TheatreWorks SILICON VALLEY PROOF October 2015 About TheatreWorks Silicon Valley Volume 47, No. 3 Welcome to TheatreWorks Silicon Valley and our 46th season of award-winning theatre. Led by Founding Artistic Director Robert Kelley and Managing Director Phil Santora, TheatreWorks Silicon Valley presents a wide range of productions Paul Heppner and programming throughout the region. Publisher Susan Peterson Founded in 1970, we continue to celebrate the human spirit and the diversity of Design & Production Director our community, presenting contemporary plays and musicals, revitalizing great Ana Alvira, Robin Kessler, works of the past, championing arts education, and nurturing new works for the Kim Love American theatre. TheatreWorks Silicon Valley has produced 65 world premieres Design and Production Artists Marty Griswold and over 150 US and regional premieres. In the 2015/16 season, we add the Director of Business & Community Development world premiere of the musical Triangle and five more regional premieres to our Mike Hathaway résumé. Sales Director Brieanna Bright, Joey Chapman, TheatreWorks Silicon Valley’s 2014/15 season included the world premiere of Gwendolyn Fairbanks, Ann Manning The Great Pretender, as well as regional premieres of Water by the Spoonful, Seattle Area Account Executives The Lake Effect, and Fire on the Mountain. Last season’s holiday production, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman Peter and the Starcatcher, joined our January show 2 Pianos 4 Hands as the San Francisco/Bay Area Account Executives two highest-grossing plays in our history. In the course of the year, shows that Brett Hamil debuted here were produced at theatres around the world, including our world Online Editor premiere Memphis, which opened in London’s West End. Jonathan Shipley Associate Online Editor With an annual operating budget of $8 million, TheatreWorks Silicon Valley Carol Yip produces eight mainstage productions at the Lucie Stern Theatre in Palo Alto Sales Coordinator Jonathan Shipley and the Mountain View Center for the Performing Arts. Fifteen years ago, we Ad Services Coordinator launched the New Works Initiative, rededicating ourselves to the development www.encoreartsseattle.com of new plays and musicals. The Initiative has since supported over 140 new works through retreats, workshops, staged readings, developmental productions, ENCORE and the annual New Works Festival, inspiring The Mercury News to call us “a premiere breeding ground for new musicals, which has put the company on the Leah Baltus national map.” Editor-in-Chief Paul Heppner TheatreWorks Silicon Valley believes in making theatre accessible to the entire Publisher Silicon Valley community. Our Arts Education Department reaches more than Marty Griswold 35,000 students in 70 schools in 7 counties annually. It sponsors outreach Associate Publisher programs that include the Children’s Healing Project at Lucile Packard Children’s Dan Paulus Art Director Hospital, the Young Playwright’s Initiative, specially-priced student matinees, Jonathan Zwickel extensive school tours, post-show discussions, and theatre camps, classes, and Senior Editor conservatories for youth. Gemma Wilson Associate Editor For more information on our 2015/16 season, New Works Festival, and Education Amanda Manitach Programs, please visit theatreworks.org or call 650.463.1950. Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com AFFILIATIONS—TheatreWorks Silicon Valley is a member of the League of Resident Theatres (LORT) and operates under agreement between LORT and Actors’ Equity Association (AEA), the union of professional actors and stage managers in the United States. TheatreWorks is a constituent member of Theatre Communications Group, Inc., the national organization for the nonprofit professional theatre. TheatreWorks is a member of the National Alliance for Musical Theatre, a national service organization for musical theatre. In addition, TheatreWorks is a member of Theatre Bay Area, the Palo Alto Chamber of Commerce, and the Mountain View Chamber of Commerce. TheatreWorks’ 2015/16 Season is presented in cooperation with the City of Mountain View and the City of Palo Alto, Community Services Department, Division of Arts and Sciences. Paul Heppner President The director is a member of the Society Mike Hathaway of Stage Directors and Choreographers, Vice President Inc., an independent national labor union. Genay Genereux The scenic and lighting designers are members of United Scenic Artists. This Accounting season is supported in part by an award from the National Endowment for the Arts. Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] Garden Court is the official J. Lohr is the official wine 800.308.2898 x113 hotel of TheatreWorks. of TheatreWorks. www.encoremediagroup.com

The Mercury News is TheatreWorks’ Hengehold Trucks is the official trucking provider of Encore Arts Programs is published monthly by Encore Media 2015/16 Season Media Sponsor. TheatreWorks. Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited.

2 THEATREWORKS A new choice for senior health care is here

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Stanford Health Care Advantage has a contract with Medicare to offer an HMO plan. You must reside in Santa Clara County to enroll. Enrollment in the Stanford Health Care Advantage plan depends on contract renewal. This information is available for free in other languages. A sales person will be present with information and applications. For accommodation of persons with special needs at sales meetings call 1-844-778-2636 (TTY 711). H2986_MM_108_Accepted 2015

Untitled-29 1 9/16/15 4:09 PM Untitled-3 1 9/4/15 9:38 AM From the Board Chair In this Issue

I confess. I’m a theatre program junkie. Not only do I leaf through 2 About TheatreWorks the program before the performance begins and then again at Silicon Valley intermission, but I also always take it home with me. This ritual started when I was a kid in New York and my parents brought Coming Next: EMMA home their Playbills after a night at the theatre. We’d talk about 8 the play and the actors, and I’d look up their pictures and bios and almost feel as if I, too, went to the theatre. Then I’d write the 9 From the Artistic Director date on the program and file it neatly away in a shoebox, which I moved from apartment to apartment for way too many years! 10 Playing with Math These days, when I return from the theatre, I’ll sit down on the couch and read (again!) about the artists who helped create the wonderful performance I’ve just seen. 11 Female Mathematicians I’m always amazed at how many people are involved with putting on a show, but it wasn’t until joining TheatreWorks’ Board of Trustees that I fully appreciated 12 The Beauty of Mathematics the cost of mounting a production: set and costume builders, lighting and electrical experts, marketing and sales folks, and so many others. But today, let’s talk about actors, directors, designers, and playwrights, and what it takes to bring outstanding talent to every TheatreWorks production. It starts with season selection, when the executive team determines which of the plays under consideration could require out-of-town artists, and whether our budget can afford their transportation and lodging. Plane fare and housing are two of the most expensive budget items every year! Leslie Martinson, TheatreWorks’ Associate Artistic Director and Casting Director extraordinaire, then works with each show’s director and playwright to audition actors wherever they may be. Two of the four cast members of Proof are from New York. And, looking forward to our holiday show, Emma, many of the original cast members from our Playwright David Auburn 2007 world premiere are returning from around the country to reprise their roles. This can only happen because of our community’s generosity. We are enormously 14 About Playwright David appreciative when supporters donate airline miles, private rooms, or guesthouses Auburn and Proof for visiting artists—for as little as a week or as long as two months. So, if you have miles to spare, an empty apartment, or a poolhouse longing Diversity at the University to be occupied by a grateful actor or designer, give us a call. It will make that 15 show’s program especially meaningful, knowing that you helped make its artist’s of Chicago work possible. 16 Director’s Notes

Barbara Shapiro 17 TheatreWorks Silicon Valley presents Proof

BOARD OF TRUSTEES 19 Who’s Who Barbara Shapiro, Chair Jayne Booker Derry Kabcenell Nancy Ginsburg Stern 24 Contributors Bill Coughran Michael Kahn Debra Summers Lynn Szekely-Goode Jenny Dearborn Julie Kaufman TWSV Staff Susan Fairbrook Robert Kelley Mark Vershel 27 Ciro Giammona Tom Kelley Holly Ward Anne Hambly Ray A. Rothrock Lisa Webster 29 Join the Encore Club Judy Heyboer Adam Samuels Jane Weston Larry Horton Phil Santora Gayla Lorthridge Wood 29 TWSV General Information Loren Saxe

BOARD EMERITUS Nancy Meyer, Founder Continue the conversation online! William F. Adler • Edward T. Anderson, MD • Doug Barry • Lauren Berman • Chuck Bernstein • Sharon Anthony Bower • Michael Braun • Polly W. Bredt • Bruce C. Cozadd • Jeff Crowe • Peggy Dalal • Yogen Dalal • Michael R. Flicker • Peggy Woodford Forbes • Dan Garber • Doug Become our fan on Facebook! Garland • Aaron Gershenberg • Marcia Goldman • Emeri Handler • Susan M. Huch • Perry A. Irvine • Nancy Lee Jalonen • Lisa Jones • Gina Jorasch • Roberta R. Katz • Robin Kennedy • Follow us on Michael Kwatinetz • Dick Maltzman • Suzanne Martin • Patti McClung • Don McDougall • Twitter and Instagram Bruce McLeod • Cynthia S. Miller • Leslie Murphy-Chutorian • Eileen Nelson • Karen Nierenberg • Carrie Perzow • Carey Pickus • Margot Mailliard Rawlins • John Reis • Eddie Reynolds • @TheatreWorksSV Sandi Risser • Lynn Wilson Roberts • Denise Stanford • Rosina Lo Sun • James Sweeney • Cathie #TWProof Thermond • Helaina Titus • Robert J. Van der Leest, MD • Ronni Watson • Elissa Wellikson

encoreartsprograms.com 5 C H O O S E Y O U R O W

A MUSICAL ROMANCE FOR THE HOLIDAYS Jane Austen’s Emma Music, lyrics, & book by Paul Gordon Adapted from the novel by Jane Austen Directed by Robert Kelley Reprising TheatreWorks’ World Premiere TheatreWorks’ beloved musical hit makes a triumphant return for the holidays, featuring one of Jane Austen’s most delightful heroines, an effervescent ingénue whose match- making mischief inevitably misfires. Obsessed with romance, but clueless about her own feelings, Emma navigates the course of true love with a generous heart and an indomitable spirit. A masterpiece brought to joyous life, this funny, irresistible revival features a glorious score by the Tony Award-nominated composer of Jane Eyre and Daddy Long Legs. Ross Lekites, Zachary Prince, & Megan McGinnis in Triangle / Photo by Kevin Berne “Everything a musical should be!” The Mercury News Dec 2, 2015 – Jan 2, 2016 Lucie Stern Theatre, Palo Alto

