INSIDE A.C.T.

NURTURING PHOTO BY DREW ALTIZER GROWTH MEET A.C.T. TRUSTEE ABBY SADIN SCHNAIR BY TAYLOR STEINBECK

As the Master of Fine Arts Program class of 2018 prepared to graduate, we spoke with Abby Sadin Schnair, the chair of A.C.T.’s M.F.A. Program Board of Directors.

What motivated you to join the board? I’ve been on the board for over ten years. I was on A.C.T.’s board of trustees and then I chaired the M.F.A. board after the first year it was formed. One of the biggest perks is the trustee host program. This is when M.F.A. board members are paired with a first-year student for the duration of their time at A.C.T. Abby Sadin Schnair, M.F.A. Board Chair

What does being a host entail? In what ways have you noticed the students grow throughout The way I like to explain it is that I’m their “soccer mom.” I go their time at A.C.T.? to as many of their performances as I can and root them on. There’s an incubation period when they’re learning and Part of the fun is getting to know them and watching them Conservatory Director Melissa Smith and their other teachers grow over their three years at A.C.T. Right now, I host a second- are building them up from the same base. Then they can year and a third-year student: Ash Malloy and Justin Edward begin to develop their own style and figure out who they are Keim. I enjoy going to the movement project, which is the first as an actor. Every student has an “Aha!” moment when things performance the first-year students do together as a group. It start to gel. Justin, who has just graduated, was hysterical really gives you a sense of the culture of that particular year. in his second-year performance of The Good Woman of When the current third-years performed their one-acts a few Setzuan. He has become an incredible physical comedy actor. years ago, I was blown away by their raw talent. Why do you think it’s so important to be an advocate for these students? Having twentysomethings around with their energy, talent, and creativity is absolutely essential to A.C.T. culture. Part of the “ONE OF THE BIGGEST PERKS IS board’s mission is to support the M.F.A. Program and also to help the students by funding tuition-relieving scholarships. By THE TRUSTEE HOST PROGRAM acting as ambassadors to this program, the board is not only training the next generation of artists, but also investing in the . . . PART OF THE FUN IS future of American theater. GETTING TO KNOW THEM AND

WATCHING THEM GROW OVER For more information about becoming a member of the M.F.A. Board of Directors, contact A.C.T. THEIR THREE YEARS AT A.C.T.” Deputy Director of Development Tiffany Redmon at 415.439.2482 or [email protected].

415.749.2228 31 INSIDE A.C.T.

THE NEXT CHAPTER A.C.T. ARTISTIC DIRECTOR DESIGNATE PAM MACKINNON ON THE 2018–19 SEASON

BY SIMON HODGSON ILLUSTRATION BY KIMBERLY RHEE KIMBERLY BY ILLUSTRATION

32 ACT-SF.ORG On July 1, Pam MacKinnon will take the reins as A.C.T.’s artistic control of storytelling—the parsing out of information and director and she’ll hit the ground running. Before the opening relationships—is so stimulating and mature. Who speaks and of the 2018–19 season, she gave us an insight into her thinking understands what language? How will the sisters relate to each behind A.C.T.’s upcoming season. other? When will the mother arrive? What’s in the suitcase? It’s about people in a room and dealing with past transgressions What are you looking forward to with the season opener, the within a family. I liken it to Arthur Miller’s Death of a Salesman; Pulitzer Prize–winning Sweat? these characters must reconcile a past for a chance at a future. Sweat is a theatrical testament to the phrase, “The personal is political.” As someone who studied political science in college, that excites me. Set in the once prosperous Reading, Pennsylvania, and based on weeks of interviews by playwright Lynn Nottage, this play is about what happens to friends, “IT’S FRESH STORYTELLING FROM family, and co-workers when the unions roll up and the American dream seems at an end. I love stories that have a A NEW VOICE IN THEATER ABOUT real sense of place. I grew up in Buffalo, New York. I know that dive bar. I know those steel mill neighborhoods that used to be AN IMPORTANT AMERICAN single-family homes with good steady paychecks. I’m excited for Loretta Greco, a director whose work I have admired for MOMENT OF EXPLORATION, more than 20 years, to bring this future American classic to life at The Geary. HUBRIS, AND COMPETITION.”

Why are you drawn to Men on Boats? As soon as I picked up this play, I was pulled into the world created by playwright Jaclyn Backhaus. Men On Boats is based New Strands Festival audiences were riveted last year by The on the 1869 travelogues of John Wesley Powell and his ten- Great Leap—can you tell us about this San Francisco story? man expedition down the Green and Colorado Rivers through The Great Leap is a fantastic play by San Francisco’s own the largely uncharted—by white men—Grand Canyon. The Lauren Yee about a teenager who plays pick-up basketball in characters are 100% cisgender male; the cast will be anything Chinatown. In search of his higher purpose and family roots, but. And yet it is more true to the events somehow than he cajoles his way onto a college team and into a tournament your usual history textbook or Hollywood western. It’s fresh in Beijing in June 1989, and trips into world history. Lauren’s storytelling from a new voice in theater about an important play feels prescient and important. I first read this play as American moment of exploration, hubris, and competition. students marched on Washington, led by the Parkland High Funny and fierce,Men on Boats will explode the roof off School survivors. It’s about the power of teenagers to do the The Strand. impossible: to break down barriers and demand change, in part because they haven’t yet learned to take no for an answer. You’re one of American theater’s best known directors of Edward Albee. How has that influenced your selection Although Vanity Fair is a classic of English literature, this of Seascape? adaptation is ultra contemporary. What is it about this story Like Carey with Harold Pinter, I get sucked into Edward’s that speaks to today’s audience? humanity. His plays are harrowing and laugh-out-loud funny. The heroine, Becky Sharp, is a young woman who says what He was a master playwright and a dear friend. I’ve directed a she wants, and the world has to adapt to her. She knows her lot of Albee, but never Seascape. It’s a play with two couples: station but does not accept it. She is forward-thinking and one older and new to retirement, one younger and evolving forward-moving. I love her for her brashness, her humor, and to a new environment—okay, they’re talking lizards stepping her striking ability to size people up in an instant. She is a foot on dry land for the first time. It’s a story about taking a “nasty woman” who is resourceful and honest in a world that great leap with someone you love. What could be more fitting, could learn a thing or two from her. Kate Hamill’s adaptation as I move to San Francisco with my partner of 11 years, John is true to Becky Sharp and Thackeray’s novel, but it is pure Procaccino, at my side. This play is more personal now to theater that asks an audience to see themselves in the me than ever before. It’s a Pulitzer Prize–winning play about characters. What would you do in this situation? Don’t judge transitions, love, evolution, and territory. It’s pure Edward. harshly, lest you, one day, may be in the same situation.

What elements of Mfoniso Udofia’sHer Portmanteau resonated with you? Order your subscription for A.C.T.’s 2018–19 season Her plays are made for actors: full of critical moments, active and learn more about these six great plays language, and big emotion. Her Portmanteau is part of her (plus one more) at act-sf.org/join. unfinished nine-play family cycle—how ambitious is that? Her

415.749.2228 33 INSIDE A.C.T. PHOTO AT TOP RIGHT BY JAY YAMADA; ALL OTHER PHOTOS PHOTOS ALL OTHER YAMADA; JAY RIGHT BY TOP AT PHOTO HOO. JASMIN BY FROM STUDENT TO TEACHER M.F.A. PROGRAM ACTORS TEACHING AS CITIZEN ARTISTS BY TAYLOR STEINBECK

34 ACT-SF.ORG Each year, young actors from all over the United States teaching artists doing different workshops with us. That’s and beyond travel to California for A.C.T.’s Master of how I got into performing,” says Harris. “Giving back is Fine Arts Program. These emerging performers learn important to me. I’ve been on the other side of that arts not only how to stretch their skills as artists, but also education; I can see myself in each student. I want them how to become better teachers, mentors, and engaged to know that they can do whatever they want.” Harris members of the San Francisco community through A.C.T.’s has taught in A.C.T. residencies for two summers—last innovative Citizen Artist Program. year he worked at both the OMI/Excelsior Beacon Center and Aim High’s Willie Brown Jr. Middle School site in the “The program came out of the M.F.A. students’ interest Bayview. “I’ve learned a lot more about the city through in working with young folks,” says Jasmin Hoo, A.C.T. teaching,” says Harris. “If I didn’t teach at Willie Brown, I Associate Director of Education & Community Programs, probably never would have gone to the Bayview. It’s given who oversees the Citizen Artist curriculum. When M.F.A. me the chance to meet people who have grown up in San Program actors began sharing the same hallways as the Francisco and have seen the city change. Now I can be an students from Downtown High School, they were more advocate for them.” than a little curious. “M.F.A. students asked Education

