Girlsa N Or, the Afric Play Mean Girls PAGE 21

2020 MARCH—MAY School ; GirlSA n or, The Afric PlAy Mean Girls PAGE 21

Jocelyn Bioh: A funny PLUS way of being serious Seeding the next gen of theatre-makers

SG.program.emg.v3.indd 1 3/6/20 3:51 PM Trim: 8.375” x 10.875” Bleed: 8.625” x 11.125”

My legacy. My partner.

You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes.

Take the first step in ensuring the preservation of your wealth for your lifetime and future generations.

To learn more, please visit unionbank.com/theprivatebank or contact:

Jayne Hartley Director, Private Wealth Advisor 415-705-7174 [email protected]

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor.

SG.program.emg.v3.indd 2 3/6/20 3:51 PM WELCOME TO BERKELEY REP! To ensure the best experience for everyone: Food and drink: Beverages in cans, cartons, or plastic cups with lids are welcome in the house. Food is prohibited. Phones that make noise during the performance are disruptive to everyone. Ensure phones and electronic devices are turned off during the performance.

Photography: Audience members may 8 take photos in the theatre before and after the performance, and during intermission. Photos and video during the performance are not permitted. Photos posted on social media must credit the show’s designers. Late seating is not guaranteed. If you arrive late, the house manager will provide instructions about seating. If you leave during the performance, you will be IN THIS ISSUE reseated at an appropriate break. From the artistic director · 5 Smoking/Vaping: Berkeley Rep’s public From the managing director · 6 spaces are smoke- and vape-free. Charting their own path: Women’s Center One of the joys of live theatre is the for Entrepreneurship helps women coffee collective experience. Remember farmers of Colombia · 8 that people respond in different ways, Young Writers of Color Collective seeds next and we invite you to join with other generation of theatre-makers · 10 audience members and enjoy the show! FEATURES School Girls; Or, The African Mean CONNECT WITH BERKELEY REP Girls Play origin story · 12 Box Office: 510 647-2949 A funny way of being serious: An Groups (10+): 510 647-2918 interview with playwright Jocelyn Bioh · 13 10 Admin: 510 647-2900 School of Theatre: 510 647-2972 Director Awoye Timpo on reclaiming humanity in the imagery of School Girls · 16 Click berkeleyrep.org Email [email protected] Learning and unlearning: (De)colonization, Ghanaian education, and standards of beauty · 18 We’re mobile! Download our free iPhone or Android app. Share with us @berkeleyrep BERKELEY REP PRESENTS School Girls; Or, The African Mean Girls Play · 21 Who’s Who · 22 THE BERKELEY REP MAGAZINE 2019–20 · ISSUE 5 CONTRIBUTORS 12 The Berkeley Rep Magazine is published at least Foundation, corporate, and seven times per season. in-kind sponsors · 29 For local advertising inquiries, please contact Individual donors to the Annual Fund · 31 Pamela Webster at 510 590-7091 or pwebster@ berkeleyrep.org. Michael Leibert Society · 32 Editor Karen McKevitt OriGin Graphic Designers ABOUT BERKELEY REP Cheshire Isaacs Haly Roy Staff, board of trustees, and Writers sustaining advisors · 33 Katie Craddock Charlie Dubach-Reinhold Sarah Rose Leonard Maddie Gaw sTOrY Zandra Starks

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 3

SG.program.emg.v3.indd 2 3/6/20 3:51 PM SG.program.emg.v3.indd 3 3/6/20 3:51 PM SG.program.emg.v3.indd 4 4 · · 2019–20 · ISSUE 5 ISSUE · ·2019–20 MAGAZINE REP BERKELEY THE 1960 MountainBlvd. Oakland, CA94611 510.339.0400 Serving ourcommunityfor 53years Trust isEarned VISIT GRUBBCO.COM &FOLLOW USONSOCIALMEDIA 3070 ClaremontAve. Berkeley, CA94705 510.652.2133 Berkeley, CA94709 1656 Shattuck Ave. 510.848.1950 100 GrandAve. #112 Oakland, CA94612 510.339.4200 Area. All rightsreserved. ©2019 Encore MediaGroup. events inthe SanFrancisco Bay Area andGreater Seattle monthly by Encore MediaGroup arts to performing serve ProgramsEncore Arts andEncore Stagesare published SUSAN PETERSON ANA ALVIRA, STEVIE VAN BRONKHORST San Francisco/Bay Area Account Executives Reproduction withoutwrittenpermissionisprohibited. JENNIFER SUGDEN SHAUN SWICK 425 North 85thStreet •Seattle,WA425 North 98103 Production Artists andGraphicProduction Designers Artists BRIEANNA HANSEN, SHERRI JARVEY, MIKE HATHAWAY CIARA CAYA Volume 15, No. 6 15, March—May 2020|Volume MARILYN KALLINS, TERRI REED GENAY GENEREUX KAJSA PUCKETT [email protected] CAROL YIP 800.308.2898 •206.443.0445 ANN MANNING PAUL HEPPNER encoremediagroup.com Encore MediaGroup Account Executives Sales &Marketing Office Manager Production Marketing Brand &Creative Manager Manager Marketing Coordinator VicePresident, Production Sales Sales Coordinator SeniorVicePresident Assistant Production VicePresident, Seattle Area Accounting& President

3/6/20 3:51 PM FROM THE ARTISTIC DIRECTOR SG.program.emg.v3.indd 5 FROM THE ARTISTIC DIRECTOR Nollywood Dreams the lush mountains of Eastern Ghana together in away that leaves audiences defenseless against her point tion at MCC in York New City!) and was so struck with the singularity great is gifts that the worlds that she creates are so specific ings, the intricacies of their relationships, and the discoveries deepest artists andartists these stories. are making their mainstage Berkeley Rep debuts! and to have this glorious cast assembled, the vast majority of whom want to be. are, her characters feel familiar to While us. our experiences may not agency in Nigeria, anightclub in Mombasa, agirls boarding school in audience. Easier said than done! That being said, one of Jocelyn’s match lives the exact of these school girls, the depth of their yearn of their own emerging strengths will remind us all of that specific es of their characters feel universal and resonant to awide-ranging of view was evident. of her voice. Even then, Jocelyn’s ability to weave humor and politics liminal moment in our lives when we begin to become the adults we Thank you, as always, for being of the part journey of these I am proud to have Awoye Timpo at the helm of this production, It is often said that truly skillful can artists make the circumstanc I worked with Jocelyn anumber of years ago to help develop Johanna Pfaelzer Johanna Warmly, (finally about to have worldits premiere produc WELCOME TO SCHOOL GIRLS! Jocelyn’s fantastic play. play. fantastic Jocelyn’s to become artistic its director, Jocelyn Bioh in conversations with the Berkeley Rep staff was at the top of my list. Ifeel So incredibly would want to bring to the Theatre if Iwere and board about what shows and I artists beautiful theatre together, in the presence of come true, and that we are all here in this fortunate that this moment has actually Eighteen or so months ago, when Iwas —

and yet no matter who we —

a travel - - - 2019–20 · ISSUE 5· ISSUE · 2019–20 ·5 MAGAZINE REP BERKELEY THE 3/6/20 3:51 PM 2/7/20 11:14 AM 7PM –

FRIDAY, 5 FRIDAY, – 12 – MONDAY I JULY 31 JULY s Towers. For For s Towers. ’ – PHOTO BY MARCELA CHACÓN REGISTER NOW AT AT REGISTER NOW BERKELEYREP.ORG/CLASSES CALLOR 510 647-2996 INTENSIVE ENTERING GRADES 9 DESIGN/TECH INTENSIVE JULY 27 NEW! . eclectic y s Towers is urban community living at its is urban community living s Towers ’

8PM – PERFORM AT BERKELEY REP! BERKELEY AT PERFORM SESSION 2 14–AUGUST 7 JULY 9AM–4PM MONDAY–FRIDAY, ENTERING GRADES 9–12 FRIDAY, 5 FRIDAY, s Towers gives you easy access to it all. An artistic, activist, and it all. An artistic, activist, access to easy you gives s Towers – ’ ACT YOU WISH TO SEE WISH ACT YOU

12 – MONDAY I A not-for-profit community owned and operated by Covia. License No. 011400627 COA# 327 COA# 011400627 License No. Covia. by owned and operated community A not-for-profit best. Paul St. to moving about learn more us and know Get to schedule a visit, call 510.891.8542. information, or to gaging and Engaging Ba in the East intellectual Life Plan Community, St. Paul’s Towers is known for convenient is known for Towers St. Paul’s intellectual Life Plan Community, , and security for the future. services, welcome comforts shops and public transportation restaurants, classes, exhibits, lectures, With Paul distance, St. within walking Place, Oakland, CA 94610 100 Bay www.covia.org/st-pauls-towers er, offer, to with a little bit of everything the East Bay to Oakland is the gateway Paul and St. BE THE THE BE SUMMER THEATRE ENTERING GRADES 9 SUMMER THEATRE INTENSIVE THEATRE SUMMER SESSION 1 JUNE 15–JULY 10 9AM–3PM MONDAY–FRIDAY, ENTERING GRADES 6–8 & ACTINGFILMMAKING INTENSIVE 17 29–JULY JUNE Untitled-1 1

FROM THE MANAGING DIRECTOR 3/6/20 3:51 PM ------don’t have to worry, as worry, to don’t have And with spring comes comes spring And with But for others, you may be thinking, be thinking, may you others, for But Among all those mailings is your annual annual your is mailings those all Among questions asked. You’ve sent your forms in or in forms your sent You’ve asked. questions you. Bless online. renewed have cultural organization you have ever attended! attended! ever have you organization cultural renewal form for your Berkeley Rep subscrip Rep Berkeley your for form renewal tion. Some of you have already responded, no responded, already have you Some of tion. the annual deluge of solicitations from every from solicitations of deluge annual the Buy me! Buy now! You all know it. We all live it. live all it. We know all You now! Buy me! Buy SPRING IS UPON US. IS UPON SPRING “What? Why haven’t I gotten my chance to sign sign to chance my I gotten “What? haven’t Why Best regards, Who are these people who commit themselves to shows (some shows to themselves commit people who these Who are Join me and Johanna for another year of grand theatrical adven theatrical grand of year another for Johanna me and Join It means you will actually get out.... You will turn off the the off for turn TV a will out.... get You actually will you means It So why should you go online and renew your subscription? Or why subscription? your renew and online go you should So why So go online at berkeleyrep.org and just do it. Sign up for all seven seven all for up do it. Sign just and berkeleyrep.org at online So go Susie Medak

You will have this satisfying communal experience with your part your with experience communal satisfying this have will You You will get first dibs on any special events we schedule. schedule. we events special any on dibs first get will You You will get the lowest possible prices for the full season of shows of season full the for prices possible lowest the get will You And you will get the ability to exchange your seats, over and over over and seats, over your exchange to ability the get will And you

full panoply of programs here at Berkeley Rep. Berkeley at here programs of panoply full on to see all seven shows next season?” You so You next season?” shows seven see all to on conversation and becomes the collection of shared points of reference reference of points shared of collection the becomes and conversation before, because we know that flexibility is just what life demands of all of demands life what just is flexibility that know we because before, days. these us of ple! They are often our most veteran theatregoers, people who have have people who theatregoers, veteran most our often are They ple! But lives. long their throughout a priority attendance theatre made night. And you’ll see shows....at the best theatre in the Bay! the in see shows....at best And theatre the you’ll night. are families, multigenerational “regulars” who show up at seven mati seven at up show who “regulars” multigenerational families, are stimulates that experience a shared enjoying a year, evenings and nees ner, friends...or, sure, why not your family? your not why sure, friends...or, ner, increasingly they are younger people for whom attending consistently consistently attending whom people for younger are they increasingly them, For kids. the without together night adult an to a commitment is and over again, at no charge if you exchange by 7pm the evening evening the 7pm by exchange you if charge no at again, over and and discounts for anyone who wants to tag along with you. with along tag to wants who anyone for discounts and times unknown) months in advance? These are among my favorite peo favorite my among are These advance? in months unknown) times there will be plenty of opportunities for you, too, to join the thousands thousands the join to too, you, for opportunities of be plenty will there just is sitter the schedule should they when knowing of regularity the they And increasingly, nights. date their protect need to they help the ty years later my son and I still laugh over the worst production we ever ever we production worst the over laugh I still and son my later ty years ture. I think you’ll be glad you did. did. you be glad you’ll I think ture. saw together. Just say the word “lugubrious,” and we start we laughing. and “lugubrious,” word the say Just together. saw simple. really It’s subscription? first your for up sign you should shows, and if that doesn’t work, sign up for as many as you can. you as many as for up work, sign doesn’t that if and shows, (yes, that is real) of people who sign up months in advance to see the to advance in months up sign people who of real) (yes,is that (sometimes good, sometimes bad!) that stick through the years. Twen years. the through stick that bad!) good, sometimes (sometimes FAMILY LAW FAMILY

. C . P

, P OU R G

W A ttention YL L I M A

575 Market Street, Suite 4000 Suite Street, Market 575 CA 94105 San Francisco, 415.834.1120 www.sflg.com Our goal is to preserve our preserve Our goal is to dignity and humanity. client’s Personal a thoughtful litigation final resolution Berkeley Rep Support Proud to THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

@berkeleyrep Find us everywhere us everywhere Find 6 · CONNECT SG.program.emg.v3.indd 6 Engaging and eclectic in the East Bay. Oakland is the gateway to the East Bay with a little bit of everything to offer, and St. Paul’s Towers gives you easy access to it all. An artistic, activist, and intellectual Life Plan Community, St. Paul’s Towers is known for convenient services, welcome comforts, and security for the future.

With classes, exhibits, lectures, restaurants, shops and public transportation within walking distance, St. Paul’s Towers is urban community living at its best.

Get to know us and learn more about moving to St. Paul’s Towers. For information, or to schedule a visit, call 510.891.8542.

100 Bay Place, Oakland, CA 94610 www.covia.org/st-pauls-towers

A not-for-profit community owned and operated by Covia. License No. 011400627 COA# 327

Untitled-1 1 2/7/20 11:14 AM CHARTING

WOMEN’S CENTER FOR ENTREPRENEURSHIP HELPS WOMEN COFFEE FARMERS OF COLOMBIA BY MADDIE GAW

Photos courtesy of Peet’s Coffee

8 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 8 3/6/20 3:51 PM In Jocelyn Bioh’s School Girls; Or, The African Mean Girls Play, a group of Ghanaian teenage girls are trying to figure out what their place in the world will be after they leave their prestigious boarding school. Will they heed their headmistress’ advice and focus on furthering their education? Or will they strike out on the path to superstardom by winning the Miss Ghana pageant? And which girl can do what, according to the standards placed on them by society?