THE SWASHBUCKLING ROMANCE Cyrano By Edmund Rostand Translated by Michael Hollinger Adapted by Michael Hollinger & Aaron Posner Directed by Robert Kelley Regional Premiere Alive with swashbuckling swordplay, witty wordplay, and irresistible romance, this classic tale of unrequited passion and panache flows from the rollicking theatres of 17th century Paris to distant battlements long besieged. Here literature’s greatest love triangle evolves in a modern, intimate, and goody-hrumaonreod adaptation that entangles the enchanting heiressC Roxane, handsome cadet Christian, and nose-challenged swordsman Cyrano in the love affair of a lifetime. “Sterling. Illuminating. A joy to watch.” Philadelphia Inquirer Marcia Pizzo & Jason Kuykendall in The Country House / Photo by Kevin Berne Apr 6 – May 1, 2016 Mountain View Center

6 THEATREWORKS O W N A D V E N T U R E !

A NEW MUSICAL PLAY A DELECTABLE COMIC DRAMA Hershey Felder as tokyo fish story Irving Berlin By Kimber Lee Directed by Kirsten Brandt Lyrics & music by Irving Berlin Northern California Premiere Book by Hershey Felder Directed by Trevor Hay Generations, gender, and tradi- tion collide as a revered Sushi Northern California Premiere Master struggles to preserve The inspiring story of “America’s ancient artistry in a society Composer” Irving Berlin takes obsessed with change. In pursuit center stage in this tour-de-force of perfection, Koji inspires his performance by piano virtuoso brilliant protégé of a son, Hershey Felder, internationally intimidates a parade of young acclaimed for bringing to life such composers as Gershwin, apprentices, and discovers that in today’s world, even a three- Beethoven, Chopin, and Bernstein. Capturing the rhythms of star chef has much to learn. Set in a legendary sushi restau- the Lower East Side, and eventually enchanting the entire world, rant, this warm-hearted comic drama was a highlight of Berlin epitomizes the American Dream. From “Blue Skies” to TheatreWorks’ New Works Festival.* “White Christmas,” this remarkable evening with Irving is an “Captivating, thought-provoking theater.” StageSceneLA unforgettable journey in song. Mar 9 – Apr 3, 2016 Lucie Stern Theatre, Palo Alto “A remarkable portrait…richly entertaining.” LA Times Jan 13 – Feb 14, 2016 Mountain View Center

AN EXPLOSIVE COMEDY The Velocity of Autumn With a flex subscription, you pick: By Eric Coble Directed by Giovanna Sardelli The number of shows (4 or 5) Regional Premiere The day of the week An octogenarian artist has barricad- ed herself in her Brooklyn brown- Where you sit stone, booby-trapped with enough homemade bombs to take out the neighborhood. In a wry, spirited Ask about discounts for Seniors, Educators, quest to “not go gentle” into a and Patrons 30 & Under. retirement home, Alexandra battles both the fears of her family and the ravages of time, negotiating the terms of her future with a long-estranged son who has battles of his own.* Order online at theatreworks.org “Wickedly funny and wonderfully touching.” Broadway World or call 650.463.1960 June 1 – 26, 2016 Mountain View Center

* Contains mature language

encoreartsprograms.com 7 COMING NEXT: A Musical Romance for the Holidays Jane Austen’s Emma Music, lyrics, & book by Paul Gordon Adapted from the novel by Jane Austen Directed by Robert Kelley Reprising TheatreWorks’ World Premiere TheatreWorks’ beloved musical hit makes a triumphant return for the holidays, featuring one of Jane Austen’s most delightful heroines, an effervescent ingénue whose match- making mischief inevitably misfires. Obsessed with romance, but clueless about her own feelings, Emma navigates the course of true love with a generous heart and an indomitable spirit. A masterpiece brought to joyous life, this funny, irresistible revival features a glorious score by the Tony Award-nominated composer of Jane Eyre and Daddy Long Legs, and marks the return of Timothy Gulan as Mr. Knightley and Lianne Marie Dobbs as the irrepressible Emma. Dec 2, 2015 – Jan 2, 2016 Lucie Stern Theatre, Palo Alto

“Everything a musical V I D A L E N

should be!” D A The Mercury News P R O D U C T I N H theatreworks.org / 650.463.1960 L I A N E M R D O B S & T I M O H Y G U L A N

8 THEATREWORKS Upcoming From the Artistic Director TWSV Events PROOF POSITIVE Oct, Nov, Dec I love Proof. Our 2003 version of this Pulitzer Prize winner remains one of my fondest TheatreWorks memories. It’s a 10/14, 10/21, 10/28 play about genius, yet it speaks to everyone, focusing on PROOF the bond between fathers and daughters, on mental fragility DISCUSSION WEDNESDAYS and personal strength, on our confusion at the threshold of Post-show discussion with love. Yet one aspect of the play has resonated ever more strongly in the members of the cast and staff years since that first production, and led to its revival on our season this Mountain View Center year: Proof is also about prejudice and gender, about our lingering cultural diminishment of women in STEM and other fields that have long been dominated by men. Gender disparity is a fact of life in our Silicon Valley. 10/17 @ 5:30pm

ANYTHING GOES If Proof is full of intimidating numbers, the numbers regarding gender in The Bay Area’s Best Costume Fest our tech industry are intimidating indeed. 12.9% of Silicon Valley engineers Select a costume from TW’s are women. According to the recent report Gender Diversity in Silicon collection. Food, entertainment, Valley by law firm Fenwick & West, women make up 11% of executives & live auction open to all. within the Bay Area's top tech companies. But as our region has attained an unfortunate reputation for sexism and a “boys’ club” atmosphere, Marriott Hotel, Santa Clara gender inequality remains endemic throughout American culture, including www/theatreworks.org/give the world of the theatre. Women artists—especially playwrights, directors, and artistic leaders—have long been underrepresented in the theatre 10/21 @ 6:00pm world. This dynamic of inequity is one that we are acutely aware of at GREEN ROOM PARTY TheatreWorks, and we actively seek out female and minority artists to Appreciation party for donors inspire our work. of $750+ The “old-boy” thinking about gender portrayed in Proof is gradually Garden Court Hotel changing for the better. A recent study found that institutional gender bias Palo Alto is not a significant factor affecting women’s career progression in most academic STEM fields. Change is coming as well to the worlds of theatre 11/30 @ 6:30pm and tech. In June, composer Jeanine Tesori (who wrote TheatreWorks’ PRODUCER HOLIDAY DINNER Galileo; Violet; and Caroline, or Change) and playwright Lisa Kron became Appreciation party for donors the first female team to win a Tony Award for Best Musical for their brilliant of $10,000+ Fun Home. And Kate Mitchell, co-founder of Silicon Valley’s Scale Venture Partners, was quoted in August in the San Francisco Chronicle as saying, Garden Court Hotel “I think there’s a whole group of people in Silicon Valley right now who V I D A L E N Palo Alto D A are very invested in changing the ratio, as having that be our legacy. Not just among women, but minorities in general.” Prominent tech leader 12/12 @ 11:30am Tina Sharkey, CEO of SherpaFoundry, was hopeful as well, “These things GARDEN COURT HOTEL take time. It’s like planting seeds and watching the roots take hold.” Proof, P R O D U C T I N H / HOLIDAY TEA perhaps, that change is in the wind. Sumptuous food & beverages plus matinee tickets to Jane Austen’s Emma L I A N E M R D O B S Robert Kelley & Pricing is available for the tea only, if desired. For tickets: gardencourt.com T I M O H Y G U L A N

encoreartsprograms.com 9 TheatreWorks In-School Program: PLAYING WITH MATH

MaTh FOR EVERyOnE!

Math is an important part of our everyday lives— and not just for people who work in the STEM fields (Science, Technology, Engineering, and Math). From doubling a recipe in the kitchen, to balancing a checkbook, to making a scale model of a theatrical set—math is fundamental to how we work, create, and live. Yet, often math and other STEM subjects are taught in a more cognitive way that may be less effective for students who are more visual or experiential learners. TheatreWorks has been an innovator in addressing this challenge with our programs Playing with Math, Playing with Science, and Playing with Technology, which use theatre skills to bring STEM concepts to life in kindergarten through fifth grade classrooms. Through these in-class residencies, our assessments have shown, subject area vocabulary increase from 35% to 85%, strengthening all students’ facility with these core areas. How is a subject like math taught through theatre? On a typical day during a Playing with Math residency, you might find the classroom desks pushed to the sides of the room and the students acting out a story based on place value or making a “fraction pizza” with their bodies. Through theatrical play and physical expression, mathematical content is brought to life, making it more accessible for some learners and reinforcing the concepts for others. Working with the new Common Core Standards in California, Playing with Math addresses the Everyday Math curriculum in a fun and interactive way.

For more information on how to bring Playing with Math to your school, please contact: Katie Bartholomew, Associate Director of Education–Schools 650.463.7154 or [email protected]