PHOTO AT TOP RIGHT BY JAY YAMADA; ALL OTHER PHOTOS PHOTOS ALL OTHER YAMADA; JAY RIGHT BY TOP AT PHOTO HOO. JASMIN BY Department staff, ‘Who are those kids? We want to work Harris feels that he is learning just as much as he is with them too!’ So the M.F.A. actors started visiting DHS’s teaching. “You have to be as truthful with the students as weekly acting classes and teaching improv during their possible, or else they’ll call you out,” says Harris. “A lot of lunch breaks,” says Hoo. “The curriculum became more artists are afraid of that kind of raw authenticity, but isn’t FROM and more formalized. Two years ago, it became a required that what you should want in your art?” Being a citizen part of the M.F.A. Program.” artist is a job Harris doesn’t take lightly. “Citizen artistry is about cultivating the intuitive creativity these kids have. STUDENT TO This is an important period in a young person’s life—if they see me working in the arts, it may spark them to take “I’VE BEEN ON THE OTHER SIDE an entirely different path than what they thought was TEACHER OF THAT ARTS EDUCATION. I planned for them.” M.F.A. PROGRAM ACTORS WANT STUDENTS TO KNOW EDUCATIONAL PROGRAMS WHERE TEACHING AS CITIZEN ARTISTS A.C.T. CITIZEN ARTISTS HAVE TAUGHT BY TAYLOR STEINBECK THAT THEY CAN DO WHATEVER AIM HIGH AT MISSION HIGH SCHOOL THEY WANT.” AIM HIGH AT WILLIE BROWN, JR. MIDDLE SCHOOL —KADEEM ALI HARRIS BOYS & GIRLS CLUB, COLUMBIA PARK BOYS & GIRLS CLUB, TENDERLOIN

Now, every M.F.A. student must complete two week- DOWNTOWN HIGH SCHOOL long citizen artistry trainings led by Hoo, in which they IDA B. WELLS HIGH SCHOOL learn about cultural competency, pedagogy, and the MISSION HIGH SCHOOL development and implementation of a lesson plan in the OAKLAND TECHNICAL HIGH SCHOOL classroom. After receiving this guidance, the students visit a Downtown High School class for three hours a semester. OMI/EXCELSIOR BEACON CENTER AT “We’re providing them with knowledge and exposure, so JAMES DENMAN MIDDLE SCHOOL they can walk away with the experience needed to be a teaching artist in this community,” says Hoo. Students who OPPOSITE (CLOCKWISE FROM TOP LEFT) are particularly excited about this work can take on more Kadeem Ali Harris*, William Rivas, Lafeta Afahasi Jr., and Silvana Mena; Dinah Berkeley**, Jennifer Apple*, Karima Karkori, and opportunities; they can get involved with community- Amanda Morrow; Silvana Mena, Talia Matau, William Rivas, and based projects, including A.C.T.’s Every 28 Hours Black Kadeem Ali Harris*; Lily Narbonne*, Shanice Bartlett, and Chris Lawthorn; and Olivia Leon and Beatriz Miranda*. Arts Festival, or teach in Bay Area summer programs for *M.F.A. class of 2018 **M.F.A. class of 2020 systemically marginalized youth.

For recent M.F.A. graduate Kadeem Ali Harris (class Help future generations discover the power of of 2018), being a citizen artist means paying it forward. theater. To learn more about supporting arts “My high school in New York City was connected with education at A.C.T., please visit act-sf.org/support. Roundabout Theatre Company, so we constantly had

415.749.2228 35 INSIDE A.C.T. PHOTO BY DREW ALTIZER BY PHOTO

Over the past year, theater-makers and arts reporters have written about Artistic Director Carey Perloff and her 25-year tenure at the helm of A.C.T. They’ve focused on her herculean efforts to rebuild The Geary Theater after the 1989 earthquake and her work to refurbish The Strand Theater in 2015. They’ve chronicled her tenacity in commissioning new American translations of classic plays, her international collaborations, and her creative partnerships with Harold Pinter and Tom RENAISSANCE Stoppard. But these achievements only illuminate one side of this director, storyteller, teacher, and collaborator. Now, it’s our turn to celebrate our energetic, industrious leader for the ARTIST Renaissance artist that she is. A CELEBRATION OF CAREY PERLOFF Carey’s love for the city A.C.T. calls home is evident in the numerous Bay Area stories that she has championed, including BY ELSPETH SWEATMAN After the War, The Tosca Project, and Armistead Maupin’s

3 6 ACT-SF.ORG Tales of the City. Her desire to create theater about, for, and with our diverse community has fostered new channels for conversation and discussion, from InterACT events and dramaturgical publications to continuation high school residency initiatives. “Carey embraces theater’s ability to bring people together and invite us to view our complex world with curious minds and compassionate hearts,” says Education & Community Programs Director Elizabeth Brodersen. “She has strived to make A.C.T. a place where all stories are welcome.”

When she isn’t directing shows, nurturing new work, examining the season’s budget, or meeting with A.C.T. donors and board members, Carey can often be found in one of

30 Grant’s rehearsal studios, teaching in the Master of Fine PHOTOGRAPHY GOLDMAN/ORANGE KAREN BY PHOTO Arts Program. Her tireless dedication to fostering the next generation of theater-makers has transformed the program into one of the leading graduate actor training programs in the US. It has also strengthened the bond between mainstage productions and the Conservatory, providing fledgling actors with more opportunities to develop new work and perform alongside theater professionals.

“I have always been struck by Carey’s boundless energy and her incredible ability to rally a motley crew of artists toward a common vision,” says M.F.A. Program graduate Peter

Fanone (class of 2018), who played Marcellus in this season’s CAREY PERLOFF COURTESY PHOTO Hamlet alongside Tony Award–nominated actor John Douglas Thompson. “She is steadfast in her direction, but she also allows room for collaborative development, no matter if you’re a veteran actor or a doe-eyed 25-year-old such as myself.”

OPPOSITE “I HAVE ALWAYS BEEN STRUCK BY A.C.T. Artistic Director Carey Perloff.

THIS PAGE (FROM TOP) CAREY’S BOUNDLESS ENERGY AND Carey Perloff; playwright Tom Stoppard and Perloff. HER INCREDIBLE ABILITY TO RALLY our first to our last, she has treated me as a real collaborator. A MOTLEY CREW OF ARTISTS Carey implicitly believes in the talent and imagination of her design team; that trait is rare in today’s world. To see her TOWARD A COMMON VISION.” place the look of a show in the hands of both trusted friends and designers new to her has been a reaffirmation of the —M.F.A. ACTOR PETER FANONE collaborative nature of theater.”

A.C.T.’s founding artistic director, William Ball, was passionate about the vital link between a theater and its community Carey’s enthusiasm and admiration for all of her collaborators— and the necessity of investing in the next generation of from a theater fellow just spreading his or her wings to theater artists. Over the last 25 years, Carey’s dynamism and longtime A.C.T. veterans such as actors Anthony Fusco and leadership have ingrained these principles into the heart of Ken Ruta—pervades the room at every rehearsal, workshop the A.C.T. family. As we move forward with our next chapter, presentation, and opening night toast. “In my nine seasons we take with us Carey’s love of language, her steadfast at A.C.T., I have worked closely with Carey on 16 productions,” enthusiasm for A.C.T., and her unflagging belief in the says A.C.T. Costume Director Jessie Amoroso, “and from transformational power of theater.