Societal expectations for women across the globe have often While training at the center, Lucía was able to think about been at odds with what individual women seek out for them- herself for the first time in a while. “I found myself,” she said. “I selves. For the women coffee farmers of Mujeres Cafeteras, found me.” based in Huila, Colombia, the shift from laboring on a spouse’s After completing her training, Lucía left armed with a busi- farm to managing their own farm was a hard-won victory. ness plan. Today, she is working toward her dream of creating This shift was made possible in part by the Women’s Center an agro-tourism experience on her coffee farm. Lucía hopes to for Entrepreneurship, a program developed by Peet’s Coffee build lodging to host guests and provide them with Spanish, in collaboration with Coocentral (the cooperative to which cooking, and coffee-farming lessons, and she has started a Go- Mujeres Cafeteras belongs), Sustainable Harvest (an import FundMe campaign. She visited UC Berkeley’s Haas School of partner for Peet’s), and the ean University School of Business Business a few months ago to discuss her experiences and the in Bogotá. unique challenges she faces in her male-dominated farming Every year, Peet’s donates $50,000 of the community. “In Colombia, there is a lot of machis- proceeds from their Anniversary Blend to a mo,” she said. “Claiming this space was not charitable cause. The blend changes every easy at all, it was a tough fight, and that year, and the selected charitable cause was one of the main challenges.” Her addresses a specific need voiced by TO SEE THE experience speaking in the U.S. was the community where one of the ACCEPTANCE WE HAVE affirming. “To see the acceptance coffees in the blend comes from. we have here, that women’s coffee The 2019 Anniversary Blend HERE, THAT WOMEN’S is liked a lot…it is worth continu- sourced coffee from Mujeres ing the process, to continue fight- Cafeteras, and so Peet’s Coffee COFFEE IS LIKED A LOT…IT IS ing and bringing the good news Team asked the women in the that this entrepreneurship center co-op how this donation could be WORTH CONTINUING THE will continue to change used to meet their needs. our lives.” For these women, the educa- PROCESS, TO CONTINUE What’s next for the Women’s tion they had already received from Center for Entrepreneurship? “We the co-op was a crucial first step toward FIGHTING...” have procured funding for Year Two of envisioning a new path for themselves. LUCÍA ÁLVAREZ the program and will train another 100 “[W]e were housewives who didn’t leave the women from the co-op,” says Phil Maloney, house,” they said. “When the program for women director of coffee purchasing at Peet’s. He confirmed started at Coocentral, we learned about leadership and farm that Peet’s will donate another $50,000 to the center from the administration. The idea was to give us the tools to tend and proceeds of the 2020 Anniversary cup — which will not be a manage our own farms. We had to speak to our husbands, who blend this year, but instead a single-origin coffee from Mujeres eventually ceded a parcel of the farms so that we could work, Cafeteras. This will be the first time Peet’s has sourced beans manage, and produce our own coffee.” from the same farmers two years in a row for their limited-edi- What they needed next, they said, was to receive fur- tion Anniversary coffee, and this shows how important the ther training and education to start and run successful small Women’s Center has become to the company. “We hope to businesses, and that’s where the Peet’s donation came in. “We keep the program going in Colombia, but also to expand it to started the [Women’s Center for Entrepreneurship] as a re- other coffee-growing regions,” says Phil. sponse to the women’s desire to continue their education and Lucía has stated that she wants her business to become “a to become strong economic contributors in their households,” beacon of hope guiding the many women from [her] commu- says Matt Broscio, social responsibility manager at Peet’s nity to take their own steps forward and move toward a bigger Coffee. In its first year, the center trained 100 women from and better future for themselves.” She and other veterans of Coocentral in the fundamentals of entrepreneurship, business the Center hope to inspire collaboration, not competition, model development, and business plan creation. between the women in their community. For the teenage One of those women was Lucía Álvarez. For Lucía, the protagonists of School Girls, competition is a natural instinct, need for economic independence was an urgent one. She but are they in competition with each other, or with society’s separated from her husband two years ago, a decision that is expectations? They might look to Lucía and the rest of the as uncommon in Huila as it is risky. Lucía said that it is typical women in Mujeres Cafeteras, who are creating new expecta- to “work to leave something to our children and move them tions about the role women can play in their society. forward, and we forget ourselves. We do not think about us.”

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 9

SG.program.emg.v3.indd 9 3/6/20 3:51 PM YOUNG WRITERS OF COLOR COLLECTIVE SEEDS NEXT GENERATION

TATIANA LIRA FOUND A DEDICATION to writing in the third grade after completing their first play. But calling this now 15 year old simply “a writer” feels impossible and unjust. By taking classes at the Berkeley Rep School of Theatre and becoming a key part of Core Council, Tatiana has ventured into film making, performance, directing, journalism, and photography — all of which have informed their writing. This scope of artistic experience made them a perfect candidate for Berkeley Rep’s Young Writers of Color Collective (YWoCC), now in its fourth year. The collective is made up of four passionate high school writers who attend a full year of workshops with local playwrights and theatre artists, many of whom have been part of Berkeley Rep’s Ground Floor Summer Residency Lab, and receive one-on-one mentorship from notable Bay Area playwright Cleavon Smith. The program culminates in a staged reading as part of the Summer Residency Lab. To ensure full realization of the young playwright’s vision, each script re- ceives full support from professional actors, dramaturgs, and directors. It takes a village to realize their plays, and the final performance rings with momentous joy and satisfaction. At the first YWoCC meeting of the year the playwrights — Tatiana, Kyle Gill, Natalie Ford, and Emielyn Das — and their mentor Cleavon sit around a folding table and introduce themselves between bites of pizza. The meeting begins as most first meetings do: slightly awkward, very little eye contact, and lots of fidgeting. Cleavon then asks students to share their reasons for joining YWoCC and the story they will pursue. With a small, quiet voice Tatiana shares disheartening times they had been underestimated by teachers, and the longing for a space that acknowledges the context they hold as a non-binary person of color. Then, Tatiana shifts into explaining their story. The play centers around a high schooler named Lorenzo who, in the midst of questioning their sexuality, stumbles into social

PHOTO BY ZANDRA STARKS media fame. As Tatiana speaks, their presence transforms into

10 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 10 3/6/20 3:51 PM OF THEATRE-MAKERS

SEEDS NEXT GENERATIONBY ZANDRA STARKS

an animated, hesitant confidence that exposes their reverence returned to dramaturg the 2017–18 YWoCC presentations. “It for storytelling. It’s inspiring to watch. The meeting con- supports the people within the program rather than adapting cludes and the young writers are sent on their way with their to the typical caveats of predominantly White institutions.” first assignment. Inclusion efforts, while well intended, often thrust people of Since that initial meeting and with the help of their men- color into White artistic spaces with little thought about how tor and local playwrights, the writers’ scripts have blossomed isolating that experience can be for Black and Brown artists. into full plays. Cleavon empowers the students to take full One former YWoCC member still reflects on the prec- advantage of what he calls this “rare opportunity that every edent the program set for her. Camilla Dwyer, a part of writer wants to have.” He notes that Tatiana has the vigor of the first YWoCC cohort and third-year playwright at The successful writers. While Tatiana began YWoCC sheepishly, Theatre School at DePaul University, spoke to how writing Cleavon says, “They are curious, prolific, and very intuitive. with YWoCC meant she didn’t have to explain how and why When they write, they put it all on the page and work it out Blackness moves at the core of her plays. The solidarity within later, which I find courageous.” the collective meant she could fail without having to hold the When a student has the kind of spirit that Cleavon rec- weight of being the only person of color in the room. Camilla ognizes in Tatiana, it often takes only one substantial oppor- attributes the rigorous yet nurturing environment to her cour- tunity for them to step up into their potential. For Tatiana, age to pursue playwriting. this moment took place in January, at the YWoCC midpoint As a theatre educator, I ask myself the same question reading, which offers playwrights a chance to have their plays that many frequent patrons of the theatre do: “How will we rehearsed with professional directors and actors. The entire build the next generation of theatre audiences?” The answer artistic staff at Berkeley Rep (including Artistic Director Johan- I have found is to make a great investment in youth theatre. na Pfaelzer and Madeleine Oldham, director of The Ground It will take much more than YWoCC to drive the foundational Floor) attends the reading to give invaluable feedback. changes necessary to sustain and diversify the next generation “I left the midpoint reading feeling invigorated,” says Ta- of theatre artists. It will require the devotion of artists, admin- tiana. “I realized that YWoCC is all about the growing process. istrators, and audiences. Future writers of color like Tatiana And I felt uninhibited despite the age difference between deserve the opportunity to flourish in the American theatre. myself and those giving me feedback.” From the midpoint until the final reading commences, the playwrights will retreat If you want to support the work of the Young Writers into rewrites. of Color Collective, consider attending the final Spaces like YWoCC are scarce. Professional institutions reading at The Ground Floor Summer Residency Lab. rarely have the resources (or desire) to run a program as sup- Check berkeleyrep.org/groundfloor later this spring portive and inclusive as YWoCC. The fact that YWoCC exists for the performance schedule. Additionally, you can marks Berkeley Rep’s dedication to seriously incorporating see Tatiana Lira’s work at the 18th annual Teen One- people of color into the next generation of theatre-makers. Acts Festival on April 24 and 25. They will be direct- “YWoCC provides an accessible and comprehensive ing China Doll, In Lavender by San Jose teen Jennifer process of making theatre for its participants,” says Ankita Xiang. Visit berkeleyrep.org/teenoneacts. Raturi, 2016–17 Peter F. Sloss Literary/Dramaturgy Fellow, who

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 11

SG.program.emg.v3.indd 11 3/6/20 3:51 PM LISTEN TO THESE FEATURES AND HEAR EXTENDED INTERVIEWS ON REPISODES: THE BERKELEY REP PODCAST AT SOUNDCLOUD.COM/BERKELEYREP

THe way. Berkeley Rep was excited that an actor we so admired had written a play that made us laugh out loud. We were thrilled when our new artistic director, Johanna Pfaelzer, revealed that she, too, was a big Jocelyn Bioh fan, having developed Jocelyn’s Nolly- wood Dreams at New York Stage and Film in 2016. Between our first encounter with Jocelyn’s OriGin work and today, School Girls has received a robust production life — the dream for any play! School Girls will collectively receive at least 11 productions across the U.S. during the 2019-20 season. It is unusual and awesome for a new play to be produced so widely in this country. This season, School Girls appears at The sTOrY Goodman in Chicago, Portland Center Stage in Ore- AUDIENCE AND ARTISTS ALIKE had already gon, Pittsburgh Public Theater, the Jungle Theater in heaped praise on Jocelyn Bioh as an actor Minneapolis, Kansas City Rep in Missouri, and True through the years by the time she debuted her Colors Theatre in Atlanta, to name a few. first professional play as a playwright, School School Girls was one Johanna’s first picks for her Girls; Or, The African Mean Girls Play, at MCC in inaugural season, and the stars aligned for Berkeley New York in 2017. She originated roles in The Rep to produce the play. Director Awoye Timpo and Curious Incident of the Dog in the Night-Time Jocelyn had long wanted to find a project to work on on Broadway and in An Octoroon and Men together, so we were overjoyed to make the collabo- on Boats, among other works, off Broad- ration a reality.

12 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 12 3/6/20 3:51 PM A FUNNY WAY OF BEING SERIOUS AN INTERVIEW WITH BY KATIE CRADDOCK PLAYWRIGHT JOCELYN BIOH On a chilly afternoon before rehearsals began, Artistic Associate Katie Craddock met playwright Jocelyn Bioh to talk about friendship, competition, and capturing truth and hilarity in the voices of the young Ghana- ian women of School Girls; Or, The African Mean Girls Play.

What inspired you to write School Girls? Like the characters, I went to boarding school, so I had the experience of attending school with a bunch of girls at a young age— and it was diverse, I think 80 percent people of color, so mostly people who looked like me. My mother also went to boarding school (in Ghana, like the characters in School Girls). I always wanted to write about boarding school life, and I always wanted to write about colorism, which was something that I experienced very personally. I wanted to put that in a play but was not sure how to do it without it sounding like some sort of lecture or, y’know, preachy. Then I came across a story about the Miss Ghana pageant in 2011 where they procured a girl who was American-born and biracial, and she won the competition and went on to represent Ghana in the Miss Universe pageant, which was quite a scandal in the Ghanaian blogs and what have you. I decided to melt all that into one play, and 27 drafts later, out came School Girls.

School Girls reveals the ways beauty standards from different countries and cultures intersect and collide. What made you interested in exploring that? I find that standards of beauty across the globe are more universal than people think. The idea of colorism is something I think of specifically as, for instance, me being a darker-skinned Black woman feeling inferior to a lighter-skinned woman of color. While that version of colorism is very specific to me, the idea of colorism

CONTINUED

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 13

SG.program.emg.v3.indd 13 3/6/20 3:51 PM What’s useful about comedy as a way into those difficult subjects? I read a quote years ago: “Comedy is simply a funny way of being serious.” [Generally attributed to Peter Ustinov.] In a lotta ways that’s my approach to my work. I also don’t want to write the typical narratives that African stories can fall into— you know, poverty, war, aids, struggle and strife. That singular narrative of a whole continent is so troublesome to me. And I just naturally have a comedic voice. If people can come into a story and laugh and have a good time, it’s much easier for them to learn something from it, as opposed to knowing they’re walking into a downer.

In its full title, School Girls references the 2004 Tina Fey movie Mean Girls. How does Mean Girls inform School Girls? Because the play is playing with specific tropes of the mean girl, cliques and crews and all of those things, I knew there would be comparisons to Mean Girls, so I decided to just cut to the chase in the title. And that’s kind of where the similarities stop. I like Mean Girls as a clear point of reference — when you say “Mean Girls,” people know exactly what they’re in for. People walk in feeling like, as with the Tina Fey movie, they know they’re gonna have a good time and poten- tially learn something.

is widespread across many cultures; there’s a real universality These characters have distinct voices and a pronounced, in that experience as a result of who has determined beauty ever-shifting hierarchy. How did you develop the individual standards. I had my own very long journey to owning my beau- girls and their dynamics? ty — and if I could alleviate that for someone else, for some I’d never written a play with a cast this large be- young girl, through this play, then my work’s done. fore — these are eight women who all have something to say, and for a good section of the play they’re all onstage simulta- The play deals frankly with economic disparities. Why was it neously. As I mentioned, I wrote 27 drafts of this play before important for you to address that? I finally got to the final one, and somewhere in the middle, The presence of money and classism in the play is another somewhere around draft 10, I was like, “Okay, with this draft aspect of the story that’s super personal for me. I come from I’m gonna focus on one girl, and then draft 11 I’m gonna focus a modest upbringing; we worked really hard and went on to on another girl,” to make sure each of them has a fully fleshed be successful. My brother’s a doctor, my sister’s in administra- story, including the adult characters. It’s a short piece and it tive social work, and I’m the black sheep of the family as the kind of flies by; I know what I want to say and I don’t need to artist. It was important to me to be able to show in addition to meander to get there. colorism, how classism affects people’s lives — how devastating and embarrassing it can be. Without saying those actual words The girls seem to both love each other and see each other (colorism, classism), because I’m avoiding being preachy, it’s as threats, as competition. Is it possible to love somebody important for people to understand that where you come from, with whom you’re competing? what your background is — especially if like Paulina, you don’t Yes, but it takes a lot of maturity. I’m an actor/writer, and come from a lot of money — shouldn’t influence your future I deal with that a lot as an actor— when I get to an audition and how far you can go. and see several friends whom I know very well, there are some who actually feel a lot of hurt and this competitive spirit

14 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 14 3/6/20 3:51 PM IF PEOPLE CAN COME INTO A STORY AND LAUGH AND HAVE A GOOD TIME , IT’S MUCH EASIER FOR THEM TO LEARN SOMETHING FROM IT.”

amongst the group of us, like, “She got that part over me.” It it has resonance; we’re just operating at a different level now took a long time for me to understand that I’m not in com- with social media and TV. I wanted to set it in ’86 though petition with anyone — I understand that whatever’s meant because the value these girls place in the beauty pageant for me is gonna be for me. But in high school that is so-so- feels archaic. Back then you could be Miss America and so incredibly hard to understand. Even as an adult we have actually become a superstar, i.e., Vanessa Williams, and go friends and colleagues who harbor those same 15-year-old- on to have a successful career. The play’s timelessness is type feelings towards someone else, and I’m like, “You have to heartbreaking, but at the same time great because we can find a way to let that go.” You can’t fully love them in the way continue to educate folks and hopefully have people under- they need to be loved, if you don’t let that go. It’s possible, stand the implicit biases they have, and how they perhaps but it takes a lot of growing up and understanding to reconcile have participated in colorism, and hopefully will find a way love and competition. not to anymore.