10 THEATREWORKS Modern Female Mathematicians: Their Numbers Are Growing

atherine in Proof is atypical as a female mathemati- women choose not to pursue a doctorate degree in math- cian. Starting at a young age, fewer girls than boys ematics, and why they are far less likely than men to Cpursue math—in elementary school and throughout complete their PhD. high school girls score lower on standardized tests than boys Significant progress has been made over the past 50 and report enjoying mathematics less than boys do. Fewer years in improving the social position and the statistical women than men pursue graduate degrees in mathematics presence of women in higher education. In 1966, only 6% or academic positions in mathematics. The reasons given of all mathematics doctorates were awarded to women. for these differences in test scores and in representation in By 2006, that percentage had increased to 33%. Nearly academia are hotly contested among researchers. half of all undergraduate math majors are women today, One of the primary explanations for the difference in and only slightly less than half of all math Master’s students test scores is based on the research-supported assertion are women. That women feel supported, welcome, and that boys develop superior spatial skills earlier than girls encouraged enough in their departments to pursue years do. Girls may therefore need more time to work through of rigorous graduate study speaks to the real changes in the process. However, elementary and middle school math math department culture that have been made since the classes are often taught with an emphasis on finding the mid-20th century. correct solution rather than on learning the process. There is, nevertheless, much more progress to be Researchers argue that this can lead some girls, who need made. Women are still significantly underrepresented in more time than they are provided, to assume that they mathematics academia, holding only 19% of all positions. have no natural talent for math and to not further pursue This dearth of women is an important area for future the subject. improvement, because the presence of female mentors in Researchers also point to the importance of “stereo- mathematics departments can spark a “virtuous cycle”— type threat,” or the negative effect of the stereotype that female mathematics professors have a strong positive effect “boys are better than girls at math.” Girls made aware of on how welcome and accepted female students feel in the this stereotype doubt themselves and consistently perform department, and correlatively how likely they are to pursue worse than boys in testing situations, whereas, when they graduate degrees and careers in academia themselves. are unaware of the stereotype, they perform as well as boys. Female mathematics academics or women in Stereotype threat, researchers argue, is perpetuated subtly mathematically-intensive work also frequently cite a by educators, students, and even school administrators. greater pressure to prove their abilities than their male The influence of stereotype threat on female confidence counterparts. Competing against the stereotype that in mathematics is long-lasting—it is one of the top cited women are not as good as men at math, these women reasons why female mathematicians in higher education have to work harder to prove their worthiness to hold a decide to transfer from their programs. given position. This extra work and effort can result in Another reason presented by researchers as to why women being perceived as “unfeminine” and can lead to girls perform worse than boys on standardized math tests them being less well-liked by their male coworkers. is that young boys are more motivated by competition Women in math-intensive or other STEM fields can often than girls are. Researchers argue that this leads them to face a double bind between being respected or being perform better in testing than girls even when the actual liked among the coworkers in their department or office. competence between the genders is equal. This difference The efforts of researchers and sociologists to educate in motivation could dissuade women from later pursuing the public about the effect of stereotype threat have been career paths they perceive to be inherently competitive, largely effective, but have also resulted in what some see such as careers in science, technology, engineering, or as some misguided attempts by technology companies to mathematics (STEM) fields. appeal to women. Bright pink engineering toolkits for However, social rather than motivational factors appear young girls, emails targeting women in computer science to be the most influential in discouraging women from written in loopy pastel fonts, and recruiting events for studying math at a university or graduate level of study. tech companies that feature nail painting services have all Uninviting department culture, open or passive sexism and come under recent criticism. These efforts, critics say, still misogyny, and a lack of female mentors are commonly cited package STEM pursuits in gendered language, as possibly reasons why more women than men who enter college “feminine” as well as “masculine,” instead of selling STEM interested in majoring in math change their major, why careers on their pure academic appeal. – HOLLY DAYTON

encoreartsprograms.com 11 The Beauty of Mathematics

An Ulam spiral (named after mathematician Stanislaw Ulam), puts into a visual context, relationships of prime and composite numbers.

12 THEATREWORKS “There is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics (mathematicians conceived of black holes long before astronomers actually found any), and allows more freedom of expression than poetry, art, or music (which depends heavily on properties of the physical universe). Mathematics is the purest of the arts, as well as the most misunderstood.” – Paul Lockhart, teacher of mathematics, from A Mathematician’s Lament

s much as mathematics amateurs may find general public why some academics spend their math uninteresting, dry, and maddeningly entire lives pursuing mathematical proofs—because precise, mathematicians speak of their work they find the process exhilarating, because it poses Ain the most artistic, abstract, and creative terms. a challenge to the limits of their creative thinking, They describe the process of crafting a proof as a and because they are exploring a mathematical reality combination of the search for a creative spark, akin that exists above and beyond the facts of everyday to the quest of a painter for inspiration for his next existence. canvas, and of painstaking hard work, much like the Some mathematicians find beauty in the patterns long rehearsal process to prepare a symphony for surrounding specific numbers. Apostolos Doxiadis, performance. Sir Michael Atiyah, Fields Medal winner author of Uncle Petros and Goldbach’s Conjecture, and former president of the London Mathematical coined the term “friendship with the integers” to Society, described the dual nature of mathematical describe this condition. To be a “friend of the research, saying: integers” is to know some of the thousands of quirks, odd facts, and strange patterns that occur between In the broad light of day mathematicians numbers, and to think about numbers in terms of check their equations and their proofs, those associations. A friend of the integers would leaving no stone unturned in their search 8 instantly recognize 256 as 2 and associate it with its for rigor. But, at night, under the full moon, neighbor, 257, which is an intriguing number because they dream, they float among the stars and 8 it can be expressed as 2 +1, which fits into a famous wonder at the miracle of the heavens. hypothesis saying all numbers that could be expressed They are inspired. Without dreams there is 2n as 2 +1 were prime (as 257 is). The joy in finding no art, no mathematics, no life. patterns between given integers can be analogized Mathematicians say that they do not set out to to the happiness some find in rapping or sketching— create proofs that are beautiful—they set out to the creative release of bringing to life the connections, solve problems or prove conjectures—yet many the rhymes, the physical parallels that one sees in mathematicians attest that they know their results associated forms. are correct when they are beautiful. The consistency Prime numbers bring a particular degree of joy to and simplicity of the final product seems to speak to mathematicians. The patterns between prime numbers its truth. As mathematician, designer, and author have even been given names by the mathematics Buckminster Fuller wrote, “When I am working on a community—twin primes are two apart (41,43), cousin problem I never think about beauty. I only think about primes are four apart (7,11), sexy primes are six apart how to solve the problem. But when I have finished, (5,11), absolute primes are prime regardless of how if the solution is not beautiful, I know it is wrong.” their digits are composed (199, 919, 991), and snow- Godfrey Hardy, author of A Mathematician’s ball primes are prime even before you finish writing all Apology, wrote, “The mathematician’s patterns, of the digits. Proofs about prime numbers distinctly like those of the painter’s or the poet’s, must be capture the imaginations of mathematicians because beautiful; the ideas, like the colors or the words, must they operate in the realm of pure mathematics and fit together in a harmonious way.” Hardy wrote his deal with which patterns are and which are not Apology with the intention of explaining to the provable up to infinity, a thrillingly abstract concept. – HOLLY DAYTON

encoreartsprograms.com 13 About Playwright David Auburn and PROOF

avid Auburn was born on November 30, with her. It was in London that he penned the first 1969 in Chicago, Illinois. His early childhood draft of Proof. was spent in Ohio, then in 1982 his family Aiming for a more character-driven play, Auburn Dmoved to Arkansas. His father was an academic who started out with two ideas—“One was to write about held both teaching and administrative positions at two sisters who are quarreling over the legacy of several universities, including Ohio State University, something left behind by their father. The other Indiana University–Purdue University Fort Wayne, and was about someone who knew that her parent had The University of Akron. had problems of mental illness.” He decided to use After graduating high school in 1987, Auburn mathematics as the backdrop for the play, recognizing returned to the city of his birth, choosing to study in the math world “a competitive, eccentric, Political Science at the University of Chicago. It passionate subculture that’s inherently dramatic in wasn’t long, though, before he realized his true many ways.” passion lay outside of the political arena. He began Though he himself was not a mathematician, writing for and performing with the sketch comedy Auburn had learned in college that he “could teach group Off-Off Campus. He also immersed himself in [himself] enough about a strange subject in order to Chicago’s vibrant theatre scene, writing reviews for say something about it—not necessarily as an expert, the campus newspaper “so that [he] could get tickets but to be able to participate in the conversation.” He to all the plays.” He switched his major to English attributes this “intellectual swagger” to his time at Literature, and earned his bachelor’s degree in 1991. University of Chicago, which also serves as the setting That same year, Auburn won a screenwriting for the play. fellowship, and packed his bags for Hollywood. He Auburn did a lot of reading to help understand spent the following year at Stephen Spielberg’s the world of mathematicians. He started with production company Amblin Entertainment, working A Mathematician’s Apology by G.H. Hardy, which he on a screenplay that in his words, “didn’t really go describes as “a classic work about doing math and anywhere.” His next move was to New York, where science and their aesthetic appeal.” While developing he committed himself to a life in theatre. the script he also sought feedback from mathemati- Auburn described those early years in New York: cians. According to Auburn, “the interest of "I founded a theatre company with friends, and we mathematicians in the play,” both during the writing put on shows in tiny theatres, and I worked at boring process and in the years since its premiere, “has been jobs. I temped a lot." In addition to temping, Auburn one of the most gratifying things to happen.” was accepted into Julliard’s playwriting program, The first draft came quickly, followed by a long where he studied under theatrical legends Marsha period of revisions. The Manhattan Theatre Club Norman and Christopher Durang. staged a reading of the script in April 1999, and It was at Julliard that Auburn wrote his first immediately scheduled Proof for their next mainstage full-length play, Skyscraper, which was produced season. In the year between that first reading and the off-Broadway at Greenwich House in 1997. The world premiere, Auburn took a job writing scripts for reviews were mixed. The New York Times called it television documentaries, got married, and wrote “as rigorous—and emotionally arid—as a master’s another play. He also won a Guggenheim Foundation thesis.” The script was criticized for being too fellowship and a Helen Merrill Playwriting Award. complex and the characters not fully developed— Proof had its world premiere off-Broadway at criticism that Auburn resolved to address in his next the Manhattan Theatre Club in May 2000, starring play. Though the production was hardly what one Mary-Louise Parker as Catherine. The production was would call a resounding success, it did catch the a great success, and moved to Broadway, cast intact, attention of the Manhattan Theatre Club. He was that autumn. asked to show them his next work. To say that 2001 was a good year for Auburn When his fiancée’s PhD research required that she would be an understatement. Proof won the Drama move to London, Auburn quit his day job and went Desk Award for Best New Play, the Lucille Lortel

14 THEATREWORKS in 2001 and had a national tour in 2003. The Journals of Mihail Sebastian, Auburn’s one-man show about the eponymous Romanian novelist, debuted in 2004. In the following years, Auburn authored a number of screenplays, including the 2005 film adaptation of Proof starring Gwyneth Paltrow, the 2006 romantic drama The Lake House with Sandra Bullock and Keanu Reeves, and the 2007 drama The Girl in the Park, which he also directed. When asked about his turn to screenwriting, Auburn said “I like working in as many modes as I can. I enjoy the variety. But I want the Playwright David Auburn theatre to be the main place I belong. That’s where I get the most pleasure.” Award for Outstanding Play, the New York Drama He did eventually turn his attention back to the Critic’s Circle Best Play award, the Pulitzer Prize for theatre. In 2012 Auburn’s The Columnist opened on Drama, and the Tony Award for Best Play. Broadway—a new play about influential Vietnam-era Proof enjoyed a three-year Broadway run, as well journalist Joseph Alsop. Lost Lake, Auburn’s two- as a national tour. It became an instant hit in regional character play about a pair of strangers thrown theatres—by 2002 it was the most-produced play in together in a dilapidated vacation home, was staged the United States. TheatreWorks was among the off-Broadway in 2014. Both were produced by the scores of companies mounting the play in the years Manhattan Theatre Club. following its Broadway triumph—our first staging of Though it’s been a decade since Proof last graced Proof was in 2003. American Theatre magazine’s Top 10 Most-Produced After Proof, Auburn served as script consultant on Plays list, it is still far and away Auburn’s most the late Jonathan Larson’s tick, tick…BOOM! Auburn acclaimed work. Its themes resonate every bit as much arranged and revised songs and autobiographical today as they did fifteen years ago, and audiences monologues previously performed by Larson into a both familiar with and new to the work are still hungry three-character musical, which opened off-Broadway for Proof. – KATIE DAI