415.749.2228 37 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during the April 1, 2017, to April 1, 2018, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event sponsor/lead supporter †A Dickens of a Holiday event sponsor/lead supporter w Lead Gala supporter

SEASON PRESENTERS

JEROME L. AND JAMES C. HORMEL AND TONI REMBE AND ARTHUR ROCK JEFF AND LAURIE UBBEN THAO N. DODSONw MICHAEL P. NGUYENw Past chair of A.C.T.’s Board of Jeff is a founder of ValueAct Capital Jerry is president of Parnassus James, the first openly gay US Trustees, Toni is a retired partner at and a director of 21st Century Fox Investments and serves on the boards ambassador, founded the James C. Pillsbury Winthrop Shaw Pittman. Inc. and Willis Towers Watson PLC. of San Francisco Opera and A.C.T. Thao Hormel Gay & Lesbian Center at the Arthur was one of America’s first He serves on the boards of Duke and Jerry have established scholarships San Francisco Public Library (SFPL). venture capitalists. Along with other University, Northwestern University, for music education at the San Francisco Michael works alongside James on their community endeavors, they are and the E. O. Wilson Biodiversity Symphony, undergraduate education at charitable giving foundation, and has cofounders of the Arthur and Toni Foundation. Laurie founded San UC Berkeley, and high school education served on the SFPL Commission for Rembe Rock Center for Corporate Francisco’s Bird School of Music. for 125 girls in Vietnam. two terms. A trustee of A.C.T., Michael Governance at Stanford Law School. is profoundly passionate about the arts PRISCILLA AND KEITH GEESLIN†w and humanities. MARY AND STEVEN SWIGw Priscilla is a vice chair of A.C.T.’s Steven has served on A.C.T.’s Board of Trustees and chairs the FRED M. LEVIN AND board since 1986 and is cofounder Development Committee. She serves NANCY LIVINGSTON*w of Presidio Graduate School. Mary on the boards of SF General Hospital Nancy is the immediate past chair of is on the Women’s Leadership Foundation, the SF Symphony, Grace A.C.T.’s Board of Trustees. She serves Board of Harvard University’s John Cathedral, and NARAL Pro-Choice on the boards at the College of Fine F. Kennedy School of Government. America. A principal of Francisco Arts at Boston University and the They serve on the boards of the Partners, Keith is the president of National Council for the American Solar Electric Light Fund and the SF Opera’s board of trustees. Theatre. Fred serves on the boards Americans for Cures Foundation. of the SF Symphony, the Asian Art Museum, and the SF Film Society.

COMPANY SPONSORS EXECUTIVE PRODUCERS PRODUCERS Ray and Dagmar Dolby Family Fund*◆ Lesley Ann Clement and Karl Lukaszewicz◆ Paul Asente and Ron Jenks Elsa and Neil Pering Frannie Fleishhacker◆ Bill Draper Nancy and Joachim Bechtle Merrill Randol Sherwin Kevin and Celeste Ford◆ Sakana Foundation†◆ Lloyd and Janet Cluff David and Carla Riemer*◆ Mr. and Mrs. Gordon P. Getty Jo S. Hurley*◆ Carlotta and Robert Dathe*◆ Sally and Toby Rosenblatt*◆ Jeri Lynn and Jeffrey W. Johnson*† Christopher and Leslie Johnson Concepción and Irwin Federman Dr. Caroline Emmett and Dr. Russell Rydel Burt and Deedee McMurtry*◆ John Little and Heather Stallings Little◆ Linda Jo Fitz*◆ Abby and Gene Schnair*◆ Barbara Ravizza and John S. Osterweis Janet V. Lustgarten† Kirke and Nancy Sawyer Hasson*◆ Kathleen Scutchfield◆ Patti and Rusty Rueff◆ Nion McEvoy and Leslie Berriman◆ Stephen and Diane Heiman* Anne and Michelle Shonk*◆ Aaron Vermut and Kenneth and Gisele Miller Dianne and Ron Hoge*† Cherie Sorokin◆ Adriana López Vermut†◆ Robina Riccitiello†◆ The Marymor Family Fund Valli Benesch and Bob Tandler◆ Jack and Susy Wadsworth†◆ Lori Halverson Schryer†◆ Don and Judy McCubbin Barry Williams and Lalita Tademy◆ Mr. and Mrs. Charles R. Schwab Mr. and Mrs. J. A. McQuown Kay Yun and Andre Neumann-Loreck*†◆ Susan A. Van Wagner Mary and Gene Metz◆ Barbara and Stephan Vermut Donald J. and Toni Ratner Miller*◆ Diane B. Wilsey*◆ Clay Foundation - West Nola Yee Rich Rava and Elisa Neipp

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR

We are privileged to recognize these members’ generosity during the April 1, 2017, to April 1, 2018, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event sponsor/lead supporter †A Dickens of a Holiday event sponsor/lead supporter w Lead Gala supporter

ASSOCIATE PRODUCERS Barb and Gary Erickson Marcia and Geoffrey Green Tim Mott and Pegan Brooke Paul Angelo Nancy and Jerry Falk Betty Hoener Paula and John Murphy Mrs. Barbara Bakar◆ Mr. Rodney Ferguson and Luba Kipnis and David Russel*◆ Marcy and Paul Nathan Kenneth Berryman Ms. Kathleen Egan Mr. Joel Krauska and Ms. Patricia Fox Terry and Jan Opdendyk Dr. Barbara L. Bessey◆ Vicki and David Fleishhacker◆ Linda Kurtz*◆ The Bernard Osher Foundation Ben and Noel Bouck Tom Frankel Marcia and Jim Levy◆ Norman and Janet Pease Linda K. Brewer Mr. and Mrs. Thomas A. Gallagher Jennifer S. Lindsay Mr. and Mrs. Tom Perkins*◆ Linda Joanne Brown Marilee K. Gardner Helen M. Marcus, in memory of Marjorie Perloff Gayle and Steve Brugler Dr. and Mrs. Richard E. Geist David Williamson Ms. Saga Perry and Mr. Frederick Perry James and Julia Davidson Arnie and Shelly Glassberg*◆ Drs. Michael and Jane Marmor Barbara Phillips Carol Dollinger Glasser Family Fund Mr. and Mrs. Robert McGrath◆ Joseph E. and Julie Ratner*†◆ The New Ark Fund Dr. Allan P. Gold and Mr. Alan C. Ferrara Milton Mosk and Thomas Foutch Rick and Anne Riley Marcia and John Goldman◆