The characters Eloise and Headmistress Francis are of a The play was a hit in New York and is being produced different generation than the six girls, and serve as (com- all over the country. Why do you think there’s so much plicated) mentors to them. Why did you decide to include excitement and momentum around this story right now? these adult characters? I have been surprised by the entire journey of School I wanted to highlight that when people don’t have proper Girls, to be honest. I’m a New Yorker so I’m naturally very mentors (or therapy) to pull them through tough times, they pessimistic and assumed the worst, but on opening night can grow up to be adult versions of their problematic teen I was very surprised by the response, so that was good. selves. I also wanted some balance in the story— it’s not just I think it may be that people see facets of themselves in these young girls running amok; they still have to answer to these characters, and recognize a lot of their own experi- authority. Especially in Ghanaian culture, elders are really ences from high school (and maybe even their adult lives). It respected, so when all of that breaks down, it’s thrilling and speaks to the universality of the high school experience, and terrifying to watch. how we grow up and just become grown-up versions of our high school selves, and still deal with cliques and crews and There are no men in this play, although their influence and popularity contests. I hope audiences see themselves in the presence in the lives of these women is palpable. How did girls. We live in such a fraught time and it’s important that you decide to write a play with no men onstage? as theatre-makers we create stories that we hope will invite We didn’t need them. As a woman, and as a woman of col- audiences in, and allow them to open their hearts and minds or, I understand very clearly what it is like to operate in a world in a bigger way. It’s thrilling to know that so many young where patriarchy exists and hovers above you, both in your actresses of color are getting the opportunity face and just omnipresent in your life. Specifically white male to be in a play where they can be funny patriarchy. They’re the ones responsible for a lot of the themes and have a good time and also tell a I’m dealing with in School Girls — colorism and classism and really moving story. colonialism, and those are things that we didn’t create. Women know we didn’t invent beauty standards. The original creative team was also primarily women of color. It was exciting as women to come together and tell this story we know inherently, and I think that shines through in in the piece. The men are still there in the world of the play, we just don’t need to see ’em.

Why did you decide to set the play in 1986? To what extent are the experiences and perspectives of the girls tied to that period? In many ways I think it’s timeless. Which is both sad and also kind of amazing — that we can tell this story in 2020, and

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 15

SG.program.emg.v3.indd 15 3/6/20 3:51 PM DIRECTOR AWOYE TIMPO ON reClAiMinG HUMAniTY IN THE IMAGERY OF SCHOOL GIRLS BY SARAH ROSE LEONARD

Director Awoye Timpo spoke with Literary Manager Sarah Rose Leonard a month before rehearsals started about her collaboration with playwright Jocelyn Bioh and her personal connection to the setting and beauty standards in the play.

What made you want to direct School Girls? Coming to Berkeley Rep to do School Girls is a perfect combination of so many things. I’ve known Johanna [Pfaelzer, artistic director] for a few years because I directed a workshop at New York Stage and Film. She’s a fantastic curator, and gifted at making space for artists to create art with a lot of freedom. I feel honored to be a part of her first season. It’s a great testament to Jocelyn and her writing that she’s captured so many beautiful spirits in these characters. In this play, everybody’s trying to be seen and trying to understand what their place is in the world. I think that’s something that we can all relate to, even if you’ve never been to Ghana. I also feel I’m honoring my parents in directing a play that takes place in the country they are from. I know Jocelyn talks a lot about this too, but one of the things as we are coming up — and that our parents have had to deal with too— is reckoning with the narrative of Africa that has been perpetuated over the decades. To be able to work on a piece that is affirming of the culture and humanity of the people is really exciting.

How did you and Jocelyn meet? I can’t remember precisely when Jocelyn and I met, but I remember feeling so excited to meet her and to know that there’s more first-generation West African artists around. Growing up first generation, it can be quite shocking for the people who have raised us when we tell them we want a life in the arts. You sometimes feel you’re working in isolation, and so when you meet other people who have a similar background it’s really spectacular and affirming.

16 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 16 3/6/20 3:51 PM I WAS TAUGHT ABOUT WHAT BEAUTY IS IN TERMS OF SKIN COLOR AND BODY SIZE. I HAD TO LEARN TO CLAIM MY OWN SENSE OF BEAUTY BECAUSE I WAS VERY MUCH AN ‘OTHER’ IN MY SCHOOLING ENVIRONMENT”

You’ve talked about wanting to show off the lushness of the Ghanaian landscape for this production. How does that thinking influence your design choices? I’ve been incredibly fortunate to have traveled to a number of places around the continent, and there is just so much beauty. So often the images that get perpetuated about the continent capture some of the more horrific and tragic com- ponents. But we don’t often see the beauty, the heart of the people, the tremendous life of the continent. So part of what we wanted to do as we were creating the design was to capture the true heart and spirit of the place. The life and beauty. We have an amazing scenic designer, Jason Ardizzone-West, who delved into some beautiful research. to put this group of people together and see how they clash Ghana is a coastal country, open to the sea to the south. As and where they come together as each character strives to find you go further north, it’s very lush and green. We want to their place inside of the school environment. celebrate the openness of Ghana, and the place where the school is in the mountains. I went to high school in Togo in How has the play made you think about your own relation- West Africa and my cafeteria — and the cafeterias of some of ship to beauty standards? the schools we looked at in Ghana— opened to the outside. I I grew up around Jersey, but my early school experiences hope that people will get to experience some of that natural were mostly in predominantly white neighborhoods. From spirit of the environment. those environments, and from television, I was taught about what beauty is in terms of skin color and body size. I had to You’ve talked about emphasizing individuality inside learn to claim my own sense of beauty because I was very uniformity. Can you talk about how that shows up in your much an “other” in my schooling environment. Later, I went casting choices? to high school in West Africa, and I was reminded about the It’s a real dynamic mix of people. We’ve got Bay Area beauty of Blackness and the range of what we look like, how actors, people who have gone to school in the Bay Area who we sound, how we feel, the way our bodies are shaped. It really are transplants, and actors from New York. As we’re thinking helped me learn to honor myself. I had to learn that along about how to create complexity in the kinds of students at the the way because there are so many ways that Blackness gets school, we wanted to make sure that we were reaching out to negated in popular American culture. other first-generation actors. Even if people didn’t go to school I also grew up at a time in the 1980s and ’90s when I got in West Africa, we will be working to understand the cadence to see a lot of film that celebrated that culture. Poetic Justice, and complexities of the culture. We are so lucky to have a Love Jones, and Brown Sugar, all of these films by Black artists. number of actors who are first generation, who come from That’s the thing about this play too! The girls are in an environ- multiple places around the continent, and a beautiful group of ment where they are in the majority racially, but the pervasive- African-American actors. Everyone has such a range and brings ness of white culture and the power of whiteness has seeped so much life to their character. I think it’s going to be really fun into and shaped their cultural consciousness.

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 17

SG.program.emg.v3.indd 17 3/6/20 3:51 PM LEARNING UNLEARNING& (DE)COLONIZATION, UNLEARNING GHANAIAN EDUCATION, AND STANDARDS OF BEAUTY UNLEARNINGBY CHARLIE DUBACH-REINHOLD

SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY immerses newly formed nation of Ghana, including a concerted effort us in the world of the Aburi Girls’ Boarding School, where in the education system. the Miss Ghana pageant sweeps the students into a co- Nkrumah’s government put education front and center medic frenzy. The year is 1986. It’s 30 years after Ghanaian to encourage Ghana’s social and economic development. activistUNLEARNING and politician Kwame Nkrumah was released from New regulations and programs replaced British textbooks and prison — where he was held for initiating nonviolent nonco- teaching methods with instruction in native African languag- operation with the British colonial government — and elected es, and encouraged attendance throughout the country, as President of the newly independent Ghana. Nkrumah had schools expanded and more opened. The government gave a profound influence on early decolonial thought. His goals many private schools subsidies to Africanize their curriculums. to unify Africa, dismantle the oppressive structures of the The school in Bioh’s play draws from one such school, the colonial government, and combat white supremacy inspired highly regarded Aburi Girls’ Senior High School, where two successive movements around the continent and further Ghanaian languages — Akuapem Twi and Ga — are still taught. abroad and had echoes and reverberations in the American Managed by the Presbyterian Church since 1946, just north of Black Power movement. Though his presidency ended in a Accra, Aburi Girls’ holds a prestigious reputation among Gha- military coup, Nkrumah remains a beloved figure in Ghana, naian boarding schools. It is located in the lush, forested Akua- and his ideology undergirds pro-Black movements into the pem Mountains, famous for their Botanical Gardens. Boasting 21st century, such as those targeting colorism. plenty of famous alumnae dating back to its inception, Aburi As the first leader of the first independent sub-Saharan nevertheless fell on harder times as Nkrumah’s government African nation, Nkrumah popularized the ideals of Afri- failed to deliver on all its promises. After Nkrumah’s ousting can socialism (as separate from Marxist socialism; African in 1966 — due to his increasingly authoritarian measures — his socialism was modeled on traditional African anti-hierar- rapid expansion of education was heavily criticized. Financial chical structures). He infused his political career with an supports for his projects such as the school subsidies fell away unparalleled dedication to the dream of African unity. As as educators struggled to match the intended quality of educa- Ghana achieved independence, Nkrumah led the growing tion to the quantity of new infrastructures. By the time Bioh’s Pan-African movement that inspired other colonized peoples characters traipse through the halls of Aburi Girls,’ the promise to seek self-government and independence. He denounced of the support for an Africanized education system faded into Euro-centrism, and his government worked to decolonize and the grind of economic hardship. The events of School Girls remove systems of white supremacy from all aspects of the transpire just before the education reforms of 1987, which

18 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 18 3/6/20 3:51 PM THE IMPLICATION, PRACTICE, traveled to Ghana to compete and was crowned the winner, AND EFFECTS OF THAT COLORISM over the two most famous models in Ghana. As Miss Ghana, Erica was eligible for the international Miss Universe pageant, REMAIN, BAKED INTO MODERN where she did not place. Her connection to Ghana was tenu- IDEALS OF BEAUTY.” ous — pageant officials claimed her father was Ghanaian, from the Volta region — and this eligibility concern fed into a larger debate: Why should the Miss Ghana pageant scout Yayra Erica would reinvigorate education in Ghana, including compulsory Nego, who is biracial and was raised in America, to represent education through age 14. Before this, the promise of funds for Ghana? Ghanaian media described the recruitment and win a school like Aburi Girls’ would have been extremely attrac- as an obvious case of colorism — a high-profile example of this tive, as we see in School Girls’ Headmistress Francis’ eagerness pervasive privileging of lighter skin over darker. In her inter- at the possibility of funds from the Miss Ghana pageant. The view on page 13, Jocelyn Bioh says this scandal was one of the pageant represents not only an ultimate arbiter of beauty stan- inspirations for School Girls. dards that disrupts the social lives of the schoolgirls, but also Berkeley Rep is producing School Girls; Or, The African an economic advantage at a time when a prominent Ghanaian Mean Girls Play in the wake of an historic moment for pag- school was bereft. eants. In 2019, all of the major pageants— Miss Universe, Miss International pageants have adhered to certain standards World, Miss America, Miss usa, and Miss Teen usa — were of beauty since their inception: white, Western ones. Pageants won by Black women. These women have led conversations were edified in the 1920s with the Miss America pageant. around the world on racism, colorism, and how conceptions of Many initially prohibited all women of color from entering the beauty are influenced by colonialism. Zozibini Tunzi of South competition, and in some cases, over 50 years passed before Africa, Miss Universe 2019, wrote in an Instagram post: the first Black women took home the crown: 1970 for Miss “Society has previously been programmed in such a way World, 1977 for Miss Universe, 1984 for Miss America, 1990 for that there’s nothing beautiful about being black. The fur- Miss usa, and 1991 for Miss Teen usa. As the pageant institu- the[r] you are from being fair skinned the uglier you are. That tions spread around the world, they were yet another vehicle unfortunately has been the universal standard of beauty and for an important mechanism of colonialism: convincing the it is very difficult for some people to unlearn it...to whoever colonized they are inferior to the colonizer by all standards (in else thinks that black is not beautiful I cannot wait for you this case, the standards of beauty). The intentional, institu- to experience the depth and magic of a black woman. I am a tional colorism of many colonial governmental structures may daughter of the African soil and I am beautiful. See your face have disappeared by the mid-20th century, but the implica- reflected in mine <3” tion, practice, and effects of that colorism remain, baked into These women work to undo white supremacy in modern ideals of beauty. These ideals — manifested in every- beauty standards and beyond. As social media hashtags like day beauty advertisements, products, and markets — encour- #blackisbeautiful gain popularity, and the representation age women to lighten their skin with bleaching creams, even of Black women in all forms of media begins to reflect their though they often contain dangerously corrosive ingredients. magic, a sea change of the 21st century emerges. Throughout Ghana banned hydroquinone, one such chemical, in 2017. The history, Black pride and anti-white-supremacy movements entanglement of white supremacy and standards of beauty, on created an ebb and flow in the tide of decolonial work. The both the societal and pageant levels, remains. contention around pride in natural Black hair, emblemized by These insidious standards motivated pageant recruiters the afros of the 1960s Black Panthers, reappears in the U.S. like the character Eloise Amponsah in the 1986 setting of national conversation when Miss Teen usa Kaliegh Garris School Girls and have continued to impact even more recent competes without once straightening her curls. The road to pageants. In 2011, the Miss Universe Ghana pageant scouted undoing the oppressive effects of colonization is long. But the contestant Yayra Erica Nego from Minneapolis, where some days, on some stages, the crown goes to a rightful she had previously been crowned Miss Minnesota usa. She winner. And Black is beautiful.