Diversity at the University of Chicago

obert and Catherine’s large old house in Proof admitting African American students. is located in Hyde Park, one of the two major African American matriculation was very neighborhoods that surround the University low in the late 19th and early 20th centuries, Rof Chicago. Though the neighborhoods of Chicago are but a precedent of integration was set, and have long been racially segregated and rife with and the percentage of African American racial tension, University of Chicago and Hyde Park are students in the University student both exceptional for their historically high degrees of body slowly rose over the following racial integration. decades. The old University of Chicago, founded in 1857, Social integration happened technically became open to admissions for African more slowly than academic Americans in 1872, long before most American univer- integration—early yearbooks provide no photos or sities chose to integrate. The old University struggled Georgiana Simpson documented evidence that financially and officially closed its doors in 1886. A new in 1921, one of the University of Chicago, operated by different adminis- African American students first African American women to receive a trators but with the same name, opened in 1890 and doctorate degree in followed the precedent of the previous University by Continued on page 18 the United States.

encoreartsprograms.com 15 Director’s Notes by Leslie Martinson

“as far as the laws of mathematics refer to reality, they are not certain, and as far as they are certain, they do not refer to reality.” – Albert Einstein

avid Auburn dives right into the dilemma of mental illness are a delicate aspect onstage, but I knew “certainty” in Proof. How do you know what he was just the actor to bring a blend of genius and you know? Playwrights, like mathematicians, madness, and a balance of fatherly love and professori- Dlook for patterns. But reality resists the rhythm, and al discipline. He lets us see through the eyes of a always seems to break the pattern, until perhaps a new thinker who has traveled far from day-to-day concerns. pattern emerges. With L. Peter in place, we built an African-American I was lucky enough to see Auburn’s masterpiece family for our production, quite fitting for this very when it was first produced, and it has been a favorite Chicago play. I’m intrigued by the further resonance of mine ever since. Proof is an elegant, elusive play. this brings to Catherine’s situation. She’s running up The writing has a clear, tight surface but many against one set of challenges as a young, American complexities underneath. It’s a father-daughter play woman; being a young, black, American woman adds and also a play about adult sisters. There is romance another layer of cultural norms and expectations for and there is isolation. Children and parents switch her to negotiate. roles, then switch back. We see genius which creates I remember feeling the attraction of mathematics and genius which disintegrates. And all with only four when I was a student—the drive of logical progressions, characters. the momentum of building on one theorem to the

The character of Catherine brings to life that mad- next, and the notion that we could capture the wild

dening exasperation we have all felt when we are complexities of the natural world in equations. As underestimated. When nobody else grasps what you another fictional young woman of mathematical are talking about, you can begin to doubt yourself. aptitude says in Tom Stoppard’s play Arcadia, “God's Catherine’s delight in the mysteries of mathematics is a truth, Septimus, if there is an equation for a curve like a

routine part of her life with her father, Robert, nothing bell, there must be an equation for one like a bluebell, extraordinary to the two of them. But to a society and if a bluebell, why not a rose?” Pinning it down on which measures such abilities in college degrees, she paper through numbers and symbols did seem like a is an anomaly. In addition, we live in a society which, grand exploration to me. dangerously, considers mathematical abilities a Those pernicious gender norms were at work, masculine trait. According to a Time magazine article however. I know precisely the Palo Alto classroom a few years ago, “about 9% to 16% of tenure-track where I took calculus in high school. I remember positions in math-heavy fields are occupied by women” standing at the teacher’s desk one day, the afternoon even though “women graduate with baccalaureate light slanting through the windows, as the teacher degrees in math at the same rate as men, and since handed back my test paper, the score marked in the the mid ’90s more than a quarter of the math PhDs corner with felt tip pen. He proudly informed me I have gone to women.” There’s a complicated equation had the highest score—of the girls. As though I should of discrimination, socialization, expectations, and be satisfied to reach so high, but no higher. I feel stereotypes setting up the gender imbalance. lucky now that my teenage self-esteem had other Casting for this production began with the charac- sources, and so my reaction was mostly amusement. ter of Robert. Imagining Bay Area stalwart L. Peter How silly he was, to think the math cared who was or Callender in the role brought everything into focus for wasn’t a girl. Who taught you to believe in yourself? How do me. If you’ve seen his work here at TheatreWorks and at many other theatres (and I hope you have), can’t you know what you know? Ask yourself the questions you see him as your favorite professor? Questions of Catherine faces, as you enjoy Proof.

16 THEATREWORKS TheatreWorks S I L I C O N V A L L E Y

presents PROOF By David Auburn

Directed by Leslie Martinson

Scenic Designer annie Smart Costume Designer noah Marin Lighting Designer Steven B. Mannshardt Sound Designer Gregory Robinson Casting Director Leslie Martinson New York Casting Director alan Filderman Stage Manager Melissa Jernigan

Originally produced by Manhattan Theatre Club on May 23, 2000. Subsequently produced on Broadway by Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer), Roger Berlind, Carole Shorenstein Hays, Jujamcyn Theatres, Ostar Enterprises, Daryl Roth and Stuart Thompson on October 24, 2000. PROOF is presented by special arrangement with Dramatists Play Service, Inc., New York.

PRODUCERS Lisa & Marc Jones

ASSOCIATE PRODUCERS Edward Hunter & Michelle Garcia

SEASON SPONSORS Garden Court Hotel • J. Lohr Vineyards & Wines • The Sobrato Family Foundation

SEASON MEDIA SPONSOR The Mercury News

PROOF plays October 7–November 1, 2015

encoreartsprograms.com 17 THE CAST (In order of appearance)

Robert L. Peter Callender Catherine Michelle Beck Hal Lance Gardner Claire ashley Bryant

The Actors and Stage Managers employed in this production are Members of Actors Equity Association, the Union of Professional Actors and Stage Managers in the United States

SETTING The back porch of a house in Chicago.

PROOF WILL BE PERFORMED WITH ONE 15-MINUTE INTERMISSION.

Diversity at the University of Chicago Continued from page 15

participated in broader campus activities. A change the United States to present doctorates to began to occur in the 1930s and 40s through African American women: Eva Dykes, Sadie the growth of an interracial arts community. Off- Alexander, and Georgiana Simpson. In 1947, the campus events and writing workshops, such as University was the first high-ranking institution to those at the Southside Community Arts Center grant tenure to an African American professor and the George Cleveland Hall Branch of the when it gave tenure to Allison Davis, Professor of Chicago Public Library, provided students of all Education. By 1943, the University had granted races opportunities to connect in a wider artistic more than 45 African-American students PhDs, and social network off-campus. more than any other college or university in the The earliest African American undergraduates nation. Today, African American students make up to receive degrees from the new University were 4.5% of the University of Chicago student body, Cora Jackson (1896), Spencer Dickerson (1897), less than at other major research universities like and Robert Wright, Jr. (1901), and the earliest Duke (9.9%), Columbia (7.5%) and Stanford graduate students received their degrees over the (6.1%), but more than at the vast majority of following decade. Many of the African American research institutions. As of 2007, there were 71 students who graduated from the University of African American members of full-time faculty at Chicago went on to have impressive careers in the University of Chicago, 12 of whom had tenure higher education, including Carter Woodson and one of whom was the chair of a department. (1908), who spearheaded Negro History Week in Notable black graduates from the University 1926, the precursor to Black History Month, and of Chicago include Carol Moseley-Braun, the first Benjamin Mays, who earned his PhD from the African American woman elected to the U.S. Divinity School in 1935 and went on to be a Senate, Jewel Lafontant, a United Nations dele- professor at Howard University and the President gate, Eileen Southern, the first African American of Morehouse College. female professor at Harvard, Thomas Sowell, an The University has set various national prece- economist and Stanford Hoover Institution dents for encouraging diversity in academia. In Fellow, and James Parsons, the first African 1921, the University became the first institution in American Federal District Court Judge. – HOLLY DAYTON

18 THEATREWORKS Who’s Who

MIChELLE BECK and King John (Shakespeare and (Catherine) is making Company) Ms. Bryant’s TV and film her TheatreWorks credits include Youth, Blue Bloods,

Silicon Valley debut. Gossip Girl, The Knick, Nurse Jackie,

She recently per- and Show Me a Hero. She received formed on Broadway her BFA from the University of Utah

in A Raisin in the and her MFA from The Yale School Sun with Denzel Washington. She of Drama. performed in The Bridge Project—