38 ACT-SF.ORG Dr. James Robinson and Barbara O’Connor William Dewey J. Sanford Miller and Vinie Zhang Miller Ms. Kathy Kohrman Mr. Don O’Neal Mrs. Julie D. Dickson Mr. and Mrs. Merrill E. Newman Susan Roos Peter Pastreich and Jamie Whittington Art and JoAnne Dlott Ms. Mary D. Niemiller Paul and Julie Seipp Mr. Adam Pederson Bonnie and Rick Dlott Mrs. Margaret O’Drain Rick and Cindy Simons Ms. Carey Perloff and Mr. Anthony Giles Anne and Gerald Down Emilie and Douglas Ogden Lee and Carolyn Snowberg Mr. and Mrs. William Pitcher Ms. Kathleen Dumas Ms. Barbara Oleksiw Emmett and Marion Stanton Mr. and Mrs. John A. Reitan Philip and Judy Erdberg Janet and Clyde Ostler Vera and Harold Stein Matt and Yvonne Rogers Charles and Susan Fadley Janine Paver and Eric Brown Dr. Martin and Elizabeth Terplan Gary Rubenstein and Nancy Matthews Joseph Fanone Gordon Radley Mrs. Katherine G. Wallin and Scott and Janis Sachtjen Mr. Alexander L. Fetter and Sandi and Mark Randall Mr. Homer Wallin The Somekh Family Foundation Ms. Lynn Bunim Mr. and Mrs. Jacob Ratinoff Katherine Welch Matthew and Lisa Sonsini Laura Frey and Erico Gomes Albert and Roxanne Richards Fund Mr. and Mrs. Bruce White Mr. Richard Spaete Lynda Fu Jeff and Karen Richardson Beverly and Loring Wyllie Laura and Gregory Spivy† Ms. Kathleen Gallivan Gary and Joyce Rifkind Diana L. Starcher Sameer Gandhi and Monica Lopez Victoria and Daniel Rivas BENEFACTORS Roselyne C. Swig◆ William Garland and Michael Mooney Ms. Shelagh Rohlen Sara and Wm. Anderson Barnes Fund Patrick S. Thompson*◆ Mr. Michael R. Genesereth Ms. Irene Rothschild Lisa and John Pritzker Family Fund Pasha and Laney Thornton Susan and Dennis Gilardi Ms. Dace Rutland Mr. Laurence L. Spitters Doug Tilden◆ Raymond and Gale L. Grinsell Ms. Monica Salusky and Joy and Ellis Wallenberg, James Haire and Timothy Cole Mr. John Sutherland PLAYWRIGHTS Milton Meyer Foundation Mr. and Mrs. Richard Halliday Betty and Jack Schafer Anonymous Ms. Allie Weissman Vera and David Hartford Kent and Nancy Clancy Ray and Jackie Apple◆ Barbara and Chris Westover Mr. and Mrs. David M. Hartley Mr. and Mrs. John Shankel Mr. Eugene Barcone Carlie Wilmans Ms. Kendra Hartnett and Robert Santilli Mr. James Shay and Mr. Steven Correll The Tournesol Project Mr. and Mrs. Roger Wu Kent Harvey◆ Mr. Earl G. Singer Donna L. Beres and Terry Dahl Mrs. Deirdre Henderson Richard and Jerry Smallwood Roger and Helen Bohl DIRECTORS Mr. and Mrs. Henry Paul Hensley Ms. Judith O. Smith Ms. Donna Bohling and Anonymous (2) Ms. Marcia Hooper Mr. and Mrs. Robert S. Spears Mr. Douglas Kalish Mr. Howard J. Adams Bannus and Cecily Hudson Steven and Chris Spencer Mr. Mitchell Bolen and Martha and Michael Adler Barbara Rosenblum Lillis and Max Stern Mr. John Christner Bruce and Betty Alberts Rob Hulteng Vibeke Strand, MD and Jack Loftis, PhD Mr. Mark Casagranda Lynn Altshuler and Stanley D. Herzstein Robert Humphrey & Diane Amend Richard and Michele Stratton Dolly Chammas Mr. and Mrs. Harold P. Anderson Robert and Riki Intner Mr. Jay Streets Daniel E. Cohn and Lynn Brinton◆ Sharon L. Anderson Harold and Lyn Isbell Dawna Stroeh Madeline and Myrkle Deaton Ms. Kay Auciello Phil and Edina Jennison Mr. M. H. Suelzle Richard DeNatale and Craig Latker Jeanne and William Barulich Stephanie and Owen Jensen Susan Terris Ms. Roberta Denning David V. Beery and Norman Abramson* Sy Kaufman and Kerstin Edgerton Nancy Thompson and Andy Kerr William H. Donner Foundation Jane Bernstein and Robert Ellis Ms. Pamela L. Kershner Mrs. Helena Troy Wasp Sue and Ed Fish David and Rosalind Bloom Miss Angèle Khachadour John R. Upton Jr. and Mr. and Mrs. Patrick F. Flannery Peter Blume Ms. Nancy L. Kittle Janet Sassoon-Upton Dr. and Mrs. Fred N. Fritsch John Boland and James Carroll Mr. R. Samuel Klatchko Larry Vales Mrs. Susan Fuller Christopher and Debora Booth Mr. Brian Kliment Arnie and Gail Wagner Dr. A. Goldschlager Brenda and Roger Borovoy Harold L. Wyman Foundation Mr. and Mrs. James Wagstaffe Barbara Grasseschi and Tony Crabb Nicholas and Janice Brathwaite Thomas and Barbara Lasinski Ms. Margaret Warton and Mr. Bill Gregory Benjamin Bratt and Talisa Soto Dr. Lois Levine Mundie Mr. Steve Benting Kaatri and Doug Grigg◆ Jean L. Brenner Ms. Helen S. Lewis Louise Wattrus Rose Hagan and Mark Lemley Mrs. Libi Cape Sue Yung Li and Dale K. Ikeda◆ Ms. Carol Watts Chris and Holly Hollenbeck Denis Carrade and Jeanne Fadelli Ron and Mary Loar Ms. Patricia Tomlinson and Alex Ingersoll and Martin Tannenbaum† Steven and Karin Chase Ms. Gayla Lorthridge Mr. Bennet Weintraub Alan and Cricket Jones Teresa Clark Dr. Thane Kreiner and Irv Weissman and Family Paola and Richard Kulp Susan and Ralph G. Coan, Jr. Dr. Steven Lovejoy Ms. Beth Weissman Melanie and Peter Maier— Rebecca Coleman Richard N. Hill and Nancy Lundeen Marie and Daniel Welch John Brockway Huntington Mr. and Mrs. David Crane John B. McCallister Dr. and Mrs. Andrew Wiesenthal Foundation Robert and Judith DeFranco Elisabeth and Daniel McKinnon Mr. and Mrs. David Wilcox Mr. Byron R. Meyer Ingrid M. Deiwiks Sue and Ken Merrill Kenneth and Sharon Wilson Mr. Daniel Murphy Reid and Peggy Dennis Ms. Nancy Michel Mr. and Mrs. Roger Miles

415.749.2228 39 ALAN JONES, CHAIR We are privileged to recognize Friends of A.C.T. members’ generosity during the April 1, 2017, to April 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].

*An Evening at Elsinore event sponsor/lead supporter †A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter

PATRONS Mr. and Mrs. David Sargent* Mr. Kim Harris and Bennet Marks Mr. Jim Sciuto Anonymous (3) Andrew and Marva Seidl David Hawkanson Ms. Karen Scussel and Mr. Curt Riffle Mr. Michael Bassi and Ms. Christy Styer Ms. Ruth A. Short Lenore Heffernan Catharine Shirley Mr. and Mrs. Paul Berg Ms. Patricia Sims Mr. John Heisse and Dr. Elliot and Mrs. Kathy Shubin Fred and Nancy Bjork Mr. Mark Small Ms. Karin Scholz-Grace Donna and Michael Sicilian Jaime Caban and Rob Mitchell Kristine Soorian and Bryce Ikeda Ms. Dixie Hersh Bert and LeAnne Steinberg Mr. Byde Clawson and Ms. Valerie Sopher Ms. Sandra Hess Jeffrey Stern, M.D. Dr. Patricia Conolly Dr. Gary Stein and Jana Stein Edward L. Howes, MD Mr. and Mrs. Monroe Strickberger Jean and Mike Couch Joe Tally and Dan Strauss Anne and Ed Jamieson Mr. Jason Surles Ms. Karen T. Crommie Robert Tufts Dr. and Mrs. John E. Jansheski Marvin Tanigawa Mr. and Mrs. Ricky J. Curotto Mr. Douglass J. Warner Ms. Carolyn Jayne Maggie Thompson Ron Dickel Ms. Meredith J. Watts Allan and Rebecca Jergesen Melita Wade Thorpe Elizabeth Eaton Mr. David S. Wood and Mr. and Mrs. Norman L. Johnson Ms. Leslie Tyler Michael Kalkstein and Susan English Ms. Kathleen Garrison Mrs. Zeeva Kardos Leon Van Steen Leif and Sharon Erickson Mr. and Mrs. Roy B. Woolsey Louise Karr Mr. and Mrs. Ronald G. VandenBerghe Dr. Angela Sowa and Christina Yu Jody Kelley Wypych Mr. Richard West Dr. Dennis B. Facchino The Arthur and Charlotte Michael Kim Mr. Robert Weston Mr. and Mrs. Richard Fowler Zitrin Foundation Mr. and Mrs. Kevin Klotter Timothy Wu Elizabeth and Paul Fraley Harold and Leslie Kruth Marilyn and Irvin Yalom Ms. Susan Free SUSTAINERS Edward and Miriam Landesman Nancy and Kell Yang Alan and Susan Fritz Anonymous (4) Carlene Laughlin Ms. Emerald Yeh Ms. Margaret J. Grover Mr. Paul Anderson Harriet Lawrie Jacqueline L. Young Kathy Hart Ms. Patricia Wilde Anderson Mrs. Judith T. Leahy Mr. and Mrs. Philip Zimbardo Mr. John F. Heil Dick Barker Mrs. Gary Letson Leni and Doug Herst Mr. David N. Barnard Barry and Ellen Levine Tracy Brown and Greg Holland Mr. William Barnard Kathleen Anderson and Jeff Lipkin Jeffrey and Loretta Kaskey Ms. Pamela Barnes Ms. Linda Lonay Ed and Peggy Kavounas Robert H. Beadle Mr. and Mrs. William Manheim George and Janet King Mr. Daniel R. Bedford Robert McCleskey Eileen Landauer and Mark Michael David and Michele Benjamin Karen and John McGuinn Jennifer Langan Richard and Katherine Berman Trudy and Gary Moore Mr. Richard Lee and Mr. John Blankenship and Sharon and Jeffrey Morris Ms. Patricia Taylor Lee Ms. Linda Carter Mr. Ronald Morrison Julius Leiman-Carbia Carol M. Bowen and Jon Nakamura Julia Lobel Christopher R. Bowen Jeanne Newman Mr. and Mrs. Robert W. Logan Mr. Roland E. Brandel Nancy and Bill Newmeyer Mr. and Mrs. Alexander Long Mr. and Mrs. Bernard Butcher Ms. Nancy F. Noe Jeff and Susanne Lyons Ms. Jean Cardoza Ms. Joanna Officier and Mr. Ralph Tiegel Mr. and Mrs. Bruce A. Mann Glenn Chapman Barbara Paschke and Christine and Stan Mattison Ms. Linda R. Clem David Volpendesta John G. McGehee Mr. Edward Conger Mr. David J. Pasta Amelia Lis Ms. Renate Coombs Richard and Donna Perkins Dr. Margaret R. McLean Mr. Copley E. Crosby Ms. M. N. Plant Jeffrey and Elizabeth Minick James Cuthbertson Ms. Joyce Ratner◆ Craig and Kathy Moody Jill and Stephen Davis Ms. Danielle Rebischung Thomas and Lydia Moran Kelly and Olive DePonte Maryalice Reinmuller John and Betsy Munz Edward and Della Dobranski Mr. and Mrs. Charles Rino Jane and Bill Neilson Ms. Joanne Dunn Mr. and Mrs. Richard Rogers Ms. Lisa Nolan Marilynne Elverson Marguerite Romanello Margo and Roy Ogus Mr. Robert G. Evans Deborah Romer and William Tucker LeRoy Ortopan M. Daniel and Carla Flamm Mr. L. Kyle Rowley Ann Paras Mrs. Dorothy A. Flanagan Ms. Diane Rudden Caitlin A. Quinn and Peter C. Garenani Karen and Stuart Gansky John Ruskin Ms. Diane Raile John L. Garfinkle Mr. Joshua Rutberg Helen Hilton Raiser Frederick and Leslie Gaylord Louise Adler Sampson Mr. Orrin W. Robinson, III David and Betty Gibson Sonja Schmid Barbara and Saul Rockman Kathleen and Paul Goldman David Schnur Ms. Mary Ellen Rossi Dr. James and Suzette Hessler Mr. James J. Scillian

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

**Deceased

Providing a Legacy for A.C.T.

GIFTS DESIGNATED TO Marilee K. Gardner John McGehee GIFTS RECEIVED BY AMERICAN CONSERVATORY John L. Garfinkle Burt and Deedee McMurtry AMERICAN CONSERVATORY THEATER Michele Garside Dr. Mary S. and F. Eugene Metz THEATER Anonymous (8) Dr. Allan P. Gold and J. Sanford Miller and The Estate of Barbara Beard Anthony J. Alfidi Mr. Alan C. Ferrara Vinie Zhang Miller The Estate of John Bissinger Judith and David Anderson Arnold and Nina Goldschlager Milton Mosk and Tom Foutch The Estate of Ronald Casassa Kay Auciello Carol Goodman and Anthony Gane Bill** and Pennie Needham The Estate of Rosemary Cozzo Ms. Nancy Axelrod JeNeal Granieri and Walter A. Nelson-Rees and The Estate of Nancy Croley M. L. Baird, in memory of Alfred F. McDonnell James Coran The Estate of Leonie Darwin Travis and Marion Baird William Gregory Michael Peter Nguyen The Estate of Mary Jane Detwiler Therese L. Baker-Degler James Haire and Timothy Cole Dante Noto The Estate of Olga Diora Ms. Teveia Rose Barnes and Richard and Lois Halliday Sheldeen Osborne The Estate of Mortimer Fleishhacker Mr. Alan Sankin Terilyn Hanko Elsa and Neil Pering The Estate of Mary Gamburg Eugene Barcone Mr. Richard H. Harding Marcia and Robert Popper The Estate of Rudolf Glauser Robert H. Beadle Kent Harvey Kellie Yvonne Raines The Estate of Phillip E. Goddard Susan B. Beer Betty Hoener Anne and Bertram Raphael The Estate of Mrs. Lester G. Hamilton David Beery and Norman Abramson R. W. and T. M. Horrigan Jacob and Maria Elena Ratinoff The Estate of Sue Hamister J. Michael and Leon Berry-Lawhorn Jo S. Hurley Mary L. Renner The Estate of Howard R. Hollinger Dr. Barbara L. Bessey and Barry Lee Johnson Ellen Richard The Estate of William S. Howe, Jr. Dr. Kevin J. Gilmartin** Paul and Carol Kameny Jillian C. Robinson The Estate of Thomas H. Maryanski Lucia Brandon** Dr. and Mrs. Stewart Karlinsky Susan Roos The Estate of Michael L. Mellor Mr. Arthur H. Bredenbeck and Nelda Kilguss Andrea Rouah The Estate of Bruce Tyson Mitchell Mr. Michael Kilpatrick Ms. Heather M. Kitchen David Rovno, MD The Estate of Gail Oakley Linda K. Brewer Mr. Jonathan Kitchen and Paul and Renae Sandberg The Estate of Dennis Edward Parker Agnes Chen Brown Ms. Nina Hatvany Harold Segelstad The Estate of Rose Penn Martin and Geraldine Brownstein John and Karen Kopac Reis F. Stanley Seifried The Estate of Shepard P. Pollack Gayle and Steve Brugler Catherine Kuss and Danilo Purlia Ruth Short The Estate of Margaret Purvine Christine Bunn and William Risseeuw Mr. Patrick Lamey Dr. Eliot and Mrs. Kathy Shubin The Estate of Gerald B. Rosenstein Bruce Carlton and Richard McCall** Philip C. Lang Andrew Smith and Brian Savard The Estate of Charles Sassoon Florence Cepeda and Earl Frick Mindy Lechman Cherie Sorokin The Estate of Olivia Thebus Paula Champagne and David Watson Marcia Lowell Leonhardt Alan L.** and Ruth Stein The Estate of Ayn and Brian Thorne Mr. and Mrs. Steven B. Chase Marcia and Jim Levy Mr. and Mrs. Bert Steinberg The Estate of Sylvia Coe Tolk Lesley Ann Clement Ines R. Lewandowitz** Jane and Jay Taber The Estate of Elizabeth Wallace Lloyd and Janet Cluff Jennifer Lindsay Mr. Marvin Tanigawa The Estate of Frances Webb Patricia Corrigan Nancy Livingston and Fred M. Levin Martin Tannenbaum and Alex Ingersoll† The Estate of William Zoller Susan and Jack Cortis Dot Lofstrom and Robin C. Johnson Nancy Thompson and Andy Kerr Ms. Joan Danforth Ms. Paulette Long Phyllis and Dayton Torrence FOR MORE INFORMATION Richard T. Davis-Lowell Dr. Steve Lovejoy and Michael E. Tully ABOUT PROSPERO SOCIETY Sharon Dickson Dr. Thane Kreiner Ms. Nadine Walas Jerome L. and Thao N. Dodson Melanie and Peter Maier Marla Meridoyne Walcott MEMBERSHIP Drs. Peter and Ludmila Eggleton Jasmine Stirling Malaga and Katherine G. Wallin Linda Jo Fitz Michael William Malaga David Weber and Ruth Goldstine TIFFANY REDMON, Frannie Fleishhacker Mr. Jeffrey Malloy Paul D. Weintraub and DEPUTY DIRECTOR OF Mr. Kenneth Marks Raymond J. Szczesny Kevin and Celeste Ford DEVELOPMENT Mr. and Mrs. Richard L. Fowler Michael and Sharon Marron Beth Weissman Alan and Susan Fritz Mr. John B. McCallister Tim M. Whalen 415.439.2482 Mr. Barry Lawson Williams [email protected]

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 April 1, 2017, to April 1, 2018, period.