FOR THE FIRST TIME 2019 MISS UNIVERSE ZOZIBINI TUNZI OF SOUTH AFRICA 2019 MISS WORLD TONI-ANN SINGH OF JAMAICA IN HISTORY, ALL TOP 2019 MISS AMERICA NIA FRANKLIN BEAUTY PAGEANT 2019 MISS USA CHESLIE KRYST WINNERS ARE BLACK 2019 MISS TEEN USA KALIEGH GARRIS

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 19

SG.program.emg.v3.indd 19 3/6/20 3:51 PM HAPPY DAYS BY SAMUEL BECKETT DIRECTED BY JAMES BUNDY WITH DIANNE WIEST RODA THEATRE STARTS MAY 26

Dianne Wiest in the Yale Repertory Theatre production of Samuel Beckett’s Happy Days PHOTO BY JOAN MARCUS

SEASON SPONSORS

SG.program.emg.v3.indd 20 3/6/20 3:51 PM BERKELEY REP PRESENTS 3/6/20 3:51 PM

THE BERKELEY REP MAGAZINE · 21

2019–20 · ISSUE 5 · Karen Perry Karen DerosierStacey RodriguezJake Megan Ellis csa Potozkin, Amy Casting, Rubin csa Tara MichaelSuenkel Leslie M. Radin Jason Ardizzone-West Afua BusiaAfua Santoya FieldsSantoya Idehenre Omozé Paige Mayes Paige Momah Gabriella Al-nisa Petty SantiagoLily Akilah A. Walker

CAST Ama Gifty Nana Eloise Ericka All rights reserved. Mercy Paulina Casting “The Greatest Love Of All” Blake West, ExecutiveDirector) PRODUCTION STAFF By Linda Creed and Michael Masser EMI Golden Music Torch Corporation Scenic Design Sound Design . iatse -829, Lighting DesignLighting Costume Design Hair & Wig Design Hair World Premiere at the MCC Theater, October 16, 2017 Headmistress Francis Used by Permission of EMI Gold Horizon Music Corporation; Assistant Stage Manager Originally developed as part of The New Black Fest at The Lark, 2016 Theatres are represented by United represented are Theatres (Robert LuPone, Bernard & William Telsey, Cantler, Artistic Directors; Production Manager Stage Additional development as part of the MCC Theater PlayLabs series, 2016 the Union of Professional Actors and Stage Managers in the United States. The actors and stage managers are members of Actors’ Equity Association, Scenic Artists usa Local Affiliations the Society ofThe director is a member of Inc., and Choreographers, anStage Directors labor union. The Scenic,independent national and Sound Designers in Lighting, Costume, lort PRESENTS

BERKELEY REPERTORY THEATRE BERKELEY REPERTORY

SCHOOL GIRLS; OR, THE GIRLS; OR, SCHOOL AFRICAN MEAN GIRLS PLAY MEAN GIRLS AFRICAN JOHANNA ARTISTIC PFAELZER, DIRECTOR SUSAN· MEDAK, MANAGING DIRECTOR

ASSOCIATE SPONSORS ASSOCIATE SPONSORS EXECUTIVE SPONSORS EXECUTIVE LEAD SPONSORS LEAD SEASON SPONSORS SEASON is Play Mean Girls The African Or, School Girls; support the generous made thanks possible to of Steven GoldinSteven Melinda Haag & Chuck Fanning Phyra McCandless & Angelos Kottas & PatreceSteven Mills Lisa Taylor Anne & Anuj Dhanda Rick Hoskins Frame & Lynne JackKlingelhofer Laura & Nicholas Severino SusanChamberlin Kerry Francis & John Jimerson Kelli & Steffan Tomlinson & SteffanKelli Bruce Golden & Michelle Mercer Jack & Betty Schafer Michael & Sue Steinberg The Strauch Family Kulhanjian School Girls; The African Or, Mean Girls Play Special thanks the to Partners of MARCH 19–MAY 2020 3, RODA THEATRE · MAIN· THEATRE RODA SEASON DIRECTED BY DIRECTED BY WRITTEN BY WRITTEN BY

AWOYE TIMPO AWOYE JOCELYN BIOH JOCELYN This show is performed is show This intermission. an without

SG.program.emg.v3.indd 21

THEATRE RODA STARTS MAY 26 MAY STARTS BY SAMUEL BECKETT SAMUEL BY WITH DIANNE WIEST WITH DIANNE SEASON SPONSORS SEASON DIRECTED BY JAMES BUNDY DIRECTED BY PHOTO BY JOAN MARCUS Dianne Wiest Repertory in the Yale Theatre production Samuel of Beckett’s Happy Days HAPPY DAYS HAPPY SG.program.emg.v3.indd 22 22 · 22 · 2019–20 · ISSUE 5 ISSUE · ·2019–20 MAGAZINE REP BERKELEY THE WHO’S WHO of 2019. IG: afuab IG: of 2019. part of this gifted cast and crew. crew. and cast of this gifted part to is be grateful She Groundlings. The and Theater Conservatory American Education: Dream House A Doll’s Sweet Park Clybourne Theater); (California Shakespeare Macbeth val); and of Errors Comedy Company); The Theatre recent graduate of act graduate recent (Imagination Stage). Mermaid isLittle Afua a The Theater) and Conservatory (American Ocean atre); Good Pasadena); Grief Portmanteau Diego); Her San OMOZÉ IDEHENRE SANTOYA FIELDS AFUA BUSIA from St. Petersburg, FL. FL. Petersburg, St. from Actor. Principal is Santoya Outstanding for awards theatre two for nominated toya was in White Players). performance her For White Ijames’ of James premiere Coast Company), West inspeare the and Shake American Desire (African Named HEADMISTRESS FRANCISHEADMISTRESS ELOISE AMA Richard III Black Odyssey The Caucasian, The Chalk Circle runboyrun runboyrun , The Convert (American Conservatory Theater). Theater). Conservatory (American A Midsummer Night’s AMidsummer Night’s , and (Oregon Shakespeare Festi Shakespeare (Oregon Marcus; or the Secret of of Secret , Marcus; the or Gem of the of(Magic the Theatre); Gem The Winter’s Tale Winter’s , The (Marin (Marin Guitars , Seven (Kirk Douglas The Douglas (Kirk Odyssey Theater), Black tory Conserva (American include productions Regional Rep. at Berkeley debut making her be isSantoya excited to A Christmas Carol include gional credits re returning! Other to is be and thrilled Rep’s in Berkeley appeared has previously Afua Maryland. from er sing and actor based York- isAfua aNew (Old Globe You Are Globe (Old include credits theatre pany). Other (Classic Com Stage Ui Rise of Arturo credits: Us This and Is Road the include credits TV Omozé’s film and Theater), Theater), nia Shakespeare ’s ’s mfa . Off-Broadway . Off-Broadway An Octoroon An Octoroon program, class class program, (Boston Court Court (Boston Men on Boats Boats on Men The Resistable Resistable The (Califor A Streetcar A Streetcar (Shotgun (Shotgun , Scorched , Spunk, What What On - , San

- - - - , - - - The Actors Space. Space. Actors The Troupe, FranciscoUniversity, Mime San and at Stanford has trained Gabby Festival. Arts Queer National the and Theatre, Killingwith My Lobster, Children’s Area Bay (Stanford YouI Hold FLEX Series), Matchbox Fire Theater: (Crowded ductions), Media), atre), and and films Darling independent include credits film Theatre). Her Repertory World New Studio Scene Theatre), Street and The Cardboard Conservatory Piano (New Theater), Top Conservatory Girls (American Me Watch include credits theatre Regional Rep. Arizona State University. at Arts Performing CO studied and Aurora, inin aPlay. aFeatured Role Paige is from Performer of aPlay Outstanding ble and Ensem Outstanding for nominated was she Company), Shakespeare where American For Colored 9), (African and Girls… (Harlem Play Festival Hour Company), 48 The Theatre TomVinegar (Shotgun Players), Jazz ropolitan Playhouse), Playhouse), ropolitan (Met Strivers Row On York include credits New Center). Select Arts Performing Jersey Play (New The Springs) Slut: and Colorado AL-NISA PETTY GABRIELLA MOMAH PAIGE MAYES NANA GIFTY ECY MERC (The Ground Floor at Berkeley Rep), at Berkeley Floor Ground (The Strive Can Can Festival), Playwrights Area (Bay (Spectrum Queer Queer (Spectrum to My Ex ALetter They/Them . Al-nisa received her bfa her received . Al-nisa ), and numerous productions productions numerous and ), taps The Color Purple , The Token and (Those Women Pro Women (Those Shipping Handling and Masque debut at Berkeley at Berkeley debut make mainstage their are excited to They storytelling. through of color people trans and of queer voices the amplify mission is to whose actor is anonbinary (they/them)Gabby Theatre), Hansberry Female include credits regional recent most Her inMisha White Noise understudying after debut Rep Berkeley make official her to Paige is thrilled Kelley (TheatreWorks (TheatreWorks Kelley E. by Nambi directed A Raisin Sun in the Regional: debut. Rep Berkeley her making to be thrilled is She Jersey. New Newark, from artist voice-over and is an actor Al-nisa The Bluest Eye Eye Bluest , The (Ensemble (Ensemble (Lorraine Single Black Black Single (Brave in Acting in Acting (Marin (Marin -

- -

. -

@alniisa al-nisa.com @alniisa in London. Globe at Shakespeare’s studied also she where University Rutgers from speare Festival’s production of of production Festival’s speare York New in the Shake previously and and LaGuardia Performing Arts HS. HS. Arts Performing LaGuardia and in (BA theatre) University of Northwestern graduate is aproud Playhouse). She Street 2 (George Part House, Emmyand in ADoll’s Juliet and in Juliet Romeo include credits Regional Twitter: @Akthewayy in in TamingGremio Shrew of the Min Macbeth Lady roles: versity. Selected alumnus Uni of Fordham is aproud also mfa her Theater, received she where ry Conservato of American graduate a recent is Akilah GA, Atlanta, Originally from Circle. Critics Theatre Area Bay by the Actress Supporting Best for nominated was and ’67 in as Bunny Company Detroit Theatre at Aurora appeared recently also Akilah but. de Rep Berkeley making her toelated be LILY SANTIAGO Theatre this spring Theatre is Goodman playing and also at the Theater at mcc runs celebrated two had which Girls; Or,School African Girls The Mean Play multi-award-winning the include plays Her aTowwas in Fellow 2018/19. Playwriting Company, Atlantic Theater the and and val, Festi Williamstown Theatre Stage, Second Club, Theatre Manhattan with playwright York is acommissioned New City. Jocelyn ian-American writer/performer from Ghana is afirst-generation Jocelyn JOCELYN BIOH AKILAH A.WALKER 2019) of which she is the book writer. She has writer. has She book is the she which of 2019) dess God musical new the and 2015); List Kilroy’s at MCC upcoming 2016; at Vassar Theater College, (Powerhouse RC A ERICK PLAYWRIGHT PAULINA PAULINA Topdog/Underdog (Powerhouse Theater at Vassar College, at Vassar Theater College, (Powerhouse (Huntington Theatre Company) Company) Theatre (Huntington ; Nollywood Dreams ; Nollywood . akilahawalker.comIG/ (Red Bull Theater), Theater), Bull (Red in Macbeth Macduff Theater), Public (The Measure for Measure in Claudio/Elbow as Broadway off has appeared She time. first the for Rep at Berkeley be Lily is to delighted of color. is Akilah people and women lives of the explores that storytelling nuanced and tion, collabora mation, by transfor moved filmmaker who is and actor trained isAkilah aclassically Theater this spring; this spring; Theater , and Lincoln Lincoln , and Othello - -

. , and , and - - 3/6/20 3:51 PM - -

, - - , - her BA in English and Theatre from The Ohio State Actors Theatre of Louisville), Native Gardens and (Guthrie). She has designed nine of the 10 August University and mfa in Theatre-Playwriting from The Royale (Cleveland Play House), Good Grief Wilson Century Series plays (she has not yet Columbia University School of the Arts. (Vineyard Theatre), Dermot Kennedy (EU/UK/U.S. designed Fences). Television: Gregory Hines Show, concert tour). Upcoming projects include Bliss Saturday Night Live, and The Brother from Another (5th Avenue Theatre), The Bluest Eye (Huntington Planet. Karen received a Lucille Lortel Award, LA AWOYE TIMPO Theatre), Macbeth (Geffen Playhouse), Grace Ovations Awards, a cdg Award, an Ace Award, DIREC TOR (Actors Theatre of Louisville). ardizzonewest.com a Hewitt Award, and is an Emmy and Audelco Awoye’s off-Broadway directing credits include Instagram: @jasonardizzonewest Award nominee and recipient. In Old Age (New York Theatre Workshop), Good Grief (Vineyard Theatre), The Revolving Cycles Truly and Steadily Roll’d (The Playwrights Realm), KAREN PERRY STACEY DEROSIER and The Homecoming Queen (Atlantic Theater COSTUME DESIGNER LIGHTING DESIGNER Company). Regionally she has directed Pipeline Off Broadway: runboyrun & In Old Age (New Credits include Stew (Page 73); Copper Children at the Studio Theatre, Everybody Black at Actors York Theatre Workshop). Regional: Breath, Boom (Oregon Shakespeare Festival); Men on Boats Theatre of Louisville, and Paradise Blue at Long (Huntington Theatre); Lackawanna Blues (Mark (Baltimore Center Stage); for all the women Wharf Theatre. Additional credits include Carna- Taper Forum, Two River Theater Company); who thought they were Mad (Soho Rep); White val at the National Black Theatre, Sister Son/Ji at Mothers (Playwrights Realm); Jazz (Marin Theatre Noise conceived by Daniel Fish (nyu Skirball); the Billie Holiday Theatre, The Vanished (site-spe- Company); Black Superhero Magic Mama (Geffen the bandaged place (nysaf Powerhouse); Playing cific),Skeleton Crew at Chester Theatre Company, Playhouse); Fun Home (Baltimore Center Stage); Hot! (Pipeline Theatre Company); The Climb and Ndebele Funeral at 59E59 Theaters, Edinburgh Steel Magnolias, Hair, Dreamgirls (Dallas Theater (Cherry Lane Theatre-Mentor Project); Mies Julie Festival/Summerhall, and the South African tour. Center); Oklahoma! (Houston Ballet at tuts); and Dance of Death (Classic Stage Company); She is the producer of classix, a series exploring Cinderella (Eglevsky Ballet Company); Danai Novenas for a Lost Hospital, No One Is Forgotten, classic plays by Black playwrights. Gurira’s Familiar (Woolly Mammoth Theatre Lewiston/Clarkston (Rattlestick Playwrights Company, Guthrie Theater, Seattle Repertory Theater); The Revolving Cycles Truly and Steadily Theatre); Cabin in the Sky (Encores!); Blues for Roll’d (Playwrights Realm). Stacey was the 2018 JASON ARDIZZONE-WEST an Alabama Sky (Pasadena Playhouse); Crowns, Lilly Award recipient of the Daryl Roth Prize. SCENIC DESIGNER Stop-Reset, Trinity River Trilogy (Goodman The- staceyderosier.com Jason is happy to be making his Berkeley Rep de- atre, stc, Dallas Theater Center/Arena Stage); but. Recent work includes Jesus Christ Superstar The Trip to Bountiful, The Fall of Heaven (Cincin- Live (nbc — Emmy Award & Art Directors Guild nati Playhouse in the Park); The Brother/Sister JAKE RODRIGUEZ Nomination), The Michaels (The Public Theater), Plays (The Public Theater/McCarter Theatre); SOUND DESIGNER Blue Man Group (national tour), Uncle Vanya (Old Having Our Say (McCarter Theatre); A Time to Jake is a sound designer and composer based in Globe, Hunter Theater Project, wnet 13 TV), Kill, Resurrection (Arena Stage); Oo-Bla-De (Two the San Francisco Bay Area who last worked with Once on This Island (Cincinnati Playhouse and River); and Sunset Baby and The Lion in Winter Berkeley Rep on Angels in America. His regional