As You Like It /The Tempest for L. PETER Brooklyn Academy of Music and The CaLLEnDER Old Vic Theater. Off-Broadway credits (Robert) is Artistic include A Kid Like Jake for Lincoln Director of Center; Richard III, Love’s Labor’s African-American Lost, Tempest workshop for Public Shakespeare Theater; Much Ado About Nothing Company in San for Theatre for a New Audience; Francisco, and a proud member of Uncle Vanya for The Pearl Theatre Actors’ Equity Association. His Company; and Measure for Measure credits at TheatreWorks include BRITEX for Epic Theatre Ensemble. Regional Radio Golf (Sterling) and To Kill a credits include Twelfth Night for Mockingbird (Reverend Sykes). He Chicago Shakespeare Theater; has appeared on Broadway in Hamlet for Shakespeare Theater; Prelude to a Kiss, and on several THE Tartuffe for McCarter Theatre/Yale noted Bay Area stages, including Repertory Theatre; and Oregon California Shakespeare Theater INGREDIENTS OF Shakespeare Festival. Television/film (over 40 plays); Berkeley Repertory SAN FRANCISCO credits include Madam Secretary, Theatre (SPUNK); American STYLE Sam & Julia, and Spinning into Conservatory Theater (Tempest, Four floors of the Butter. She graduated summa cum Tartuffe); San Jose Stage Company finest fabrics since 1952. laude from SUNY Purchase, BFA. (RACE); and Aurora Theatre www.thisismichellebeck.com Company (Breakfast with Mugabe, Permanent Collection). He is the aShLEy BRyanT recipient of several theatre awards: (Claire) is pleased to SF Bay Guardian’s Goldie Award be making her (Best Actor), the East Bay Express TheatreWorks Silicon Best of the East Bay Award, Bay Valley debut. Her Area Theatre Critics Circle Award Broadway and New for World Music at TheatreFIRST, York theatre credits and the SF Chronicle’s MVP Award include A Free Man of Color (Lincoln for 2015. He is a Visiting Professor Center Theatre) and Eve Ensler’s at Stanford teaching Acting 146 GEARY STREET SAN FRANCISCO Emotional Creature (Signature Shakespeare and Fundamentals of JUST OFF UNION SQUARE Theatre and Berkeley Repertory Directing. BRITEXFABRICS.COM 415 392 2910 Theatre). Her regional credits include MON - SAT 10-6 Ruined (Florida Studio Theatre), Sheila’s Day (Crossroads Theatre; The Market Theatre in South Africa),

encoreartsprograms.com 19 Who’s Who

LanCE GaRDnER Apparel and Anna in the Tropics, and thing at Marin Theatre Company; (Hal) is pleased to performed multiple staged readings A Midsummer Night’s Dream at return to for the Young Playwright’s Project. California Shakespeare Theatre; Rust TheatreWorks, He has appeared on stage in at Magic Theatre; T.I.C. with Encore where he appeared Yellowjackets at Berkeley Repertory Theatre; Skin at Climate Theatre; in Superior Donuts Theatre; Equivocation, A Streetcar Angels in America at City Lights and Auctioning Named Desire, Lovers & Executioners, Theatre Company; and more. Mr. the Ainsleys, understudied Intimate and A Brief History of Nearly Every- Gardner also performs regularly as the drummer for the San Jose based rock band Vie Victus.

DaVID aUBURn (Playwright) is a Chicago-born playwright. He is best known for his 2000 play Proof, which won the 2001 Tony Award for Best Play and the 2001 Pulitzer Prize for Drama. He wrote the screenplay for the film version of Proof, which was released in 2005, starring Anthony Hopkins and Gwyneth Paltrow. His Pinewood is an independent, coeducational, non-profit, other plays include Skyscraper, What K–12PI Ncollege-prepEWO school.OD Students benefit fromsmall Do You Believe About the Future?, class size, challenging academic curricula, The Columnist, and tick, tick… BOOM! (as a script consultant). In addition to the screenplay for Proof, Kthrough 12 he wrote the screenplay for The Passionate Expertise and a wide choice of enrichment activities. Lake House, starring Sandra Bullock We offer an environment where each student is and Keanu Reeves. He has been High Academic Expectations a respected and vital member of our awarded the Helen Merrill Playwriting Unlimited Exploration educational community. We invite you to explore Award and a Guggenheim the opportunity for your student to become a part of the Fellowship. He currently lives in Grounded Moral Examples Pinewood tradition of academic excellence. For more Manhattan. Confident Self-Expression information, please visit our website. www.pinewood.edu LESLIE MaRTInSOn (Director) is TheatreWorks’ Associate Artistic Director and Casting Director. Her many TheatreWorks directing credits include the regional premieres of Water by the Spoonful and Time Stands Still, and the West Coast premieres of The Pitmen Painters and Superior Donuts. A graduate of Occidental College, she has been a Watson Fellow in political theatre, a member of Lincoln Center Director’s Lab, a member of the La MaMa

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International Directing Symposium, Haven; A Contemporary Theatre, TheatreWorks productions, including and has served on Theatre Bay Seattle; American Repertory Theater, Wheelhouse, Of Mice and Men, Now Area’s Theatre Services Committee Cambridge; Studio Arena Theatre, Circa Then, Pitman Painters, Secret since 2002. She was awarded an Buffalo; Magic Theatre; Pasadena Garden, Clementine in the Lower 9, Individual Artist Fellowship in Stage Playhouse; The Weston Playhouse and Sense and Sensibility. He also Direction from the Arts Council of Theatre Company, Vermont; assisted on Broadway productions of Silicon Valley for artistic achievement Vancouver Playhouse Theatre Ragtime and Blithe Spirit. Other and community impact. She leads Company; and Olympia Theatre, assistant design credits include master classes and audition work- Dublin, Ireland. Mr. Mannshardt Westport Playhouse (She Loves Me), shops throughout the Bay Area, previously taught lighting design at Berkeley Repertory Theatre (Three and is a Performance Coach in Santa Rosa Junior College for 14 Sisters), California Shakespeare leadership communication training years and now runs an organization Theater (Titus Andronicus), Marin with Stand and Deliver Group. dedicated to improving the educa- Theatre Company (The Seagull), and tion system for both children and Magic Theatre (Why We Have a MELISSa JERnIGan (Stage adults in Nepal. www.nepal.wwep.org Body). His film credits include Manager) is thrilled to be making Disney’s The Sorcerer’s Apprentice. her TheatreWorks debut with this nOah MaRIn (Costume Designer) He earned his MFA from Brandeis in production of Proof. Her favorite is TheatreWorks’ Assistant Costume Boston and BFA from San Francisco theatrical credits include Broadway’s Designer, and designed costumes State, both in costume design. He is Lennon (Production Assistant); for 2 Pianos 4 Hands and Warrior a proud father to his newborn son Off-Broadway’s Fela! Lagos tour; Class. He has assisted on many Baxter, born June 27. David Cromer’s Our Town; John Leguizamo’s Work In Progress; The New York Civil Liberties Union’s Broadway Stands Up for Freedom; Beauty of the Father (Manhattan Theatre Club); Abundance and Breath & Imagination (Hartford Stage); Our Town starring Helen Hunt (The Broad Stage, Santa Monica); various workshops for GLEIM American Conservatory Theater; and Lasso of Truth at Marin Theatre Company. Ms. Jernigan also serves as Associate Producer for the New York City-based On the Leesh Productions.

STEVEn B. MannShaRDT (Lighting Designer) has been the lighting designer for over 70 productions at TheatreWorks, having won numerous Bay Area Theatre Critics Circle, Theatre Bay Area and Dean Goodman Choice Awards for his work. His regional design credits include Long Wharf Theatre, New

encoreartsprograms.com 21 Who’s Who

GREGORy ROBInSOn (Sound Designer) has designed sound for Water by the Spoonful (Bay Area Theatre Critics Circle Award, Best Sound Design), The Pitmen Painters, Snow Falling on Cedars, Living Out, You Can’t Take It With You, An American Daughter, Be Aggressive, and Present Laughter. His sound design, sound effects, music, and recordings have been featured in local, regional, and national radio Managing Director Phil Santora and Artistic Director Robert Kelley Y G A N O and television advertisements, T E R documentaries, corporate video, and theatre. He has created and Theater); In the Next Room (Lyric Angels, Peter and the Starcatcher, produced sound designs for AC Theatre, Broadway); and Big Love Sweeney Todd, Marry Me a Little, Transit, Amazing People LLC (Brooklyn Academy of Music). She is The Hound of the Baskervilles, Once (London), Bank of America, Brava originally from London where she on This Island, Little Women, Being Theatre, California Lottery, Carlos designed for The Royal Court, Joint Earnest, and Big River. Santana, Deborah Santana, HBO, Stock Group, and The National Ivory Coast Pictures (Hollywood), Theatre, among many others. She is PHIL SANTORA (Managing Lorraine Hansberry Theatre, Magic the lecturer for Costume and Director) joined TheatreWorks in Theatre, Safeway, The United Way, Scenography at UC Berkeley. 2007. He has served as Managing Wells Fargo, and many others. Mr. Director of Northlight Theatre Robinson is a motion picture pro- ROBERT KELLEy (Artistic Director) (Chicago) and Georgia Shakespeare duction sound recordist and post- is a Bay Area native and Stanford Festival (Atlanta), as well as production sound editor for the University graduate. He founded Development Director for Great Academy of Art San Francisco, in TheatreWorks in 1970 and has Lakes Theatre Festival (Cleveland) the Motion Picture and Television directed over 165 TheatreWorks and George Street Playhouse (New Department. productions, including many world Brunswick). He holds an MFA in and regional premieres. He has Theatre Administration from the annIE SMaRT (Scenic Designer) received the Silicon Valley Arts Yale School of Drama and a BA in designed the sets for TheatreWorks’ Council’s Legacy Laureate Award; Drama from Duke University. He is Silent Sky, Auctioning the Ainsleys, the Bay Area Theatre Critics Circle Vice President of the National Theophilus North, and Brooklyn Boy. Paine Knickerbocker Award for life- Alliance for Musical Theatre Board. Other recent local work includes time achievement; BATCC Awards Prior board service includes the Dear Elizabeth (Berkeley Repertory for Outstanding Direction for his League of Chicago Theatres, Atlanta Theatre); Lady Windermere’s Fan productions of The Hound of the Coalition of Theatres, and the (California Shakespeare Theatre); Baskervilles; Into the Woods; Pacific executive committee of the League Next Fall (San Jose Repertory Overtures; Rags; Sweeney Todd; of Resident Theatres (LORT). He Theatre); Sweet Charity (Center Another Midsummer Night; Sunday was named 2000’s Best Arts REPertory Company); and Another in the Park with George; Jane Eyre; Administrator by Atlanta Magazine Way Home (Magic Theatre). New and Caroline, or Change; and Back and received the Atlanta Arts and York area shows include Othello Stage West Garland Awards for his Business Council’s 1998 ABBY (Theatre for a New Audience); Fen, direction of Side Show and Sunday Award for Arts Administrator. Ice Cream and Hot Fudge, Taking in the Park with George. He recently Over, and Passing Strange (Public directed The Country House, Fallen

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HERSHEY FELDER / PHOTO EIGHTY EIGHT ENTERTAINMENT TheatreWorks Silicon Valley Contributors