Susan Medak and Gregory S. Murphy In Honor of Louisa Balch Jane Shurtleff In Memory of John Chapot Mr. Robert G. Evans In Honor of Linda Fitz Ms. Kathleen Gallivan In Memory of Jack Gallivan Karen Blodgett In Honor of Linda Jo Fitz and her service to A.C.T. Mr. David J. Pasta In Memory of Gloria J. A. Guth Mary Cathryn Houston In Honor of Arnie Glassberg Susan L. Kaplan In Memory of Richard M. Kaplan Patrick Hobin In Honor of Giles Havergal Dr. Margaret R. McLean In Memory of Teresa and Phillip McLean Marilee K. Gardner In Honor of Rita Kaplan Richard and Victoria Larson In Memory of Dennis Powers Daniel E. Cohn and Lynn Brinton In Honor of Nancy Livingston Ms. Peggy Kivel In Memory of Eva Ramos Helen Hilton Raiser In Honor of Nancy Livingston Susan Terris In Memory of Barbara Rosenblum Dorothy Saxe In Honor of Carey Perloff Ms. Carol Tessler In Memory of Barbara Rosenblum Ms. Roberta Denning In Honor of Carey Perloff Philip Huff In Memory of Mrs. Barbara Rosenblum Kristina Veaco In Honor of Carey Perloff Wendy, David, Marisa, and Jared Robinow In Memory of Barbara Rosenblum The Kellners & The Bunises In Honor of David A. Riemer Rosenblum - Silverman - Sutton, SF Inc. In Memory of Mrs. Barbara Rosenblum Jon and Betsy Nakamura In Honor of Craig Slaight Alan P. Winston In Memory of Deborah Rush Eric and Susan Nitzberg In Honor of Craig Slaight Susan Terris In Memory of Alan Stein Jon Nakamura In Honor of Craig Slaight Judy and Robert Aptekar In Memory of Alan Stein Fred M. Levin and Nancy Livingston, The Shenson Foundation Anonymous In Memory of Ruth Asawa In Memory of Alan Stein Marilee K. Gardner In Memory of Winnie Biocini, Joey Chait, Susan and John Weiss In Memory of Alan Stein Joe Greenbach, and Roland Lampert Dan and Gloria Kearney Fund In Memory of Alan Stein Ms. Joy Eaton In Memory of Todd Wees 415.749.2228 41 SET THE STAGE FOR AN ENRICHED COMMUNITY

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.

Corporate Partners Circle

The Corporate Partners Circle comprises businesses that support the artistic mission of A.C.T., including A.C.T.’s investment in the next generation of theater artists and audiences, and its vibrant educational and community outreach programs. Corporate Partners Circle members receive extraordinary entertainment and networking opportunities, unique access to renowned actors and artists, premium complimentary tickets, and targeted brand recognition. For information about how to become a Corporate Partner, please contact Caitlin A. Quinn at 415.439.2436 or [email protected].

LEAD EDUCATION OFFICIAL HOTEL PRESENTING PRESENTING PARTNERS PERFORMANCE STAGE PARTNERS SPONSORw SPONSOR HOST ($25,000–$49,999) PARTNERS ($5,000–$9,999) Hotel G Bank of America Foundation ($10,000–$24,999) Burr Pilger Mayer, Inc. City National Bank BNY Mellon Wealth S&P Global Theatre Forward Management Schoenberg Family Ascent/U.S. Bank Bank of the West Law Group Farella Braun + Martel Perkins Coie LLP SEASON SPONSORw PRESENTING Pillsbury Winthrop Shaw SPONSOR Pittman LLP

w Lead Gala supporter

Foundations and Government Agencies

The following foundations and government agencies provide vital support for A.C.T. For more information, please contact 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 Jewels of Charity, Inc. The Bernard Osher Anonymous The Kenneth Rainin Davis/Dauray Family Fund Doris Duke Charitable Foundation The Kimball Foundation Foundation Edna M. Reichmuth Foundation Department of Children, The Harold and Mimi Laird Norton Family Educational Fund of San Francisco Grants Youth & Their Families Steinberg Trust Foundation The San Francisco for the Arts The Edgerton Foundation MAP Fund The Sato Foundation Foundation The William Randolph Hearst The Koret Foundation Saint Francis Foundation The Stanley S. Langendorf Foundation National Endowment for San Francisco’s Office of Foundation The William and Flora the Arts Economic and Workforce Wallis Foundation Hewlett Foundations Development The Zellerbach Family The Virginia B. Toulmin Foundation Foundation Walter and Elise Haas Fund

42 ACT-SF.ORG Theatre Forward Current Funders List as of January 2017

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

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

Gifts in Kind

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

Clift Hotel Krista Coupar CyberTools for Libraries The Marker Hotel Emergency BBQ Company Moleskine First Crush Restaurant Piedmont Piano Company and Wine Bar Premium Port Wines, Inc. Inspiration Vineyards Rust & Flourish Florals Joe Tally and Dan Strauss Tout Sweet Pâtisserie

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 43 A.C.T. STAFF

CAREY PERLOFF PAM MACKINNON PETER PASTREICH JENNIFER BIELSTEIN MELISSA SMITH Artistic Director Artistic Director Designate Executive Director Executive Director Designate Conservatory Director