Proud Supporter of Berkeley Rep

Design + Build

HDRremodeling.com (510) 845-6100

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 23

SG.program.emg.v3.indd 23 3/6/20 3:51 PM FROM THE MANAGING DIRECTOR

credits include An Octoroon and the world ess, How to Succeed in Business Without Really Notable works that were developed under

premieres of X’s and O’s: A Football Love Trying, Billy Elliot: The Musical, Shrek The Johanna’s leadership include the 2016 Tony PHOTO BY MARCELA CHACÓN Story, Girlfriend, and Passing Strange at Musical, Young Frankenstein, Mary Poppins, Award winners Hamilton by Lin-Manuel Berkeley Rep; The Christians at Actors The- Spamalot, The 25th Annual Putnam County Miranda, and The Humans by Stephen atre of Louisville, Playwrights Horizons, and Spelling Bee, The Producers, Mamma Mia!, Karam, The Wolves by Sarah DeLappe, Junk the Mark Taper Forum; Between Two Knees Jersey Boys, and The Phantom of the Opera. and The Invisible Hand by Ayad Akhtar, A at Oregon Shakespeare Festival; The Great Their Off Broadway credits include Gloria: A 24-Decade History of Popular Music by Tay- Leap and A Thousand Splendid Suns at Amer- Life; Smokey Joe’s Cafe; Clueless, The Musical; lor Mac, Hadestown by Anaïs Mitchell, The ican Conservatory Theater; Everybody at The Band’s Visit; Here Lies Love; and Love, Homecoming Queen by Ngozi Anyanwu, California Shakespeare Theater; the world Loss, and What I Wore. They have also cast The Great Leap by Lauren Yee, John Patrick premiere and revival of Oedipus el Rey at regionally for McCarter Theatre Center, Yale Shanley’s Pulitzer- and Tony Award–win- Magic Theatre; and Woman Laughing Alone Repertory Theatre, La Jolla Playhouse, Paper ning Doubt, The Fortress of Solitude by with Salad at Shotgun Players. Jake is the Mill Playhouse, The Old Globe, and more. Michael Friedman and Itamar Moses, The recipient of a 2004 Princess Grace Award. Jacksonian by Beth Henley, and Green MICHAEL SUENKEL Day’s American Idiot. MEGAN ELLIS PRODUCTION STAGE MANAGER WHO’S WHO HAIR & WIG DESIGNER Michael began his association with Berke- SUSAN MEDAK Megan is a wig designer and makeup artist ley Rep as the stage management intern MANAGING DIRECTOR from New York City. Growing up watching for the 1984–85 season and is now in his Susan has served as Berkeley Rep’s her mother do her hair and makeup every 26th season as production stage manager. managing director since 1990, leading morning for work is what started her pas- He has also worked with the Huntington the administration and operations of the sion. She’s worked with many celebrities on Theatre (Boston), The Public Theater and Theatre. She has served as president of films, TV, and theatre, including Black Super New Victory Theatre (New York), La Jolla the League of Resident Theatres (lort) Hero Magic Mama at Geffen Playhouse and Playhouse, Yale Repertory Theatre, and and treasurer of Theatre Communications the film BlacKkKlansman. many others. Internationally he has stage Group (tcg), organizations that represent managed shows in Hong Kong, the United the interests of nonprofit theatres across Kingdom, and Canada. Among his favorite the nation. Susan chaired panels for the AMY POTOZKIN, CSA Berkeley Rep productions are Angels in Massachusetts Arts Council and has BE THE ACT YOU WISH TO SEE DIRECTOR OF CASTING/ America, The Intelligent Homosexual’s Guide also served on program panels for Arts ARTISTIC ASSOCIATE to Capitalism and Socialism with a Key to the Midwest, the Joyce Foundation, and the Amy begins her 30th season with Berkeley Scriptures, Eurydice, Endgame, The Beaux’ National Endowment for the Arts. Closer Rep. Through the years she has also had the Stratagem, and Mad Forest. to home, she is the founding chair of the pleasure of casting plays for act (Seattle), Berkeley Arts in Education Steering Com- Arizona Theatre Company, Aurora Theatre mittee for Berkeley Unified School District SUMMER THEATRE INTENSIVE Company, B Street Theatre, Bay Area LESLIE M. RADIN and the Berkeley Cultural Trust, and served Playwrights Festival, Dallas Theater Center, ASSISTANT STAGE MANAGER on the board of the Downtown Berkeley Marin Theatre Company, the Marsh, San Leslie is very pleased to be back at Berkeley Association. Susan serves on the faculty Jose Repertory Theatre, Social Impact Pro- Rep after most recently stage managing of Yale School of Drama and is a member PERFORM AT BERKELEY REP! ductions Inc., and Traveling Jewish Theatre. The Good Book, Fairview, An Octoroon, of the International Women’s Forum and She worked on various independent films, Aubergine, and Head of Passes. She started the Mont Blanc Ladies’ Literary Guild and including Conceiving Ada, starring Tilda at Berkeley Rep as the stage management Trekking Society. She was awarded the Swinton; The 8th Year of the Emergency by intern in 2003 and has also worked at 2012 Benjamin Ide Wheeler Medal by the Maureen Towey; Haiku Tunnel and Love & American Conservatory Theater, Aurora Berkeley Community Fund and the 2017 Taxes, both by Josh Kornbluth; and Beyond Theatre Company, California Shakespeare Visionary Leadership Award by tcg. During Redemption by Britta Sjogren. Amy received Theater, Center Repertory Company, and her time in Berkeley, Susan has been in- her mfa from Brandeis University, where Santa Cruz Shakespeare. She has traveled strumental in the construction of the Roda she was also an artist in residence. She with Berkeley Rep productions to the Hong Theatre, the Nevo Education Center, the has been an audition coach to hundreds of Kong Arts Festival and the New Victory renovation of the Peet’s Theatre, and in the actors and a presentation/communication Theater in New York. Her favorite past acquisition of the Harrison Street campus. coach to many businesspeople. She taught productions include Angels in America, Au- She also worked with three consecutive acting at Mills College and audition tech- bergine, Wittenberg, Sisters Matsumoto, The mayors to help create Berkeley’s Down- nique at Berkeley Rep’s School of Theatre, Great Leap, In the Next Room (or the vibrator town Arts District. and has led workshops at numerous other play), Passing Strange, and The Lieutenant of venues in the Bay Area. Amy is a member Inishmore. SUMMER THEATRE INTENSIVE REGISTER NOW AT of csa, the Casting Society of America, and THERESA VON KLUG received an Artios Award for Excellence in GENERAL MANAGER Casting for Angels in America. JOHANNA PFAELZER Theresa is excited to begin her fifth season SESSION 1 SESSION 2 BERKELEYREP.ORG/CLASSES ARTISTIC DIRECTOR at Berkeley Rep. Previously, she had over JUNE 15–JULY 10 JULY 14–AUGUST 7 Johanna is delighted to join Berkeley Rep, 20 years of experience in the New York MONDAY–FRIDAY, 9AM–3PM MONDAY–FRIDAY, 9AM–4PM OR CALL 510 647-2996 TARA RUBIN CASTING, CSA and honored to serve as its fourth artistic not-for-profit performing arts sector where CASTING director. She recently spent 12 years as she has planned and executed events for ENTERING GRADES 6–8 ENTERING GRADES 9–12 Tara Rubin Casting’s select Broadway credits the artistic director of New York Stage dance, theatre, music, television, and film. include Ain’t Too Proud — The Life and Times and Film (nysaf), a New York City–based Her previous positions include the interim of The Temptations, King Kong, The Band’s organization dedicated to the develop- general manager for The Public Theater; Visit, Summer: The Donna Summer Musical, ment of new works for theatre, film, and general manager/line producer for Theatre Prince of Broadway, Bandstand, Indecent, television. nysaf is known for providing for a New Audience, where she opened its Sunset Boulevard, Miss Saigon, Dear Evan Han- a rigorous and nurturing environment new state-of-the-art theatre in Brooklyn FILMMAKING & ACTING INTENSIVE DESIGN/TECH INTENSIVE sen, A Bronx Tale The Musical, Cats, Falsettos, for writers, directors, and other artists to and filmed a major motion picture of the JUNE 29–JULY 17 I MONDAY–FRIDAY, 5–8PM NEW! JULY 27–JULY 31 I MONDAY–FRIDAY, 5–7PM Disaster!, School of Rock, Gigi, Bullets Over realize work that has gone on to produc- inaugural production of Julie Taymor’s A Broadway, Aladdin, Les Misérables, The Heir- tion at the highest levels of the profession. Midsummer Night’s Dream, released June ENTERING GRADES 9–12 ENTERING GRADES 9–12

24 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 24 3/6/20 3:51 PM SG.program.emg.v3.indd 7 3/6/20 3:51 PM 3/6/20 3:51 PM 7PM –

FRIDAY, 5 FRIDAY, – 12 – MONDAY I JULY 31 JULY – PHOTO BY MARCELA CHACÓN REGISTER NOW AT AT REGISTER NOW BERKELEYREP.ORG/CLASSES CALLOR 510 647-2996 INTENSIVE ENTERING GRADES 9 DESIGN/TECH INTENSIVE JULY 27 NEW!

8PM –

PERFORM AT BERKELEY REP! BERKELEY AT PERFORM SESSION 2 14–AUGUST 7 JULY 9AM–4PM MONDAY–FRIDAY, ENTERING GRADES 9–12 FRIDAY, 5 FRIDAY, –

ACT YOU WISH TO SEE WISH ACT YOU

12 – MONDAY I

BE THE THE BE

SUMMER THEATRE ENTERING GRADES 9 JUNE 29–JULY 17 17 29–JULY JUNE FILMMAKING & ACTINGFILMMAKING INTENSIVE ENTERING GRADES 6–8 MONDAY–FRIDAY, 9AM–3PM MONDAY–FRIDAY, JUNE 15–JULY 10 SESSION 1 SUMMER THEATRE INTENSIVE THEATRE SUMMER SG.program.emg.v3.indd 7 FROM THE MANAGING DIRECTOR 2015; production manager at the New Jersey Per- manager at Intiman Theatre in Seattle. Mad- chairman and chief executive officer of Macy’s forming Arts Center and New York City Center, eleine served for four years on the executive West, served on Berkeley Rep’s board of trustees including the famous Encores! Great American committee of Literary Managers and Dramaturgs from 1999 to 2006 and currently serves on the Musicals in Concert; and field representative/ of the Americas and has also worked with act board of directors of the Jewish Museum. Sue lead negotiator for the Association of Theatrical (Seattle), Austin Scriptworks, Crowded Fire, the serves on the board of the World of Children. Press Agents and Managers. She holds a MS in Eugene O’Neill Theatre Center, the Kennedy The Steinbergs have always enjoyed regional Labor Relations and Human Resources Manage- Center, New Dramatists, Playwrights Center, and theatre and are delighted to sponsor Berkeley ment from Baruch College. Portland Center Stage. Rep this season.

AUDREY HOO BRUCE GOLDEN & MICHELLE MERCER THE STRAUCH KULHANJIAN FAMILY PRODUCTION MANAGER SEASON SPONSORS SEASON SPONSORS Audrey fell in love with the wild people and Michelle and Bruce have been ardent sup- Roger Strauch has served on the Berkeley Rep power of storytelling in theatre when she was porters of Berkeley Rep since 1993, when they board of trustees for the last 22 years and as an 18 and has never looked back. With over 20 moved with two young children in tow to Berke- executive officer, including president. He is chair years of experience in production manage- ley. Their favorite evenings at Berkeley Rep of The Roda Group (rodagroup.com), a high tech- ment, Audrey has worked with a wide range were usually the discussion nights, where often nology venture development company based in of international artists across all performance friends would join them for an early dinner, an Berkeley. Roda incubated the search engine Ask. arts genres such as Paul Simon, Elaine Stritch, evening of great theatre, followed by a lively com, now located in Oakland and Cool systems William Kentridge, Sam Mendes, Catherine discussion with members of the cast. Over the (gameready.com), a medical technology company Martin, and Bill T. Jones, and with institutions past 25+ years, Michelle and Bruce have recog- recently acquired by Avanos Medical. He is cur- such as bam, Esplanade Singapore, La Jolla nized Berkeley Rep’s almost singular role in the rently on the board of three cleantech companies, Playhouse, and American Conservatory Theater. Bay Area in promoting courageous new works including a carbon capture company, Inventys Always loving a new story to tell and another and nurturing innovative, diverse playwrights. (inventysinc. com), in which Roda is a major “impossible” technical puzzle to solve, Audrey According to Michelle and Bruce, “There’s never investor. Roger has served on the board of the is grateful to be part of the Berkeley Rep family been a more vital time in our lives when the Mathematical Sciences Research Institute for 20 and is particularly proud to work alongside the power of theatre to transform, compel, inspire, years and as an executive officer, including chair. immensely talented and dedicated production and energize has been more necessary. We are He leads the Mosse Art Restitution Project which staff and artisans. Audrey holds a mfa in Tech- honored to be Season Sponsors, and especially searches for family art illegally confiscated during nical Direction from the University of North proud to do so during Johanna Pfaelzer’s first Germany’s Third Reich. He is a board member of Carolina School of the Arts. year as artistic director.” the Northside Center, a mental health services agency based in Harlem, NY and a member of UC Berkeley Engineering Dean’s college advisory MADELEINE OLDHAM JACK & BETTY SCHAFER board. His wife, Julie Kulhanjian, is an attending RESIDENT DRAMATURG/DIRECTOR, SEASON SPONSORS physician at Benioff ucsf Children’s Hospital, THE GROUND FLOOR Betty and Jack are proud to support Berkeley Oakland. They have three adult children. Madeleine is the director of The Ground Floor: Rep. Jack is a sustaining advisor of the Theatre, Berkeley Rep’s Center for the Creation and having served on the board for many years, and Development of New Work and the Theatre’s is now on the board of San Francisco Opera. He SUSAN CHAMBERLIN resident dramaturg. She oversees commissioning is an emeritus board chair of the San Francisco EXECUTIVE SPONSOR and new play development, and dramaturged Art Institute and the Oxbow School. In San Susan is a retired architect and project manager. the world premiere productions of Fairview, Francisco, Betty is involved with Wise Aging, a Currently she, along with her husband, Steve, Aubergine, The House that will not Stand, Passing program for adults addressing the challenges of directs the work of their family foundation. She Strange, and In the Next Room (or the vibrator growing older. They have three daughters and also serves on the board of the Oakland Museum play), among others. As literary manager and eight grandchildren. of California and is the past chair of the UC associate dramaturg at Center Stage in Balti- Berkeley Foundation board of trustees. more, she produced the First Look reading series and headed up its young audience initiative. MICHAEL & SUE STEINBERG Before moving to Baltimore, she was the literary SEASON SPONSORS KERRY FRANCIS & JOHN JIMERSON manager at Seattle Children’s Theatre, where she Michael and Sue have been interested in the EXECUTIVE SPONSORS oversaw an extensive commissioning program. arts since they met and enjoy music, ballet, and Kerry and John are excited to support School She also acted as assistant and interim literary live theatre. Michael, who recently retired as Girls; Or, The African Mean Girls Play. John recently retired after 37 years with Chevron and has enjoyed the thought-provoking plays produced by Berkeley Rep. Kerry is a member of Berkeley Rep’s board of trustees, a partner at Deloitte, and a graduate of UC Berkeley.