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Visionary Producers Janet Strauss & Jeff Hawkins Dan & Catharine Garber Leslie & Douglas Murphy- ($50,000 and above) Lynn Szekely-Goode & Sylvia & Ron Gerst Chutorian Ann S. Bowers Dr. Richard Goode Kathryn Green Beth & Charlie Perrell Dr. & Mrs. W. M. Coughran, Jr. Mark & Teri Vershel Richard & Kathy Hawes Joe, Nancy, Sam & Sara Ragey Anne & Larry Hambly Lisa Webster Judy Heyboer and Brian Shally Adam Samuels The Dirk & Charlene Kabcenell William J. Higgs Dorothy Saxe Foundation Producers Pitch & Cathie Johnson Martha Seaver & Scott Walecka Morgan Family Foundation ($10,000 to $24,999) Lisa & Marc Jones Leonard Shustek & Ray & Meredith Rothrock Marsha & Bill Adler Mike & Martha Kahn Donna Dubinsky Lois & Dr. Edward Anderson Julie Kaufman Larry & Barbara Sonsini Executive Producers Elaine Baskin & Ken Krechmer Robert Kelley & Ev Shiro Rick Stern & Nancy Ginsburg Stern ($25,000 to $49,999) Lucy Berlin & Glenn Trewitt Tom & Sharon Kelley Debra Summers Anonymous Jayne Booker Robin & Don Kennedy Holly Ward & Scott Spector Bruce Cozadd Bredt Family Fund at Truckee Phil Kurjan & Noel Butler Watkins Family Charitable Fund Yogen & Peggy Dalal Tahoe Community Foundation Dorothy Lazier Carol Watts The John & Marcia Goldman Steve & Gayle Brugler Mark & Debra Leslie Harriet & Frank Weiss Foundation Steven & Karin Chase Mark Lewis & Barbara Shapiro Bill & Janne Wissel Larry Horton & George Wilson George & Susan Crow Marks Family Foundation Gayla Lorthridge Wood & Michelle & Michael Kwatinetz Gordon & Carolyn Davidson The Marmor Foundation/ Walt Wood Mendelsohn Family Fund Jenny Dearborn & John Tarlton Drs. Michael & Jane Marmor Loren & Shelley Saxe Susan Fairbrook Suzanne Martin & John Doyle Cynthia Sears AV Flox & Yonatan Zunger

THE INNER CIRCLE Holly Ward & Jayne Booker, Co-Chairs Members of The Inner Circle contribute a minimum of $1,500 each season and enjoy a variety of benefits including priority subscription seating, VIP ticket purchases and exchanges, access to house seats on Broadway, and invitations to Meet-the-Artists events. Contact Hans Cárdenas at 650.463.7155 or [email protected] for more 45 for 45Circle information. Associate Producers Directors TheatreWorks 45 for 45 Circle members have made a multi-year ($6,000 to $9,999) ($3,000 to $5,999) pledge of $45,000 or more to honor Robert Kelley and TW’s Anonymous Anonymous (3) 45th Anniversary. Contact Jodye Friedman at 650.463.7135 or Greg & Michelle Becker Paul Asente & Ron Jenks [email protected] for more information. David & Ann Crockett Carol Bacchetti John & Susan Diekman Paul & Debbie Baker Elaine Baskin & Ken Krechmer Carole & Michael Marks David E. Gold & Joel & Wendy Bartlett Ann S. Bowers Suzanne Martin & Irene Blumenkranz Jim Bassett & Lily Hurlimann Gayle & Steve Brugler John Doyle Linda M. Hinton & Vince Foecke Anne & Buz Battle Edward Hunter & Michelle Garcia Katherine Bazak & John Dohner Bruce Cozadd Mendelsohn Family Fund Thomas Kailath & Anu Maitra The BelleJAR Foundation Gordon & Carolyn Davidson Rebecca & James Morgan Larry Kramer & Sarah Delson David & Lauren Berman Sylvia & Ron Gerst Cynthia Sears Dick & Cathy Lampman Marah & Gene Brehaut Anne & Larry Hambly Barbara Shapiro & Sue & Dick Levy Kathy Bridgman Judy Heyboer & Brian Shally Mark Lewis Irv Lichtenwald Bruce & Gail Chizen Julie Kaufman Mark & Teri Vershel Rob & Ann Marangell Dean & Wilma Chu Tom & Sharon Kelley Lisa Webster Kevin McCoy Diane & Howard Crittenden Yvonne & Mike Nevens David & Ann Crockett Phil Kurjan & Noel Butler Watkins Family Charitable Bill & Janet Nicholls Jeff & Amy Crowe Michelle & Michael Kwatinetz Fund Tom Rindfleisch & Carli Scott Randy Curry & Kay Simon Dorothy Lazier Carol Watts Philip Santora & Cristian Asher Craig Dauchy & Sue Crawford Mark & Debra Leslie Janne & Bill Wissel Ron & Lila Schmidt Ranae DeSantis Nancy & Bart Westcott John & Wynne Dobyns Richard & Josephine Ferrie Gayle Flanagan Peggy Woodford Forbes & Harry Bremond

24 THEATREWORKS Peter & Rose Friedland Players Barbara Franklin & Bernie Loth Lynn & Susan Orr Terry & Carolyn Gannon in honor ($1,500 to $2,999) Katherine Fraser & Steve Larson Richard Partridge of Robert Kelley Anonymous (4) Jodye & Jonny Friedman David Pasta in memory of Ciro & Eileen Giammona Marc & Sophia Abramson Jay & Joyce Friedrichs Gloria J.A. Guth Peter & Laura Haas Douglas & Loretta Allred Markus Fromherz & Heike Schmitz Carrie Perzow & Von Leirer Elaine & Eric Hahn Mary Ann Anthony & Ken Fowkes Marilee Gardner Carey & Josh Pickus Emeri & Brad Handler Peter Bacchetti Shoshana & Martin Gerstel John & Valerie Poggi David & Noreen Henig Lisa Backus & Nancy & Charles Geschke Susan Pritzker Jerre & Nancy Hitz Anthony Montefusco Renee & Mark Greenstein Kathy & Gary Reback Maureen Hoberg Shirley Bailey Nancy & Bill Grove Karen & John Reis D & J Hodgson Family Foundation Doug & Marie Barry Barbara Gunther Eddie Reynolds & Ed Jones Perry A. Irvine & Pat Bashaw & Gene Segre Jim & Linda Hagan Edward & Verne Rice Linda Romley-Irvine Elizabeth & George Bechtel Russell & Debbie Hall Paul & Sheri Robbins Barbara Jones Don & Deborah Bennett Craig & Deborah Hoffman in Alicia Rojas & Howard Lyons Claiborne S. Jones Stuart & Marcella Bernstein memory of Susan Woods Robert & Suzanne Rubenstein Jack Jorgenson Dr. Barbara L. Bessey in memory Anne & Emma Grace Holmes Alan Russell & Fred Thiemann Louise Karr of Dr. Kevin J. Gilmartin David Hornik & Jim & Maureen Sansbury Arthur Keller Charlotte & David Biegelsen Pamela Miller-Hornik Joseph & Sandy Santandrea Chris Kenrick Wendell & Celeste Birkhofer Susan M. Huch Elizabeth & Mark Schar Hal & Iris Korol Bob & Martha Bowden Sudhanshu & Lori Jain Lee & Kim Scheuer Bill & Terry Krivan Michael & Leslie Braun Leigh & Roy Johnson Tom & Hilary Schroeder Arlene & Jack Leslie Ellen & Marc Brown Craig & Gina Jorasch Family Fund Charles G. Schulz & Claire E. Taylor Sue & Dick Levy Chet & Marcie Brown Mr. & Mrs. Abdo Kadifa Carolyn Schutz* Robert J. Lipshutz & Jeff & Maureen Burnham Ruth Ann & David Keefer Pamela & Rick Shames Nancy Wong, MD Christine B. Butcher+ Cynthia & Bert Keely Jack & Dorothy Shannahan Richard & Charlene Maltzman in Eric Butler MD & James Kern & Monica Donovan Sarah Shema & Neyssa Marina memory of Carol Adler Suzanne Rocca-Butler Alison & Steve Krausz Marge & Jim Shively The Merrimac Fund Jeff & Deborah Byron Mr. & Mrs. Lawrence Kubal Carolyn & Rick Silberman Myrna & Hy Mitchner, PhD Calvin & Jennifer Carr Woof Kurtzman & Liz Hertz Gerry Sipes Gillian & Tom Moran Ron & Sally Carter Linda Lester Ellen & Ed Smith Richard Niblock Josephine Chen & Donald & Rachel Levy Dane & Marnie Snow Margo & Roy Ogus Stephen Johnson Dan’l & Susan Lewin Denise & Jim Stanford In memory of Pearl Reimer William & Nancy Cohen Janet Littlefield & Geraldine Steinberg Orli & Zack Rinat Martha Cohn William Coggshall Jim Stephens & Abraham Brown Betsy Boardman Ross Jodi Corwin & Irv Duchovny in Drs. John & Penny Loeb The Sher-Right Fund Mark & Martha Ross memory of Milt, Michael, & Jack Tom & Sally Logothetti Lydia Tan & John Barton Rita & Robert Rove Richard & Anita Davis Chris Lunt & Rachel Kohls-Lunt Jan Thomson & Roy Levin Edward & Jane Seaman Scott & Edie DeVine Malcolm MacNaughton Helaina Titus Bart Sears Douglas Dexter Joe Margevicius Tzipor Ulman & Yigal Rubinstein Francesca Sherrill & Tony diBellis Dennis & Cindy Dillon Anne B McCarthy Robert J. Van der Leest, MD Joyce Reynolds Sinclair & Pamela Dougherty Patricia McClung & Allen Morgan Mimi & Jim Van Horne Dr. Gerald M. Sinclair Robert & Carol Dressler Patricia McGuigan Margaret & Curt Weil Susanne Stevens & Monte Mansir Jack & Marcia Edelstein Gerald & Betty McIntyre Paul & Barbara Weiss Anthony & Rosina Lo Sun* Ann and Matt Eisenberg Dave & Carolyn McLoughlin Elissa Wellikson & Tim Shroyer Catherine & Jeff Thermond James J. Elacqua Rani Menon & Keith Amidon Ken & Ruth Wilcox Craig & Susie Thom Sue & Jeff Epstein Shauna Mika & Rick Callison Bruce & Elinor Wilner Brent & Michèle Townshend Frances Escherich Buff & Cindy Miller Neil & Ann Wolff Ted & Betty Ullman Curtis Feeny Sondra Murphy & Jeremy Platt Bill & Sue Worthington Griff & Lynne Weber Sheldon Finkelstein & Eileen Nelson & Hugh Franks Barbara & Paul Weiss Beatriz V. Infante Annie Nunan* Jane Weston & J. Horn Kathleen Fitts O’Hanlan-Walker LGBT Equality Karen Carlson White & Ken Jaffee Lynda & Steve Fox Fund of Horizons Foundation Mark & Sheila Wolfson Diane & Bob Frankle