James Haire Costume Shop Ticket Services M.F.A. Program Core Faculty Producing Director Emeritus Jessie Amoroso, Costume Director Ian Fullmer, Director of Ticket Services Christine Adaire, Head of Voice Callie Floor, Rentals Manager Mark C. Peters, Subscriptions Manager Stephen Buescher, Head of Movement, Director Resident Artists Keely Weiman, Build Manager/Draper David Engelmann, Head Treasurer Domenique Lozano, Acting, Director Anthony Fusco, Domenique Lozano Jef Valentine, Inventory Manager Elizabeth Halperin, Assistant Head Treasurer Michael Paller, Director of Humanities, Director Maria Montoya, Head Stitcher Anthony Miller, Group Sales Lisa Anne Porter, Co-Head of Voice and Dialects Associate Artists Kelly Koehn, Accessories & Crafts Artisan Scott Tignor, Stephanie Arora, Jack Sharrar, PhD, Theater History Marco Barricelli, Olympia Dukakis, Giles Chanterelle Grover, First Hand Subscriptions Coordinators Melissa Smith, Head of Acting, Director Havergal, Bill Irwin, Steven Anthony Jones, Andy Alabran, Liam Blaney, Richard Claar, Andrew Polk, Tom Stoppard, Gregory Wallace, Victoria Mortimer, Costume Administrator Peter Davey, Leontyne Mbele-Mbong, Alex Timberlake Wertenbaker Tessanella DeFrisco, Bree Dills, Costume Fellows M.F.A. Program Adjunct Faculty Mechanic, Katharine Torres, Treasurers Milissa Carey, Singing, Director Wig Shop Andy Donald, Arts Leadership Playwrights Front of House Pamela Gray, Qui Nguyen, Suzan-Lori Parks, Lindsay Saier, Wig Master Julie Douglas, Improv Kevin Nelson, Theater Manager Carey Perloff and Paul Walsh, Harold Pinter, Melissa Kallstrom, Wig Supervisor Lauren English, Business of Acting David Whitman, House Manager William Shakespeare, Simon Stephens, Daniel Feyer, Music Director, Accompanist Megan Murray, Genevieve Pabon, Tuesday Ray, Bess Wohl STAGE STAFF Janet Foster, Audition, Showcase Associate House Managers Giles Havergal, Director, Acting Directors The Geary: Oliver Sutton, Security Miguel Ongpin, Head Carpenter Gregory Hoffman, Combat Hal Brooks, Jaime Castañeda, Rachel Chavkin, Ramsey Abouremeleh, Monica Amitin, Shannon Suzanna Bailey, Head Sound Jasmin Hoo, Citizen Artistry Liz Diamond, Sheryl Kaller, Domenique Lozano, Amitin, Forrest Choy, Bernadette Fons, Carey Perloff Mark Pugh, Head Properties Kadeem Harris, Anthony Hernandez, Svetlana Mark Jackson, Devised Theater Daniel Swalec, Head Electrician Karasyova, Caleb Lewis, Susan Monson, Haley Darryl Jones, Acting Choreographers Colin Wade, Flyman Nielsen, Trever Pearson, Scott Phillips, Pete Sean Kana, Singing Pickens, Miki Richmond, Travis Rowland, Tracey Val Caniparoli, Josh Prince Mary Montijo, Wardrobe Supervisor W. D. Keith, On-Camera Acting Sylvester, Leonard Thomas, Cevie Toure, Robyn Diane Cornelius, Assistant Wardrobe Supervisor Philip Charles MacKenzie, On-Camera Acting Williams, Bartenders Composers/Orchestrators Loren Lewis, Joe Nelson, Stage Door Monitors Heidi Marshall, On-Camera Acting Susan Allen, Rodney Anderson, Branden David Coulter, Shammy Dee, Bowman, Serena Broussard, Danica Burt, Jose Seana McKenna, Acting Paul Scott Goodman The Strand: Camello, Barbara Casey, Wendy Chang, Niyjale Caymichael Patten, Audition Patsy McCormack, Strand Master Technician Cummings, Kathy Dere, John Doll, Larry Emms, Carey Perloff, Arts Leadership Music Directors Sarah Jacquez, Strand Sound Engineer Doris Flamm, Claire Gerndt, Louisa Githuka, Kari Prindl, Alexander Technique Daniel Feyer, Greg Kenna, Frederick Kennedy Carol Grace, Blue Kesler, Ryszard Koprowski, Stacey Printz, Dance ADMINISTRATION Sharon Lee, Sadie Li, Joe MacDonald, Maria Tiffany Redmon, Fundraising Designers Markoff, Val Mason, Sam Mesinger, Edvida Coralyn Bond, Executive Assistant Lindsay Saier, Stage Makeup John Arnone, Nina Ball, Brian Sidney and Board Liaison Moore, Kathy Napoleone, Mary O’Connell, Bembridge, Riccardo Hernández, Laura Brandie Pilapil, Mark Saladino, Steve Salzman, Ken Savage, Director Elyse Shafarman, Alexander Technique Jellinek, Alexander V. Nichols, David Israel Human Resources Walter Schoonmaker, Stephanie Somersille, Reynoso, Donyale Werle, Scenic Michael Sousa, Melissa Stern, Dale Whitmill, Raissa Simpson, Dance Amanda Williams, Human Resources Director Jessie Amoroso, Beaver Bauer, Linda Cho, Lorraine Williams, June Yee, Ushers Liz Tenuto, Dance Candice Donnelly, Tilly Grimes, Meg Neville, General Management Lisa Townsend, Director, Choreographer Sarah Nietfeld, David Israel Reynoso, Costumes The Strand Cafe James Wagner, Business of Acting Louisa Balch, General Manager Robert Hand, James F. Ingalls, Wen-Ling Liao, Rafael Monge, Cafe Manager Mike Inwood, Alexander V. Nichols, Nancy Amy Dalba, Associate General Manager LaRina Hazel, Raj Paul Pannu, Baristas Studio A.C.T. Schertler, Robert Wierzel, Yi Zhao, Lighting Sabra Jaffe, Company Manager Mark Jackson, Program Director Brendan Aanes, Stowe Nelson, Jake Rodriguez, Mia Carey, General/Company EDUCATION & COMMUNITY Liz Anderson, Filmmaking Leon Rothenberg, Darron L West, Sound Management Fellow PROGRAMS Heidi Carlsen, Voice Tal Yarden, Chris Lundahl, Video Finance Elizabeth Brodersen, Director of Education Matt Chapman, Movement Coaches Lawrence Yuan, Director of Finance & Community Programs Julie Douglas, Mask, Clown, and Movement Jasmin Hoo, Associate Director of Education Christine Adaire, Lisa Anne Porter, Sharon Boyce, Accounting Manager Francie Epsen-Devlin, Musical Theater & Community Programs Voice and Text May Chin, Matt Jones, Ryan Jones, Paul Finocchiaro, Acting Vincent Amelio, Workshops & Events Manager Stephen Buescher, Movement Finance Associates W. D. Keith, On-Camera Acting Vanessa Ramos, Residencies Coordinator Jonathan Rider, Danielle O’Dea, Fights Drew Khalouf, Speech and Diction Stephanie Wilborn, , Music Information Technology Jessica Kitchens, Acting Daniel Feyer Community Programs Coordinator Thomas Morgan, Director Kari Prindl, Alexander Technique Elizabeth Halperin, Student Matinees Joone Pajar, Network Administrator Mark Rafael, Acting ARTISTIC Lealani Drew Manuta, Katie Rubin, Acting, Stand-Up Andy Donald, Associate Artistic Director Operations Education Programs Fellow Naomi Sanchez, Musical Theater Michael Paller, Dramaturg Jamie McGraw, Associate Manager, Facilities Nailah Harper-Malveaux, Jonathan Spector, Introduction to Playwriting Janet Foster, Director of Casting and Operation and Security Community Producing Fellow Laura Wayth, Acting Artistic Associate Jeffrey Warren, Assistant Facilities Manager Allie Moss, Artistic Associate YOUNG CONSERVATORY Leopoldo Benavente, Facilities Crew Member Conservatory Accompanists Ken Savage, Associate Producer Jill MacLean, Craig Slaight Director of Curtis Carr, Jr., Theo Sims, Jesse Nightchase, Lynden James Bair, Daniel Feyer, Christopher Nora Zahn, Artistic Fellow Security the Young Conservatory Hewitt, Paul McCurdy, Thaddeus Pinkston, Emily Hanna, Young Conservatory & Studio Jaime Morales, Geary Cleaning Foreman Naomi Sanchez PRODUCTION Jamal Alsaidi, Jeaneth Alvarado, Lidia Godinez, A.C.T. Coordinator Audrey Hoo, Production Manager Geary Cleaning Crew Andy Alabran, Acting Library Staff Robert Hand, Associate Production Manager Cristina Anselmo, Acting Joseph Tally, Head Librarian Development Jack Horton, Associate Production Manager Kimberly Braun, Musical Theater G. David Anderson, Theresa Bell, Laurie Chris Lundahl, Design and Production Associate Caitlin A. Quinn, Director of Development Nancy Gold, Physical Character, Acting Bernstein, Helen Jean Bowie, Bruce Carlton, Michelle Symons, Assistant Production Manager Tiffany Redmon, Dan Griffith, Movement Barbara Cohrssen, William Goldstein, Pat Hunter, Deputy Director of Development Haley Miller, Conservatory Design and Jane Hammett, Musical Theater Connie Ikert, Ashok Katdare, Martha Kessler, Production Associate Nicole Chalas, Director of Grants and W. D. Keith, Director Nelda Kilguss, Barbara Kornstein, Analise Leiva, Foundation Relations Ines Lewandowitz, Patricia O’Connell, Roy Sean Key-Ketter, Conservatory Design and Domenique Lozano, Director, Acting Jody Price, Director of Special Events Ortopan, Maida Paxton, Connie Pelkey, Christine Production Coordinator Christine Mattison, Dance, Choreographer Hillary Bray, Donor Relations and Peterson, Dana Rees, Roger Silver, Jane Taber, Maggie Manzano, Conservatory Production and Thaddeus Pinkston, Accompanist Susan Torres, Joyce Weisman, Jean Wilcox, Stage Management Coordinator Memberships Manager Lauren Rosi, Musical Theater Marie Wood, Library Volunteers Spencer Jorgensen, Production Fellow Renée Gholikely, Development Research and Prospect Manager Vivian Sam, Musical Theater, Dance Lauren Spencer, Acting Stage Management Stephanie Swide, A.C.T. thanks the physicians and staff of the Development Operations Manager Trish Tillman, Acting Centers for Sports Medicine, Saint Francis Elisa Guthertz, Head Stage Manager Emily Remsen, Special Events Associate Valerie Weak, Acting Memorial Hospital, for their care of the A.C.T. Matt DiCarlo, Elisa Guthertz, Deirdre Rose Jordan Nickels, Development Assistant Krista Wigle, Musical Theater company: Dr. Victor Prieto, Dr. Hoylond Hong, Holland, Marcy Victoria Reed, James Steele, Dr. Susan Lewis, Don Kemp, P.A., and Chris Erica Love, Development Coordinator Callie Garrett, Conservatory Associate Karen Szpaller, Stage Managers Corpus, Clinic Supervisor. Dani Bae, Christina Hogan, Christina Elizabeth Rachel Stuart, Development Fellow Larson, Megan McClintock, Leslie M. Radin, CONSERVATORY Accreditation Marketing & Public Relations Marcy Victoria Reed, Assistant Stage Managers Christopher Herold, Director of Summer A.C.T. is accredited by the Accrediting Hal Day, Production Assistant Christine Miller, Acting Director of Marketing Training Congress Commission for Senior Colleges and Miranda Erin Campbell, Erin Sweeney, Bri Syche Phillips, Associate Director of Marketing Jack Sharrar, PhD, Director of Academic Affairs Universities of the Western Association Owens, Stage Management Fellows Kimberly Rhee, Senior Graphic Designer Jerry Lopez, Director of Financial Aid of Schools and Colleges (WASC), 985 Simon Hodgson, Publications Manager Dan Kolodny, Manager, Conservatory Operations Atlantic Avenue, Suite 100, Alameda, Prop Shop Simone Finney, Digital Content Manager & Professional Development Training CA 94501, 510.748.9001, an institutional accrediting body recognized by the Ryan L. Parham, Supervisor Kevin Kopjak/Charles Zukow Associates, Emily Hanna, Young Conservatory & Studio Council on Postsecondary Accreditation Abo Greenwald, Assistant Public Relations Counsel A.C.T. Coordinator and the U.S. Department of Education. Beryl Baker, Digital Content Associate Matt Jones, Bursar/Payroll Administrator Diana Freeberg, Marketing Associate Callie Garrett, Conservatory Associate Stefanie Shoemaker, Graphic Designer Ilyssa Ernsteen, Olga Korolev, Elspeth Sweatman, Publications Associate Conservatory Fellows Miranda Ashland, Marketing Assistant Taylor Steinbeck, Publications Fellow Tabriana Willard, Graphics Fellow 44 ACT-SF.ORG A.C.T. PROFILES