I love drama, just ANNE & ANUJ DHANDA SPONSORS not when it comes to Anne and Anuj are thrilled to sponsor School Girls; Or, The African Mean Girls Play and support Real Estate. Berkeley Rep, their favorite theatre in the Bay Area. Anne is a new member of Berkeley Rep’s MARY CANAVAN, Broker Associate board of trustees. She dedicates her time to increasing educational equity and provides con- CalDRE #01015527 O: 510.848.1950 sulting services to organizations to strengthen C: 510.502.2012 their culture through their people strategy. Anuj [email protected] is evp and cio of Albertson’s Safeway. Prior to their move to the East Bay, both Anne and Anuj

26 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 26 3/6/20 3:51 PM supported various arts organizations, including serving on the board of the Mattress Factory NEW ARRIVALS THIS SPRING museum, Carnegie Museum of Art, and Phipps FOR HIM: Conservatory in Pittsburgh, PA. Agave • Georg Roth • Majestic Stitchnote • Ted Baker FOR HER: RICK HOSKINS & LYNNE FRAME Byron Lars Beauty Mark • Cambio • Ecru SPONSORS Elana Kattan • Equestrian • Georg Roth • MAC Rick and Lynne actively support the ambitious Majestic • Minnie Rose • Only Hearts • Petit Pois Repeat • Rosemunde • White + Warren artistic programs at Berkeley Rep and salute the organization for giving them one more reason to ACCESSORIES: love the Bay Area. Rick is a private investor and Dupatta Designs • Goody Goody • Konplott a former trustee of Berkeley Rep. He serves on Leaders in Leather • Millianna • Theia the board of several private companies and also as a trustee of Kenyon College. Lynne is retired 2928 College Avenue Berkeley • 510.529.4774 from teaching in the German Department of UC Personal Pizazz www.personalpizazz.biz • Tues-Sat 10-7 Sun 12-6 Berkeley and works with nonprofits. You can For Clothing That Fits Your Style hear them both sing with Pacific Edge Voices. Their son, Alex, is a junior at Kenyon.

JACK KLINGELHOFER SPONSOR Jack is the founder and former owner of an information technology company located in the East Bay since 1981, and he is pleased that its suc- cess has allowed him to contribute to his other passion, the East Bay arts scene. As a longtime subscriber, Jack is excited to support the creative excellence at Berkeley Rep, whose performances have meant so much to him over the years.

LAURA & NICHOLAS SEVERINO SPONSORS Laura and Nick are thrilled to sponsor School Girls: Or, The African Mean Girls Play. The Severi- nos have been longtime, passionate supporters of the humanities. Laura serves on the board of trustees at Berkeley Rep and is the co-chair of this year’s gala. Nick has been an executive at Apple Inc. for 15 years. Laura and Nick believe “...comic time bomb going off exactly on schedule and strongly in the importance of the arts, and are obliterating all in its radius with outlandish entertainment.” particularly proud to support the creative work — HUFFINGTON POST of Berkeley Rep.

BART By JOE ORTON AURORATHEATRE.ORG SEASON SPONSOR Directed by TOM ROSS 510.843.4822 Bay Area Rapid Transit (bart) is the backbone of 2081 ADDISON STREET the Bay Area transit network and serves more than 100 million passengers annually. bart’s STARTS APR 3 DOWNTOWN BERKELEY all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can find discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun!

PEET’S COFFEE SEASON SPONSOR Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and the namesake of Berkeley Rep’s state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 27

SG.program.emg.v3.indd 27 3/6/20 3:51 PM Vine and Walnut in Berkeley and Peet’s has been committed to the community ever since. Additional staff Supporting Berkeley Rep’s high artistic standards and diverse programming is an extension of this Costumes Scenic art mission. As the pioneer of the craft coffee move- Allison McCann Kristen Augustyn · Nathaniel J. Bice · Andrew ment in America, Peet’s is dedicated to small- Deck crew Brown · Isaac Fines · Lassen Hines · Chris Jee · Nathaneal C. Schiffbauer · Julie Ann Silverman batch roasting, superior quality beans, freshness, James McGregor and a darker roasting style that produces a rich, Dialect coach Sound flavorful cup. Peet’s is locally roasted in the first Jessica Berman Courtney Jean leed® Gold certified roaster in the nation. Cecilia Pappalardo Ghanaian dialect coach Samuel Nkansah Stage carpenter Gabriel Holman WELLS FARGO Production electrician Vocal coach SEASON SPONSOR Caitlin Steinmann Tiffany Austin Wells Fargo is proud to support the award-win- Electrics ning Berkeley Repertory Theatre as a season Desiree Alcocer · Richard Fong · Chris Wardrobe Claire Griffith sponsor for the last 14 years because of its Hartzell · Bradley Hopper · Jacob Joseph · Kaylee Pereyra dedication to artistic excellence and community Camille Kelly · Mi Le · Melissa Ramirez · engagement. Founded in 1852 and headquar- Minerva Ramirez · Orly Raveh · Nathanael Special thanks to Lebene Ledi. tered in San Francisco, Wells Fargo provides C. Schiffbauer · Megan Schultz · Chloe Special thanks to our partners SOMArts banking, insurance, investments, mortgage, and Schweizer · Kourtney Snow · Caitlin Cultural Center and the Museum of the consumer and commercial finance. The bank is Steinmann · Matthew James Sykes · Joshua van African Diaspora. Eyken · Zach Wziontka committed to building better every day to meet Medical consultation for Berkeley Rep our customers’ financial goals. For more informa- Movement coach provided by Agi E. Ban DC, John Carrigg tion, please visit wellsfargo.com. Joanna Haigood MD, Cindy J. Chang MD, Christina Corey Props MD, Neil Claveria PT, Patricia I. Commer Kate Fitt · Erin Gallagher · Sofie Miller · Garner DPT, Brenton Dowdy DPT, Kathy Fang Takahashi Morris MD PhD, Steven Fugaro MD, Whitney R. Scene shop Johnson DDS, Olivia Lang MD, Allen Ling Jennifer Costley · Bradley Hopper · Isaac PT, and Christina S. Wilmer OD. Jacobs · Carl Martin · Sean Miller · Henry Perkins · Kourtney Snow · Becca Sundberg · Zach Wziontka

Proudly serving Berkeley, Albany, Kensington, Alameda, El Cerrito, Emeryville, Oakland and Piedmont

Extraordinary Performance.

Lorri Rosenberg Arazi Jennie A. Flanigan Denise Milburn Anna Bahnson Wendy Gardner Ferrari Jeffrey Neidleman Norah Brower Toni Hanna Jodi Nishimura Carla Buffington Nancy Hinkley Nancy Noman Jackie Care Sharon Ho Sandy Patel-Hilferty Maria Cavallo-Merrion Dan Joy Perry Riani Carla Della Zoppa Jetta Martin Ira & Carol Serkes Leslie Easterday Tracy McBride Diane Verducci Gini Erck

28 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 28 3/6/20 3:51 PM THANKS TO OUR SUPPORTERS

WE THANK THE MANY institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs. We gratefully recognize these donors to Berkeley Rep, who made their gifts between December 2018 and February 2020. FOUNDATION AND GOVERNMENT SUPPORTERS

GIFTS OF $100,000 AND ABOVE GIFTS OF $25,000–49,999 GIFTS OF $5,000–9,999 The William and Flora Hewlett Foundation Anonymous Anonymous (2) The Shubert Foundation The Ira and Leonore S. Gershwin The Reva and David Logan Foundation S Philanthropic Fund Reinhold Foundation GIFTS OF $50,000–99,999 Laurents/Hatcher Foundation Edgerton Foundation Walter & Elise Haas Fund S GIFTS OF $1,000–4,999 Jonathan Logan Family Foundation S Joyce & William Brantman Foundation Koret Foundation S GIFTS OF $10,000–24,999 Civic Foundation S The Bernard Osher Foundation Berkeley Civic Arts Program Davis/Dauray Family Fund The Harold and Mimi Steinberg Charitable Trust California Arts Council S Karl & Alice Ruppenthal Foundation Woodlawn Foundation S jec Foundation for the Arts Miranda Lux Foundation S rhe Charitable Foundation S Ramsay Family Foundation S

CORPORATE SPONSORS

SEASON SPONSORS SPONSORS PERFORMANCE SPONSORS The Andreason Group at Morgan Stanley S Bayer S Charles Schwab + Co., Inc. BluesCruise.com Mechanics Bank Wealth Management First Republic Bank S Gallagher Risk Management Services CORPORATE PARTNERS Armanino llp Is your company a corporate Deloitte sponsor? Berkeley Rep’s Corporate EXECUTIVE SPONSORS hdr Remodeling S Partnership program offers excellent The Morrison & Foerster Foundation S opportunities to network, entertain American Express Panoramic Interests clients, reward employees, increase Schoenberg Family Law Group visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org/ We are grateful for the many companies that matched their employees’ contributions support or call Daria Hepps at to Berkeley Rep. Find out if your company matches gifts and amplify your impact. 510 647-2904.

IN-KIND SPONSORS

EXECUTIVE SPONSORS SPONSORS PARTNERS Eureka! Aurora Catering Angeline’s Louisiana Kitchen Fonda Farella Braun + Martell llp Ann’s Catering Gather Restaurant Hugh Groman Catering Autumn Press Hafner Vineyard Latham & Watkins llp Babette at bampfa La Note Mayer Brown llp Bobby G’s Pizzeria ocho Candy Revival Bar + Kitchen César Picante Semifreddi’s Bakery Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Rhoades Planning Group Comal Copain Wines zino Donkey & Goat Winery Drake’s Brewing Company

SPECIAL PROJECTS SUPPORTERS We gratefully recognize the generous SUPPORTERS David & Vicki Fleishhacker individuals and institutions who Anonymous Jill & Steve Fugaro supported a variety of special Edgerton Foundation Ruth Hennigar Kerry Francis & John Jimerson Jack Klingelhofer projects, including The Ground Floor: Suzanne LaFetra Collier Dugan & Philippe Lamoise Berkeley Rep’s Center for the Creation National Endowment for the Arts Sandra & Ross McCandless and Development of New Work, from Stewart & Rachelle Owen Susan Medak & Gregory Murphy December 2018 to February 2020. Cynthia & William Schaff Steven & Patrece Mills Jean & Michael Strunsky Jane & Bill Neilson Sheila Taccone Shanna O’Hare & John Davis LEAD SUPPORTERS The Tournesol Project Peter Pervere & Georgia Cassel Barbara Bass Bakar Gail & Arne Wagner Marjorie Randolph Bruce Golden & Michelle Mercer Felicia Woytak & Steven Rasmussen David S. H. Rosenthal & Vicky Reich Frances Hellman & Warren Breslau Patricia Sakai & Richard Shapiro Peet’s Coffee CONTRIBUTORS Joan Sarnat & David Hoffman Michael & Sue Steinberg Anonymous (2) Patricia & Merrill Shanks Shelley & Jonathan Bagg Robert L. Sockolov and Audrey Sockolov Foundation Robin & Rich Edwards Barry Lawson Williams & Lalita Tademy Linda Jo Fitz Linda & Steven Wolan

LEGEND S School of Theatre donor K in-kind gift M matching gift 2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 29

SG.program.emg.v3.indd 29 3/6/20 3:51 PM We thank the generous individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep, who made their gifts between December 2018 and February 2020. To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906. SPONSOR CIRCLE SEASON SPONSORS SPONSORS Linda & Steven Wolan Leonard Merrill Kurz Bruce Golden & Michelle Mercer Maria Cardamone & Paul Matthews Felicia Woytak & Steven Rasmussen Dugan & Philippe Lamoise Jack & Betty Schafer David & Vicki Cox Eileen & Hank Lewis S Michael & Sue Steinberg Anne & Anuj Dhanda ASSOCIATE SPONSORS Susan & Moses Libitzky The Strauch Kulhanjian Family Robin & Rich Edwards Anonymous (2) Helen M. Marcus in memory of David & Vicki Fleishhacker Shelley & Jonathan Bagg David J. Williamson LEAD SPONSORS Paul Friedman & Diane Manley Edith Barschi Phyra McCandless & Angelos Kottas Barbara Bass Bakar S Jill & Steve Fugaro Neil & Gene Barth Martin & Janis McNair Frances Hellman & Warren Breslau Karen Galatz & Jon Wellinghoff Valerie Barth Susan Medak & Greg Murphy, in Casey Keller / Peet’s Coffee Richard Grand Foundation Michelle Branch & Dale Cook honor of Lynn Eve Komaromi Ken & Gisele Miller S Paul Haahr & Susan Karp Rena Bransten Ed Messerly & Sudha Pennathur S Stewart & Rachelle Owen Scott & Sherry Haber Brook & Shawn Byers Steven & Patrece Mills M Mary Ruth Quinn & Scott Shenker Rick Hoskins & Lynne Frame Lynne Carmichael Peter Pervere & Georgia Cassel Kelli & Steffan Tomlinson Jerry & Julie Kline Jennifer Chaiken & Sam Hamilton Barbara L. Peterson Jack Klingelhofer Cindy Chang, MD & Gary & Noni Robinson EXECUTIVE SPONSORS Michael H. Kossman Christopher Hudson K Jaimie Sanford & Ted Storey Anonymous Suzanne LaFetra Collier John Dains Joan Sarnat & David Hoffman Edward D. Baker Ken Lamb Paul Daniels, in honor of Peter Yonka Cynthia & William Schaff Susan Chamberlin Sandra & Ross McCandless Narsai & Venus David K Pat & Merrill Shanks Lauren Edgerton Marianne Mills Cynthia A. Farner Shirlen Fund, in memory of Bill Falik & Diana Cohen Pam & Mitch Nichter Tracy & Mark Ferron Shirley & Philip Schild Kerry Francis & John Jimerson Norman & Janet Pease Kevin & Noelle Gibbs M Vickie Soulier Foundation Wayne Jordan & Quinn Delaney Leonard X & Arlene B. Rosenberg Steven Goldin Lisa Taylor Jean & Michael Strunsky Sheli & Burt Rosenberg, in honor of Melinda Haag & Chuck Fanning Dave & Cindy Trummer M Gail & Arne Wagner Len & Arlene Rosenberg Ms. Wendy E. Jordan Susan West S Jack & Valerie Rowe Fred Karren, in memory of Wendy Williams Patricia Sakai & Richard Shapiro Beth Karren Martin & Margaret Zankel Ed & Liliane Schneider Seymour Kaufman & Laura & Nicholas Severino M Kerstin Edgerton S Stephen & Cindy Snow Rosalind & Sung-Hou Kim