Benefactors ($750 to $1,499) Sally Abel • Lynn Bahrych • Mr. & Mrs. David W. Beach • Caroline Beverstock • Cheryl Booton & Robert Mannell • Maria Brabb • Joan Brennan • James B. Brennock • Bob & Maggie Cant • Lee & Amy Christel • Robert A. Cook • Peter & Melanie Cross • Anne Dauer • Mary David • Ronald Dickel • Karen & Lorry Frankel • Aaron & Julia Gershenberg • Shoshana & Martin Gerstel • Mark Gorenberg • Sue & Bill Gould • Sue Greathouse • Mary Ann & John Grilli • Kovin Hagan • Laura Hale • Susan & Don Hanson • Tom & Mary Haverstock • Anna Henderson • Mitzi Henderson • Nancy Lee Jalonen • Laurie T Jarrett • Dean & Patricia Johnson • Fred & Peggy Johnson • Eva L. Jones • Carl Jukkola & Desmond Lee • Deborah Karlson • Professor & Mrs. David Kennedy • Bob & Edie Kirkwood • Brian Kleis • Michael & Ina Korek • Allan & Linda Kramer • Jim & Marilyn Lattin • Stephen & Nancy Levy • George & Ann Limbach • Robert and Paige Locke • Alexander & Anne Long • Anders & Juneko Martinson • Bob & Kathie Maxfield • Karen & Bob McCulloch • Nancy & Patrick McGaraghan • Linda & Tony Meier • Gus Meyner in memory of Miriam • David Morgenthaler • Vivian Nahmias • James Niemasik • Dale & Cathy Pfau • Mark & Margot Rawlins in honor of Aubrey Rawlins • Laurie Reynolds • Dr. Condoleezza Rice • Bob Rodert & Bev Kiltz • Jill Sagner & Steve Lipman • Emil & Barbara Sarpa • Maria & Mitch Segal • Perry Segal • Sheri Sobrato • Diane Talbert • Polly & Ted Taylor • Pat Terman • Thomas Vogelsang • David Vroom • Glen Wong • Mike & Patti Workman • Alan & Judy Zafran Contributions listed were received between 8/25/2014 and 8/25/2015. Program deadlines and space limitations prevent us from listing all of our greatly appreciated patrons. For corrections, or to make a contribution, please contact Michelle Piasecki at 650.463.7132 or [email protected]. * Indicates donors whose gifts include in-kind goods or services. + Indicates members of the Encore Club, who make ongoing monthly or quarterly gifts.

encoreartsprograms.com 25 VISIONARY SPONSORS CORPORATE CIRCLE, FOUNDATION, & GOVERNMENT GIFTS Jayne Booker, Chair Foundations and Corporate Circle members sponsor productions, support new works, and fund education programs for K–12 students. Sponsors may host events at the theatre, receive heightened community visibility, and enjoy other hospitality benefits. Contact Jodye Friedman at 650.463.7135 or [email protected] for more information.

Visionary Sponsors Sponsors Perkins Coie LLP ($50,000 and above) ($10,000 to $14,999) Synaptics The Garden Court Hotel* Adams Wine Group* Tiffany & Co.* The William & Flora Hewlett Aeris Communications, Inc. Wells Fargo Foundation The Leonard C. & Mildred F. J. Lohr Vineyards & Wines* Ferguson Foundation Friends The Mercury News* Gerstco ($1,000 to $2,499) The David & Lucile Packard Heising-Simons Foundation Anonymous Foundation Hengehold Motor Company* Applied Materials Excellence in the The Shubert Foundation Hurlbut-Johnson Charitable Arts Grants, a program of Silicon The Sobrato Family Foundation* Trusts Valley Creates Silicon Valley Bank ChaseVP* PRESENTING SPONSORS Presenting Sponsor Tarlton Properties DES Architects + Engineers ($25,000 to $49,999) The Dramatists Guild Fund Avant! Foundation Benefactors Goodwin Procter LLP* Harrell Remodeling ($5,000 to $9,999) International ProInsurance Services LLC National Endowment for the Arts Bloomingdale’s Luther Burbank Savings Sand Hill Foundation Dodge & Cox Investment Nikon Precision, Inc. SAP Managers Peter Michael Winery* Nordstrom Piacere Restaurant & Supporting Sponsors Palo Alto Weekly Holiday Fund Chef Miriam Russell-Wadleigh* ($15,000 to $24,999) Pillsbury Winthrop Shaw The Law Office of Nanette S. Stringer Applied Materials Pittman LLP TBS Construction Carla Befera Public Relations* Fenwick & West LLP Supporters Matching Gifts The Kimball Foundation ($2,500 to $4,999) Many companies will double or triple their Microsoft Corporation Avidbank employees’ contributions to nonprofits. It’s a great way to make your gift to The Harold & Mimi Steinberg Cooley LLP* TheatreWorks go further at no extra cost. Charitable Trust S. H. Cowell Foundation Call 650.463.7160 for more information. Wilson Sonsini Goodrich Rosati The Morrison & Foerster Foundation Foundation * Indicates donors whose gifts include SUPPORTING SPONSORS Palo Alto Weekly* in-kind goods or services.

ENDOWMENT FUND TheatreWorks Silicon Valley thanks the following lead donors for their extraordinarily generous Endowment gifts. Marsha & Bill Adler • William C. Anderson • Ann S. Bowers • Polly & Tom Bredt • Bruce Cozadd & Sharon Hoffman • Peter & Melanie Cross • Yogen & Peggy Dalal • Carl H. Feldman • Kathryn Green • The John & Marcia Goldman Foundation • Emeri & Brad Handler • Hurlbut-Johnson Charitable Trusts • Charles & Roberta Katz Family Foundation • Patricia McClung & Allen Morgan • The Rathmann Family Foundation • Eddie Reynolds • John & Diane Savage • Joyce Reynolds Sinclair • Lynn Szekely-Goode & Dr. Richard Goode

FUTUREWORKS FutureWorks members have made an estate gift from a will or living trust, a beneficiary designation in an IRA, a gift of life insurance, a gift that returns lifetime income, or another planned gift. Contact [email protected] for more information. SPONSORS Anonymous (6) • Marc Abramson • The Estate of William C. Anderson • Ray & Carol Bacchetti • Pauline Berkow & Ronald Kauffman • David & Lauren Berman • Jayne Booker • James & Diane Bordoni • Ann S. Bowers • Steve & Gayle Brugler • The estate of Cathryn Z. Cannon • Eleanor W. Caughlan • Steven & Karin Chase • Jodi Corwin • Bruce Cozadd & Sharon Hoffman • George & Susan Crow • John & Linda Elman • Frances Escherich • Susan Fairbrook • Harriett Ferziger • Gayle Flanagan • Carole & David Florian • Peter & Rose Friedland • Terry & Carolyn Gannon • Ed Glazier • Marcia & John Goldman • Kathryn Green • Lorie Griswold • Maureen Hoberg • Anne & Emma Grace Holmes • Kenny Hom • Sam & Elaine Housten • Susan M. Huch • Edward Hunter & Michelle Garcia • John W. & Nancy Lee Jalonen • Barry Lee Johnson • Claiborne S. Jones • Dr. Steve Kelem • Robert Kelley & Ev Shiro • Bill & Terry Krivan • Phil Kurjan & Noel Butler • Woof Kurtzman • Mr. & Mrs. Robert Mangelsdorf • Steve Mannshardt • Suzanne Martin & John Doyle • Leigh Metzler & Jim McVey • Cynthia S. Miller • Tami & Craney Ogata • Karen & John Reis • Eddie Reynolds • Betsy Boardman Ross • Adam Samuels • Philip Santora & Cristian Asher • Dorothy Saxe • Loren & Shelley Saxe • Edward & Jane Seaman • Barbara Shapiro & Mark Lewis • Joyce Reynolds Sinclair • Gerry Sipes • Carol Snell & Mindy Rauch • Esther Sobel • Jim & Mary Southam • Cherrill M. Spencer • Rick Stern & Nancy Ginsburg Stern • Susanne Stevens • Mark Stevenson • Carol Watts • Renee & Herman Winick