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

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

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

415.749.2228 45 F.Y. I .

ADMINISTRATIVE OFFICES REFRESHMENTS AFFILIATIONS Full bar service, sweets, and savory items are A.C.T.’s administrative and conservatory A.C.T. is a constituent of Theatre available one hour before the performance in offices are located at 30 Grant Avenue, San Communications Group, the national Fred’s Columbia Room on the lower level and Francisco, CA 94108, 415.834.3200. On the organization for the nonprofit professional the Sky Bar on the third level. You can avoid web: act-sf.org. theater. A.C.T. is a member of Theatre Bay the long lines at intermission by preordering Area, the Union Square Association, the San food and beverages in the lower- and third- Francisco Chamber of Commerce, and the level bars. Bar drinks are now permitted in BOX OFFICE INFORMATION San Francisco Convention & Visitors Bureau. the theater. A.C.T. BOX OFFICE Visit us at 405 Geary Street at Mason, next to CELL PHONES A.C.T. operates under an agreement the theater, one block west of Union Square; If you carry a pager, beeper, cell phone, or between the League of Resident Theatres or at 1127 Market Street at 7th Street, watch with an alarm, please make sure that and Actors’ Equity Association, the union of across from the UN Plaza. Walk-up hours it is set to the “off” position while you are professional actors and stage managers in are Tuesday–Sunday (noon–curtain) on in the theater. Text messaging during the the United States. performance days, and Monday–Friday performance is very disruptive and not allowed. The Director is a member of the STAGE (noon–6 p.m.) and Saturday–Sunday DIRECTORS AND CHOREOGRAPHERS PERFUMES (noon–4 p.m.) on nonperformance days. SOCIETY, a national theatrical labor union. (For Strand Box Office walk-up hours, please The chemicals found in perfumes, colognes, visit act-sf.org.) Phone hours are Tuesday– and scented aftershave lotions, even in The scenic, costume, lighting, and sound Sunday (10 a.m.–curtain) on performance small amounts, can cause severe physical designers in LORT theaters are represented days, and Monday–Friday (10 a.m.–6 p.m.) reactions in some individuals. As a courtesy to by United Scenic Artists, Local USA-829 of and Saturday–Sunday (10 a.m.–4 p.m.) on fellow patrons, please avoid the use of these the IATSE. nonperformance days. Call 415.749.2228 and products when you attend the theater. use American Express, Visa, or MasterCard; The scenic shop, prop shop, and stage crew or fax your ticket request with credit card EMERGENCY TELEPHONE are represented by Local 16 of the IATSE. information to 415.749.2291. Tickets are also Leave your seat location with those who available 24 hours a day on our website at may need to reach you and have them call 415.439.2317 in an emergency. A.C.T. is supported in part by an award from act-sf.org. All sales are final, and there are no the National Endowment for the Arts. refunds. Only current ticket subscribers and LATECOMERS those who purchase ticket insurance enjoy Performances begin promptly, and late ticket exchange privileges. Packages are A.C.T. is supported in part by a grant from seating is at the house manager’s discretion. Grants for the Arts. available by calling 415.749.2250. A.C.T. gift Latecomers may have to watch the certificates can be purchased in any amount performance on a video monitor in the lobby online, by phone or fax, or in person. until intermission. Latecomers and those who GEARY THEATER EXITS SPECIAL SUBSCRIPTION DISCOUNTS leave the theater during the performance may Full-time students, educators, and be seated in alternate seats (especially if they administrators save up to 50% off season were in the first few rows) and can take their subscriptions with valid ID. Visit act-sf.org/ assigned seats at intermission. educate for details. Seniors (65+) save $40 on LISTENING SYSTEMS 8 plays, $35 on 7 plays, $30 on 6 plays, $25 Headsets designed to provide clear, amplified ORCHESTRA on 5 plays, and $20 on 4 plays. sound anywhere in the auditorium are SINGLE TICKET DISCOUNTS available free of charge in the lobby before Joining our eClub is the best—and sometimes performances. Please turn off your hearing aid only—way to find out about special ticket when using an A.C.T. headset, as it will react to offers. Visit act-sf.org/eclub to sign up. Find the sound system and make a disruptive noise. us on Facebook and Twitter for other great PHOTOGRAPHS AND RECORDINGS of A.C.T. deals. Beginning two hours before curtain, performances are strictly forbidden. a limited number of discounted tickets are available to seniors (65+), educators, RESTROOMS are located in Fred’s Columbia administrators, and full-time students. For Room on the lower lobby level, the Mezzanine matinee performances, all seats are just $20 Lobby, and the Garret on the uppermost for seniors (65+). Valid ID required—limit lobby level. one ticket per ID. Not valid for Premiere Wheelchair Seating is located Orchestra seating. All rush tickets are subject in Fred’s Columbia Room on the MEZZANINE to availability. lower lobby level, the Balcony Lobby, and the Garret on the GROUP DISCOUNTS uppermost lobby level. Groups of 15 or more save up to 35%! For more information, call Anthony Miller A.C.T. is pleased to announce that an Automatic at 415.439.2424. External Defibrillator (AED) is now available in the house management closet in the lobby AT THE THEATER of The Geary. A.C.T.’s Geary Theater is located at 415 Geary Street. The lobby opens one hour before LOST AND FOUND curtain. Bar service and refreshments are If you’ve misplaced an item while you’re available one hour before curtain. The theater still at the theater, please look for it at our opens 30 minutes before curtain. merchandise stand in the lobby. Any items found by ushers or other patrons will be taken ABOUT OUR PLAYS there. If you’ve already left the theater, please BALCONY Copies of Words on Plays, A.C.T.’s in-depth call 415.439.2471 and we’ll be happy to check performance guide, are on sale in the main our lost and found for you. Please be prepared lobby, at the theater bars, at the box office, with the date you attended the performance and online at act-sf.org/wordsonplays. and your seat location.

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