ARTISTIC DIRECTOR’S CIRCLE

PARTNERS BENEFACTORS Dan & Shawna Hartman Brotsky Teresa L. Remillard M Anonymous Anonymous (4) Ruth Hennigar Bill Reuter & Ruth Major Tarang & Hirni Amin Norman Abramson, in memory of Bonnie & Tom Herman Audrey & Paul Richards, Berit Ashla & Aron Cramer David Beery Elaine Hitchcock in honor of Barbara Peterson Judy Avery Martha & Bruce Atwater Deirdre & Chris Hockett Carla & David Riemer Ed Brakeman Nina Auerbach Bill Hofmann & Robbie Welling M Joe Ruck & Donna Ito Italo & Susan Calpestri Anne M. Baele Hilary & Tom Hoynes Barbara Sahm & Steven Winkel Constance Crawford Linda & Mike Baker Paula Hughmanick & Steven Berger Monica Salusky & Thomas W. Edwards & Rebecca Michelle L. Barbour Marilyn & Michael Jensen-Akula John K. Sutherland Parlette-Edwards Eugene Borstel & Sandy Silva Barbara E. Jones, in memory of Jeane & Roger Samuelsen William Espey & Re Re Boylan & Jeff Freedman William E. Jones Dan Scharlin & Sara Katz THANKS TO OUR SUPPORTERS OUR TO THANKS Margaret Hart Edwards Broitman-Basri Foundation Bill & Lisa Kelly Danny Scher Nancy & Jerry Falk Ben Brown & Louise Rankin Stephen F. Kispersky Jackie Schmidt-Posner & Lily Fan Don & Carol Anne Brown Jean Knox, in memory Barry Posner Karen Grove & Julian Cortella Tracy Brown & Greg Holland of John T. Knox Linda & Nathan Schultz Ms. Teresa Burns Gunther & Ronnie Caplane Wanda Kownacki Sarah E. Shaver Dr. Andrew Gunther Terrence & Deborah Carlin K Woof Kurtzman & Liz Hertz Neal Shorstein, MD & Richard & Lois Halliday K Leslie Chatham & Sunny St. Pierre Kevin & Claudine Lally Christopher Doane Earl & Bonnie Hamlin Betsey & Ken Cheitlin Jane & Mike Larkin, in memory of Sally & Joel Spivack Richard N. Hill & Nancy Lundeen Barbara & Rodgin Cohen Lynn & Gerald Ungar Karen Stevenson & Bill McClave James C. Hormel & Julie & Darren Cooke Randy Laroche & David Laudon Deborah Taylor Barrera Michael P. Nguyen, Karen & David Crommie Louise Laufersweiler & Alison Teeman & in honor of Rita Moreno Ed Cullen & Ann O’Connor Warren Sharp Michael Yovino-Young Lynda & Dr. J. Pearce Hurley Dr. Jim Cuthbertson Sidne Long & Hank Delevati Beth Weissman Kathleen & Chris Jackson Barbara & Tim Daniels Elsie Mallonee Elizabeth Werter & Henry Trevor Duke & Daisy Kiehn Corinne & Mike Doyle Henning Mathew & Patricia & Jeffrey Williams Tony Kushner James Emery & P. Irving Michelle Deane M William C. Wilson II Dixon Long Bill & Susan Epstein Erin McCune Sam & Joyce Zanze Peter & Melanie Maier Merle & Michael Fajans Miles & Mary Ellen McKey Mark Zitter & Jessica Nutik Zitter Dale & Don Marshall Lisa & Dave Finer Kirk McKusick & Eric Allman Jane & Mark Zuercher Sumner & Hermine Marshall Thomas & Sharon Francis Stephanie Mendel Charles Marston & Rosa Luevano Lisa Franzel & Rod Mickels Toby Mickelson & Donald Brody Helen & John Meyer Herb & Marianne Friedman Andy & June Monach Pure Dana Fund Mary & Stan Friedman Ronald Morrison Sue Reinhold & Deborah Newbrun Dennis & Susan Johann Gilardi Jerry Mosher David S. H. Rosenthal & Vicky Reich Daniel & Hilary B. Goldstine Barbara & Michael Novogradac Beth & David Sawi Nelson Goodman Carol J. Ormond Emily Shanks Mary & Nicholas Graves Linda & Gregory Orr Ed & Ellen Smith Robert & Judith Greber Janet & Clyde Ostler Audrey & Bob Sockolov Garrett Gruener & Amy Slater Sandi & Dick Pantages Sheila Wishek Migsy & Jim Hamasaki Malcolm & Ann Plant Barbara & Howard Wollner Bob & Linda Harris Linda & Eric Protiva

K M 30 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5 LEGEND S School of Theatre donor in-kind gift matching gift

SG.program.emg.v3.indd 30 3/6/20 3:51 PM THANKS TO OUR SUPPORTERS 3/6/20 3:51 PM

· Libby Seifel M Pamela Reed in THE BERKELEY REP MAGAZINE · 31 (photo by Kevin Berne) Becky Nurse of Salem · Diane C. Miller · Jeff Miner · · Luella Noles & Jeung Hyung · Judy · F. Anthony · F. Placzek · Russell & · Danielle Rebischung · Carla & · Fred& Kathleen Taylor · Nancy · Mr. Leon · Mr. Van Steen · Lisa Wade · K M

M Susan Shortell · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · George & Camilla Smith · Sigrid Snider · Valerie Sopher · LJ Strunsky & James Steinle · Gary Sullivan & Timothy · Drew Lynn & Margo Tammen E. Thomas · Pate & Judy Thomson · Rick Trautner · Mike & Ellen Turbow · Larry Vales & Pierre Capeder · Jacob Sevart · Steve & Ogle · Suzette S. Olson · GeraneWharton Brian Park · D. Parsons · Lauri Paul & Mark Hamilton · Bob Peckham, & Toni in honor of Robert M. Peckham, Jack Jr. · & Charmaine Pesso · Regina Phelps · James Pine F. Joni Pratt · Roxann R. Preston · Kathleen Quenneville & Diane Allen · Leslie & Mark Ragsdale David Riemer · Todd & Susan Ringoen · Mrs. William C. Robison · Deborah Dashow Ruth, in memory Ruth · of Mitzi Leo P. Sales & John Argue · Paul & Patti Sax · Dorothy R. Saxe · Dale & Liz Schenk · Joyce Schnobrich · DavidDr. Schulz Louise & Larry Walker · & Mrs. Mr. William Webster · Robert Weston · T. Peter Wiley · Ron & Anita Wornick · Stan Zaks McGuinn · Brian McRee · Barbara Meislin & Kaplan Stuart Daryoush Mortazavi & Caroline Razavi · Patricia Motzkin & Richard Feldman · Aki & Emi Nakao · Ron Nakayama · Kelly Nelson berkeleyrep.org/give berkeleyrep.org/give 2019–20 · ISSUE 5 · Text BACKSTAGE to 71777 to BACKSTAGE Text ONLINE THE BEST TIME TO GIVE IS NOW. IS GIVE TO TIME BEST THE MOBILE · David Gaskin & Phillip · Peggy Kivel · Susan Kolb · M M · Bill Jetton · Ann L. Johnson · Corrina give? BE A REP. REP. A BE ADVOCATES Anonymous(15) · Abbey Alkon & Jonathan Leonard ·Mrs. & Dr. Francis Barham · Richard & Kathi Berman · James A. Biondi · Steve Bischoff · Beverly Blatt & David Filipek · Peter Brock · Jerome & Marguerite Buttrick · Robert & Margaret Cant · Laura Chang · Lea Chenel · Ciara Cox & Margaret Pam Wu · & Mike Crane · Jill & Evan Custer · Kathleen Damron · Harry & Susan Dennis · Carol DiFilippo · Kathy Down & Greg Kelly · Burton PeekEdwards · Roger & Jane Emanuel · Alan Entine · Sue J. Estey ·LindaMary Ben& Feinberg · Jo Fitz · Frannie Fleishhacker ·Daniel Friedland & Azlynda Alim McPherson · Karl & Kathleen Geier · Linda Joy Graham ·Gray · Rico Tim && Pamela Maya Green ·Sheldon & Judy Greene · Don & Becky Grether · Irene & Robert Hepps · Howard Hertz & Jean Krois · Peter Hobe & Christina Crowley · Jeff Hoel · & Mrs.Mr. Harold M. Isbell · Anne & Douglas Jensen · & Mrs.Mr. C. D. Jensen · Peter & Barbara Jensen Jones · Margaret & Reese Jones · Claudia & Daly Jordan-Koch ·Kaarel Kaljot · Beth & Tim Kientzle Ken & Monica Kulander · Deborah Lewis & Martin H.Myers · Marcia C. Linn · Tom Lockard& Alix Marduel · Lonergan Richard & Marilyn Manning · Jane & Bob Lurie · Bruce Maigatter & Pamela Partlow · Naomi & Bruce Mann · Sue & Phil Marineau · M. Mathews & K. Soriano · Karen & John - - BERKELEY REP SUPPORTER Why do you do Why “I’ve been every moved by play single I’ve seen the Berkeley years. at over Rep the best, playhouse mostYou’re creative I’ve been to.” SEE WHAT YOUR GIFT SUPPORTS! GIFT YOUR WHAT SEE interview camera an check out app to your code with Scan this Properties Rep Supervisor Berkeley Green.with Jill BE A DONOR. A BE · Teddy & Bruce Schwab · M UNFORGETTABLE STORIES UNFORGETTABLE YOU OF BECAUSE Andrew & Marva Seidl · Brenda Buckhold Shank, M.D., Ph.D. · Kim Silva · Beryl & Ivor Silver · David & Lori Simpson · Amrita Singhal & Michael Tubach · Cherida Collins Smith · Alice & Scott So · Henry Spencer & Nicky Cass · Gary & Jana Stein · Monroe W. Strickberger · Susan Terris · Sam Test · Henry Timnick · William van Dyk & Margi Sullivan · Sarah Van Roo · Robert & Sheila Weisblatt · Wendy Willrich · Charles Wolfram & Peter Wolfram · Sally Woolsey maria Oddone & Barbara Saarni Oddone · Judith Richard & Oken · JudyO’Young, MD & Gregg Hauser · Lynette Pang & Michael Man · Bob & MaryJane Pauley · David & Mary Ramos · Maxine Risley, in memory of James Risley · John & Jody Roberts · The Rockridge Fund at the East Bay Community Foundation · Galen Rosenberg & Denise Barnett · Rutland · Dace Lisa P. Salomon · DavidDr. Schulz Linn · Mark & Roberta Linsky · Jay & Eileen Gerry Love · & Kathy MacClelland ·& Lois Gary Marcus, in memory of Ruth Weiland, Mose & Selma Marcus · Charlotte & Adolph Martinelli · Rebecca Martinez · JanetMi & chael McCutcheon · Joanne Medak & Peter Katsaros · Ruth Medak · Geri Monheimer, in honor Taccone · Scott of Tony Montgomery & Marc Rand · Brian & Britt-MarieMorris · Daniel Murphy · Jane & Bill Neilson · Pier · K · Linda · Joyce & M K · John Carr · M · Kelli M. Frostad · M · Caroline Beverstock · M · Brenda Kienan & Dan M · Lori & Michael Crowley · · Marc Blakeman M M · Susan Kaplan · Paul &

· Don · Campbell & Family M FRIENDS CONTRIBUTORS SUPPORTERS CHAMPIONS Naomi Black Richard & Anita Davis · Bill DeHart · David Deutscher · Francine & Beppe Di Palma · Karen & David Dolder · Linda Drucker · Susan English & Michael Kalkstein · Paul Feigenbaum & Judy Kemeny · Ben & Mary Feinberg · Ann & Shawn Fischer Hecht · Martin & Barbara Fishman · James & Jessica Fleming · Dean Francis · Donald & Dava Freed · Chris R. Frostad Terin Christensen ·Terin Richard Linnea & Christiani · Andrea Clay & Collin Smikle · Robert Council & Ann Parks-Council · John & Izzie Crane Barbara Liston · Ross & Eva Miller, in honor of Sofie Miller, Production Assistant Paco Ramirez · Jan Schreiber · Anthony & Carol Somkin · Cherrill Spencer · Margaret Stromberg ·T. Michael & Shirley Traynor · Judy Weiss & Stuart Swiedler Brandenburger · Eric Brink & Gayle Vassar Tauber · David & Joan Komaromi · Susan Pownall, in memory of Frederick Pownall · Aletha Silcox, in memory of Beth Bywater · Clara Sneed & Madelon Sneed We are pleased to recognize first-time donors pleased first-time are We recognize to to Berkeley Rep, whose names appearin italics. Corwin & Margaret Booth · John E. Caner · Elizabeth Anne Doyle, in memory of John Doyle · Noah & Sandra Doyle ·Vladimir Gerasimov Anonymous · Don & Libby Erickson · John Koerber · Ingrid Madsen & Victor Rauch · The Stanek Family Jeanene E. Ebert We gratefullyWe recognize the following donors whose contributionsreceivedwere from January 13, 2020 to February 18, 2020. Anonymous (6 George ) · & Marcia Argyris · NaomiAuerbach Landau · & Ted Leslie & Jack Batson · David & Stephanie Beach · DonGerry & Beers Jack Sweitzer Marjorie Ginsburg & Howard Slyter · Mrs. Gale K. Gottlieb · Anne & Peter Griffes · Vera & David Hartford · Thomas & Elizabeth Henry · Christina Herdell, in memory of Vaughn & Ardis Herdell · Don & Janice Holve · The Hornthal in Family, honor of Susie Medak · Christopher Killian & Carole Ungvarsky · Eve Komaromi, Lynn in honor of the Berkeley Rep Staff · JanetKornegay & Dan Sykes · Susilpa Lakireddy · Helen E. Land · Sherrill Lavagnino & Scott McKinney · Andrew Leavitt & Catherine Lewis · Glennis Lees & Michael Glazeski · Ellen & Barry Levine · Jennifer S. Lindsay · Marcia C. SG.program.emg.v3.indd 31 “If you believe high quality, thought- provoking, and entertaining theatre is an important element of the community, your Members of this Society, which legacy donation to is named in honor of Founding Berkeley Rep can make Artistic Director Michael W. a difference.” Leibert, have designated Berkeley Rep in their estate plans. Unless — BARBARA PETERSON the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s board-designated endowment funds, where they will provide the financial stability that enables Berkeley Rep to maintain “My estate gift the highest standards of artistic leaves a personal excellence, support new work, commitment to and serve the community with the theater and innovative education and outreach our community programs, year after year. for many years to For more information on becoming come.” a member, visit our website at — MICHAEL KOSSMAN berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected].

The society welcomes the Dr. Harvey & Deana Freedman Ruth Medak Weil Family Trust — Weil Family following new members: Joseph & Antonia Friedman Susan Medak & Greg Murphy Susan West Jim Tibbs & Philip Anderson Paul T. Friedman Stephanie Mendel Karen & Henry Work THANKS TO OUR SUPPORTERS OUR TO THANKS Dr. John Frykman Toni Mester Anders Yang, JD Sustaining members Laura K. Fujii Shirley & Joe Nedham Martin & Margaret Zankel as of February 2020: David Gaskin & Phillip McPherson Theresa Nelson & Bernard Smits Anonymous (8) Marjorie Ginsburg & Howard Slyter Pam & Mitch Nichter Gifts received by Norman Abramson & David Beery Mary & Nicholas Graves Sheldeen G. Osborne Berkeley Rep: Sam Ambler Elizabeth Greene Sharon Ott Anonymous Carl W. Arnoult & Aurora Pan Sheldon & Judy Greene Amy Pearl Parodi Estate of Suzanne Adams Ken & Joni Avery Don & Becky Grether Barbara L. Peterson Estate of Helen Barber Nancy Axelrod Richard & Lois Halliday Regina Phelps Estate of Fritzi Benesch Edith Barschi Julie & Paul Harkness Margaret Phillips Estate of Carole B. Berg Neil & Gene Barth Linda & Bob Harris Marjorie Randolph Estate of Nelly Berteaux Susan & Barry Baskin Fred Hartwick Gregg Richardson Estate of Jill Bryans Linda Brandenburger Ruth Hennigar Bonnie Ring Living Trust Estate of Paula Carrell Broitman-Basri Family Daria Hepps Tom Roberts Estate of Nancy Croley Bruce Carlton & Richard G. McCall Douglas J. Hill David Rovno Estate of Carol & John Field Stephen K. Cassidy Hoskins/Frame Family Trust Tracie E. Rowson Estate of Rudolph Glauser Paula Champagne & David Watson Lynda & Dr. J. Pearce Hurley Deborah Dashow Ruth Estate of Audrey J. Lasson Terin Christensen Robin C. Johnson Patricia Sakai & Richard Shapiro Estate of Zandra Faye LeDuff Sofia Close Janice Kelly & D. Carlos Kaslow Brenda Buckhold Shank,M.D., Ph.D. Estate of Ines R. Lewandowitz Christina Crowley Bonnie McPherson Killip Emily Shanks Estate of John E. & Helen A. Manning Andrew Daly & Jody Taylor Lynn Eve Komaromi Kevin Shoemaker Estate of Richard Markell Narsai & Venus David Michael H. Kossman Valerie Sopher Estate of Timothy A. Patterson M. Laina Dicker Scott & Kathy Law Michael & Sue Steinberg Estate of Gladys Perez-Mendez Thalia Dorwick Dot Lofstrom Dr. Douglas & Anne Stewart Estate of Margaret Purvine Rich & Robin Edwards Helen M. Marcus Jean Strunsky Estate of Leigh & Ivy Robinson Thomas W. Edwards & Dale & Don Marshall Mary, Andrew & Duncan Susskind Estate of Stephen C. Schaefer, in honor Rebecca Parlette-Edwards Sumner & Hermine Marshall Henry Timnick of Jean and Jack Knox Bill & Susan Epstein Rebecca Martinez Guy Tiphane Estate of Peter Sloss William Espey & Margaret Hart Edwards Sarah McArthur LeValley Phillip & Melody Trapp Estate of Harry Weininger Bill Falik & Diana Cohen Suzanne & Charles McCulloch Janis Kate Turner Estate of Grace Williams Dr. Stephen E. Follansbee & John G. McGehee Gail & Arne Wagner Dr. Richard A. Wolitz Miles & Mary Ellen McKey Dorothy Walker Kerry Francis Margaret D. & Winton McKibben Barry & Holly Walter

32 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 32 3/6/20 3:51 PM Artistic Director Managing Director Johanna Pfaelzer Susan Medak STAFF AND BOARD General Manager Theresa Von Klug

ARTISTIC ELECTRICS Program Advertising Hannah Gaff · Nina Galin · Zoe Galvez · Pamela Webster Adrian Gebhart · Christine Germain · BOARD OF DIRECTORS Director of Casting & Master Electrician Nancy Gold · Michaela (Mickey) Artistic Associate Frederick C. Geffken Front of House Director President Kelly Kelley Goldhaber · Gary Graves · Marvin Gail Wagner Amy Potozkin Associate Master Electrician Greene · Susan-Jane Harrison · Richard Director, The Ground Floor/ Sarina Renteria Front of House Manager Hayes · Maya Herbsman · Gendell Vice Presidents Debra Selman Hing-Hernández · Joan Howard · Resident Dramaturg Production Electrician Bruce Golden Madeleine Oldham Andrew Hurteau · Kasey Klemm · Krista Kenneth Coté House Managers Stewart Owen Literary Manager Megan Bedig · Jerry Chirip · Maggie Knight · Rebecca Longworth · Julian Sarah Rose Leonard Collette · Aleta George · Aaron López-Morillas · Dave Maier · Alex Felicia Woytak SOUND & VIDEO Higareda · Matisse Michalski · Angela Moggridge · Colum Parke Morgan · Artistic Associate Treasurer Sound & Video Supervisor Phung · Tuesday Ray · Sienna Sherman Edward Morgan · Ariela Morgenstern · Katie Craddock Jonathan Moscone · Joe Orrach · Slater Henning Mathew Lane Elms Front of House Bar Manager Penney · Lisa Anne Porter · Alyson Artists under Commission Phoenyx Butts Secretary Todd Almond · Christina Anderson · Sound Engineers Rutter · Remi Sandri · Rolf Saxon · Lisa Peterson · Sarah Ruhl · Angela Don Senior Lead Bar Elyse Shafarman · Joyful Simpson · Leonard X Rosenberg Tori Sampson · Joe Waechter Michael Kelly Nina Gorham Cleavon Smith · M. Graham Smith · Chair, Governance Committee Gabriel Vergez · James Wagner · Joshua Associate Sound & Video Supervisor Lead Bartenders Stewart Owen PRODUCTION Chase Nichter Matthew Canter · Johnny Lloyd · Waterstone · Dan Wolf Nichelle Pete Teen Core Council Chair, Audit Committee Production Manager Bartenders Milo Bailey · Simon Bhuller-Riordan · Kerry L. Francis Audrey Hoo ADMINISTRATION Lupe Henderson · Leigh Nelson Fidela Bisseret Martinez · Associate Production Manager Finance Director Eleanor Boes · Bianca Carmango · Board Members Concessionaires Zoey Russo Jared Hammond Lilly-Karin Dandenell · Scarlette De Berit Ashla Si Mon’ Emmett · Natalia Gurevich · Beauvior · Dina Fukunaga · Carrie Avery Company Manager Associate General Manager Michelle Hernandez · Evan Lester · Maera Klein · Malia Lee · Tatiana Lira · Edward D. Baker Morgan Steele Amanda Williams O’Steen James Oh · Veronica Perez-Westbrook · Grace Nelligan Zohar Naaman · David Cox Executive Assistant Marissa Wolden Alex Pansino · Roan Pearl · Anne Nemer Dhanda Kate Horton GalaPro Operators/Pushers Madeleine Riskin-Kutz · Jade Rogers · Lauren Edgerton STAGE MANAGEMENT Robin Edwards Bookkeeper Tyler Miller · Madeline Rostami Avelina Rivezzo-Weber · Production Stage Manager Chuck Fanning Kristine Taylor Sarah Schecter Michael Suenkel GalaPro Pusher Jill Fugaro Associate Finance Director Jessica Bates Docent Co-Chairs Stage Managers Karen Galatz Eric Ipsen Matty Bloom, Content Steven Goldin Lisa Iacucci · Kelly Montgomery · Ticket Services Manager Joy Lancaster, Recruitment Scott Haber Libby Unsworth · Chris Waters Payroll Administrator Dora Daniels Katie Riemann Selma Meyerowitz, Off-Sites Michael Kossman Assistant Stage Managers Box Office Supervisor and Procedures Jonathan C. Logan Chiquita Lu · Sofie Miller · CRM Project Manager Julie Gotsch Sandra R. McCandless School Girls; Or, The African Mean Megan McClintock · Leslie M. Radin Destiny Askin Susan Medak Subscription Manager Girls Play Docents Production Assistants Yale Management Fellow Laurie Barnes Sudha Pennathur Matty Bloom, Lead Docent Johanna Pfaelzer Tait Adams · James McGregor · Eliza Orleans Box Office Lead Joy Lancaster, Assistant Lead Laura Severino Sofie Miller Alina Whatley Beth Cohen · Helen Gerken · Richard Shapiro Ellen Kaufman · Selma Meyerowitz DEVELOPMENT Box Office Agents Roger Strauch STAGE OPERATIONS Director of Development Chelbi Dickens · Topher Hester · Jean Z. Strunsky Lynn Eve Komaromi Oliver Kampman · Timothy Quirus · 2019–20 BERKELEY REP FELLOWSHIPS Kelli Tomlinson Stage Supervisor Steven C. Wolan Julia Englehorn Associate Director of Development Jaden Sage · Alina Whatley Bret C. Harte Directing Fellow Daria Hepps Nailah Harper-Malveaux Past Presidents OPERATIONS Helen C. Barber PROPERTIES Director of Individual Giving Company Management Fellow A. George Battle Properties Supervisor Laura Fichtenberg Facilities Director Reagan O’Malley Carole B. Berg Jillian A. Green Stewardship Officer Mark Morrisette Costume Fellow Robert W. Burt Shih-Tso Chen Associate Properties Supervisor Woof Kurtzman Facilities Manager Anthony Fiore Ashley Mills Narsai M. David Amelia Burke-Holt Institutional Giving Manager Development Fellow Thalia Dorwick, PhD Props Artisan Julie McCormick Building Engineer Samuel Levit Nicholas M. Graves Dara Ly Special Events Manager Thomas Tran Education Fellow Richard F. Hoskins Abbey Bay McSweeney Building Technician Zandra Starks Jean Knox Robert M. Oliver Individual Giving Manager Kevin Pan Graphic Design Fellow SCENE SHOP Stewart Owen Kelsey Scott Facilities Assistants Haly Roy Technical Director Marjorie Randolph Lemont Adams · Theresa Drumgoole · Jim Smith Grants & Communications Harry Weininger Sound Fellow Harlan M. Richter Coordinator Sophie Li · Guy Nado · Jesus Rodriguez · Jamie Tippett Richard A. Rubin Associate Technical Director Maddie Gaw LeRoy Thomas Edwin C. Shiver Matt Rohner Lighting/Electrics Fellow Development Coordinators Hannah Solomon Roger Strauch Shop Foreman Nina Feliciano · Alix Josefski BERKELEY REP SCHOOL OF THEATRE Martin Zankel Sam McKnight Marketing/Digital Development Database Director of the School of Theatre Communications Fellow Sustaining Advisors Draftsperson Coordinator Rachel Hull Katherine Gunn Rena Bransten Jamaica Montgomery-Glenn Jane Voytek Diana Cohen Associate Director Peter F. Sloss Literary/ William T. Espey Carpenters MaryBeth Cavanaugh Dramaturgy Fellow Patrick Keene · Read Tuddenham William Falik MARKETING & COMMUNICATIONS Associate Director Charlie Dubach-Reinhold David Fleishhacker Director of Marketing & Anthony Jackson Production Management Fellow Paul T. Friedman SCENIC ART Communications Kali Grau Nicholas M. Graves Education Communications and David Hoffman Charge Scenic Artist Steve Tate Partnerships Manager Properties Fellow Richard F. Hoskins Lisa Lázár Senior Marketing Manager Marcela Chacón Del Hanson Dale Rogers Marshall Seth Macari Data and Tessitura Analyst Scenic Art Fellow Helen Meyer COSTUMES Communications & Digital Katie Riemann Sam Welsing Dugan Moore Peter Pervere Costume Director Content Director Community Programs Administrator Scenic Construction Fellow Karen McKevitt Marjorie Randolph Maggi Yule Modesta Tamayo Kathryn Bosch Patricia Sakai Resident Costume Design Associate Director of Public Relations Education Youth Associate Stage Management Fellow Jack Schafer Cody Von Ruden Tim Etheridge Si Mon’ Emmett Elizabeth Kamla William Schaff Emily Shanks Tailor Audience Development & Faculty and Teaching Artists Group Sales Manager Christine Adaire · Miriam Ani · Bobby Michael Steinberg Kathy Kellner Griffith Michael Strunsky Arielle Rubin August, Jr. · Erica Blue · Larry Bogad · Draper Martin Zankel Martha Brigham · Millie Brooks · Ron Star Rabinowitz Webmaster Christina Cone Campbell · Rebecca Castelli · Paul First Hand Cello · Jiwon Chung · Sally Clawson · Video & Multimedia Producer Janet Conery Michael Curry · Shannon R. Davis · Lura Benjamin Michel Founding Director Wardrobe Supervisor Dolas · Jim Edgar · Si Mon’ Emmett · Michael W. Leibert Barbara Blair Deborah Eubanks · Anthony Fusco · Producing Director, 1968–83

2019–20 · ISSUE 5 · THE BERKELEY REP MAGAZINE · 33

SG.program.emg.v3.indd 33 3/6/20 3:51 PM MAKING THEATRE

DRESSING MISS GHANA Berkeley Rep has a robust fellowship program (funded in part by Executive Sponsor American Express) in which 15 intrepid individuals spend a season sharpening their skills in all aspects of the theatre (you can see the current list of fellows on the previous page). Here, Costumes Fellow Anthony Fiore makes some adjustments to Eloise’s (Miss Ghana 1976) voluminous dress.

34 · THE BERKELEY REP MAGAZINE · 2019–20 · ISSUE 5

SG.program.emg.v3.indd 34 3/6/20 3:51 PM 20 ON SALE NOW 21SEASON Join Today for Best Seats at Best Prices ACT-SF.ORG @ACTSanFrancisco

Untitled-2 1 2/7/20 1:52 PM CELEBRATE THE TRANSFORMATIVE POWER OF THEATRE

BERKELEY REP’S

SATURDAY, APRIL 18, 2020 THE RITZ-CARLTON, SAN FRANCISCO

At this year’s OVATION, we celebrate the transformative TICKETS START AT power of theatre and toast two extraordinary changemakers $750 PER PERSON who have shaped the landscape of the Bay Area and beyond. Proceeds from OVATION support the work of Berkeley Join us as we pay tribute to actor, writer, and Rep, from its productions teacher ANNA DEAVERE SMITH for her to its comprehensive arts many creative achievements and the tremendous education programs, which influence she has had on the American theatre. serve thousands of Bay Area We are also delighted to honor students each year. PEET’S COFFEE, pioneer of the American craft coffee movement, founded RSVP in Berkeley in 1966 and committed to the local Nina Feliciano at 510 647-2901 community ever since. or [email protected], or visit berkeleyrep.org/ovation A festive night is in store, from a sumptuous coffee and tea inspired menu to our thrilling live auction. You’ll want to raise your paddle high to claim the unique getaways and VIP experiences up for bid.

SG.program.emg.v3.indd 36 3/6/20 3:51 PM