26 THEATREWORKS TheatreWorks SV Staff Artistic Director Robert Kelley Managing Director Phil Santora

ARTISTIC SCENERY DEVELOPMENT MARKETING Associate Artistic Director Technical Director Director of Advancement Director of Marketing Leslie Martinson Frank Sarmiento Jodye Friedman Lorraine VanDeGraaf-Rodriguez Director of New Works Lead Scenic Artist / Craftsman Associate Director of Art Director Giovanna Sardelli Tom Langguth Individual Gifts Ev Shiro H. Hans Cárdenas Company Manager/ Master Carpenter Associate Director of Marketing Casting Associate Bill Roberts Events Manager Syche Phillips Jeffrey Lo Jodi Corwin Carpenters Associate Director of FutureWorks Fellow Esteban Calvillo, Rodrigo Frausto, Development Operations Manager Patron Services Akemi Okamura Henry Ing Michelle Piasecki Margaret Purdy Resident Musical Director Sales Manager William Liberatore PROPERTIES EDUCATION Sarah Benjamin New Works Reading Committee Digital Media Manager Properties Master Director of Education Doug Brook, Sue Krumbein, Jennifer Gosk Christopher Fitzer Amy Cole-Farrell Shareen Merriam, Patty Reinhart, Tessitura Specialist Cindi Sears, Amy Sundberg, Properties Stock Manager Associate Education Director— Andrew Skelton Scott Walecka Alfred Rudolph Schools Katie Bartholomew Ticket Services Supervisor Dramaturgy Intern Alix Josefski Holly Dayton COSTUMES Associate Education Director— Playwriting Ticket Services Representatives Artistic Engagement Apprentices Costume Director Jake Arky Megan Bartlett, Tracy Hayden, Alyssa Bryanne Esquilin, Jill Bowers Heather Orth, Pamela Rosen Rebecca Euchler, Brigitte Losey, Master Teaching Artist Neiry Rojo Assistant Costumer Piper LaGrelius Graphics Assistant Noah Marin Katie Dai Teaching Artists PRODUCTION, Lead Cutter/Draper Caroline Altman Sales Representatives Yen La Wong Brittany Caine Constance Gannon, Gerald Gist LIGHTING, & SOUND Maggie Cole Wardrobe Manager Public Relations & Advertising Production Manager Jennifer Debevec Thom Hoffman Carla Befera & Co. David A. Milligan Martin Rojas Dietrich Costume Rentals Manager Carla Befera, Molly Kullman Assistant Production Manager Amanda Johnson Conni Edwards Company Photographers Elizar Ivanov Emily Jordan Assistant Cutter/First Hand Rebecca Longworth Kevin Berne Operations Manager/ Michelle Earney Josh Marx Alessandra Mello Master Electrician Michileen Oberst Stitchers Steven B. Mannshardt Stephanie Owens Nhan Thi Luu, Son Pham ADMINISTRATIVE Resident Lighting Designer Kelly Rinehart Steven B. Mannshardt Hair Stylist Tory Ross General Manager Jeanne Naritomi Elissa Stebbins Scott DeVine Sound Supervisor Mia Tagano Brendan Aanes Costume Construction Intern Database Administrator Maryssa Wanlass Liza Dally Ken Maitz Production Coordinator Playwright-in-Residence Karen Szpaller Costume Rentals Interns Bookkeeper Jake Arky Taylor Chase, Liza Dally Jason Hyde Electricians Steven Fetter, Carolyn Foot, Staff Accountant Elizar Ivanov, Dan Kaminski, STAGE MANAGEMENT Barbara Sloss Nick Kumamoto, Kelly Jean Mack, Resident Stage Manager Front Desk Volunteers Harris Meyers, Gary Nelson, Randall K. Lum Joan Doherty, Cindi Sears Seth Tuthall, Alex Underwood, Becca Van De Vanter, And thanks to our fabulous Jarku Virtanen, Jackson Wijtman TheatreWorkers!

Load-in/Strike Volunteers Rick Amerson, Ed Hunter PROOF ADDITIONAL STAFF Lighting Intern Harry Heller Assistant Director Jeffrey Lo Assistant Lighting Designer Show Carpenter Patrick Biggs Production Assistant Celia Fogel Ed Hunter Props Runners Megan Hall, Understudy for “Hal” Light Board Operator Marissa Mendoza Davied Morales Sara Sparks Dressers Michelle Escoto, Sound Engineer Dimitri Wentworth Thom Hoffman

encoreartsprograms.com 27 SILICON VALLEY’S PREMIER 2015-16 PERFORMING ARTS DESTINATION SEASON

KID KOALA’S NUFONIA MUST FALL ANNA DEAVERE SMITH

GABRIEL KAHANE AND BROOKLYN RIDER

45+ MUSIC, DANCE, AND THEATER PERFORMANCES. SINGLE TICKETS ON SALE NOW! ACT FAST FOR THE BEST SEATS AT THE BEST PRICES!

ONLINE: LIVE.STANFORD.EDU Season Media Sponsors BY PHONE: 650.724.2464 (BING) IN PERSON: 327 LASUEN STREET, STANFORD UNIVERSITY

EAP full-page template.indd 1 9/2/15 5:02 PM Join The Encore Club you’ll receive a Your way to give monthly and support the art of TheatreWorks Silicon Valley special gift year-round. just for joining! VIP wine tasting for two Forget the hassle of making your gift online or remembering to mail your gift to with two souvenir wine TheatreWorks. Set up your monthly (or quarterly) gift once…and then sit back glasses courtesy of J. Lohr and enjoy the show! Vineyards and Wines.

Your gift will support TheatreWorks throughout the year and you’ll enjoy giving benefits to enhance your time at the theatre, year after year.

Choose your monthly giving option and enjoy your benefits right away.

$65 Monthly $125 Monthly $250 Monthly Benefactor The Inner Circle, Player The Inner Circle, Director

Includes: Includes Benefactor benefits, plus: Includes Player benefits, plus: • Invitation to the Annual Green • VIP ticket services with no-fee • Invitations to readings and Room Party exchanges, priority subscription workshop presentations of new • Two complimentary tickets to a seating plays and musicals dress rehearsal • Invitations to Meet-the-Artists • Two complimentary tickets to dinners any TheatreWorks show

For a complete list of giving benefits, or to sign up for The Encore Club, visit www.theatreworks.org/give or call hans Cárdenas at 650.463.7155.

TheatreWorks SV General Information

CONTACT US INDIVIDUAL TICKET PRICES* AUDIO-CAPTIONING Mailing Address: Preview Prices: TheatreWorks Silicon Valley productions have PO Box 50458, Palo Alto, CA 94303-0458 Adult: $54 Senior: $45 designated performances where audio caption- Phone: 650.463.1950 Fax: 650.463.1963 Educator: $45 30 & Under: $25 ing is available for the visually impaired. Please E-mail: [email protected] Sections A / B / C: call 650.463.1960 for details. TICKET SERVICES Tues, Wed, Thurs, Sun Eves and Wed Matinee: LATE ARRIVALS Tickets to all TheatreWorks Silicon Valley Adult: $69/$61/$25 Latecomers will not be seated until appropriate performances are sold through the TheatreWorks Senior/Educator: $56/$48/$25 intervals, and may not be seated in their exact Silicon Valley Box Office 30 & Under: $35/$25/$19 seat locations until intermission. Hours: Monday–Friday, 11am–6pm; Fri and Sat Eve, Sat and Sun Matinee: Saturday-Sunday, 12pm-6pm Adult: $74/$69/$25 PLEASE REMEMBER Phone: 650.463.1960 Senior/Educator: $65/$58/$25 There is no smoking in the theatres or lobbies. 30 & Under: $42/$35/$25 Tickets may also be obtained through the Cameras and recording devices of any kind Opening Night: Mountain View Center Ticket Office are strictly prohibited. Neither food nor drink is All tickets: $80 Hours: Wednesday–Saturday, noon–6pm permitted in the theatres. Please ensure Phone: 650.903.6000 *Prices do not include $6 per ticket convenience fee. that all electronic devices are set to the “off“ Prices subject to change. position while you are in the theatre. WALK-UP TICKET SERVICES Children 5 and under are not permitted in The walk-up ticket office will open one hour GROUP SAVINGS the theatre. Persons 14 and under must be prior to each performance. Savings are available for groups of 8 or more. For more information, call Alix Josefski at accompanied by an adult. Every person, regard- PERFORMANCE TIMES 650.463.7121 or email [email protected]. less of age, must have a ticket. Wed, Thur, Fri Previews 8pm WHEELCHAIR SEATING Schedules, shows, casts, and ticket prices are Tuesday & Wednesday Eve 7:30pm subject to change. Thursday–Saturday Eve 8:00pm Seating is available for wheelchair patrons. Sunday Eve 7:00pm Please telephone the Ticket Office in advance Single ticket purchases are non-refundable, but Wednesday, Saturday, & Sunday Matinee 2:00pm so that special arrangements may be made. are exchangeable for $15 per ticket. Some restrictions apply. LISTENING SYSTEMS Both theatres are equipped with listening systems for the Deaf and Hard of Hearing. Visit theatreworks.org Please see the house manager for details. for detailed information or to purchase tickets.

encoreartsprograms.com 29 OUNTAIN VIEW CENTER MFOR THE PERFORMING ARTS MAILING ADDRESS BOOKING INFORMATION Mountain View Center for the Performing Arts The Mountain View Center for the Performing Arts’ three City of Mountain View theaters and support spaces may be booked for perform- Post Office Box 7540, Mountain View, CA 94039-7540 ing arts events, meetings, conferences and other events. For booking information, please call 650-903-6556. TICKETS & INFORMATION 650.903.6000 (24 hours) mvcpa.com HOME COMPANIES [email protected] The Center is proud to serve as host to two Home Com panies: TheatreWorks and Peninsula Youth Ticket Office Hours: Wednesday–Saturday, 12 noon Theatre. These arts organizations perform a significant to 6 pm, and one hour prior to event curtain time. portion of their seasons in our theaters and contribute Ticket Services also features a telephone information to the overall success of the Center. hotline. Ticket orders may be placed 24 hours a day. Phone: 650-903-6000 Fax: 650-965-1727 PLEASE NOTE • All patrons, regardless of age, must have a ticket. GENERAL INFORMATION • Due to contract restrictions and the dangers posed 500 Castro Street, Mountain View to performers, cameras and recording devices are Administrative Office prohibited in the theaters during most events. Phone: 650-903-6565 Fax: 650-962-9900 Unauthorized cameras and recording devices will be removed and held by the Center until FIND OUT WHAT’S HAPPENING the close of the performance. To receive Preview Magazine by mail, call 650-903-6000. • Please do not bring food or drink (except bottled Visit our web site mvcpa.com for the latest information water) into the theaters. on events at the Center and to sign up for eSpotlight to • To avoid disruption of the performance, please set get the special offers and event updates by email. pagers to vibrate and disengage alarmed watches and cellular phones before entering the theater. • Please become familiar with the exits. In an MainStage REFUNDS AND EXCHANGES emergency, listen for instructions from Center staff. There are no refunds unless a performance is canceled If instructed to do so, walk—do not run—to the exit. or rescheduled. Exchange policies vary and are set by In the case of an earthquake, remain seated, or the presenter of each event. For more information, crouch below seats, then listen for instructions please call Ticket Services at 650-903-6000. from Center staff.

LATE ARRIVALS Latecomers are seated at the discretion of the producing organization. We recommend that patrons arrive at the u u u u u u u Center a minimum of 20 minutes prior to curtain time. If you are purchasing or picking up tickets, please allow additional time. Our ticket office closes one half hour after curtain time. MOUNTAIN VIEW CITY COUNCIL John McAlister, Mayor • Patricia Showalter, Vice Mayor Christopher Clark • John Inks • Michael Kasperzak EMERGENCY NUMBER Ken Rosenberg. • Lenny Seigel Our House Manager has a cell phone (650-740-0093) to receive emergency calls during performances. Daniel Rich, City Manager

DDITIONAL ERVICES PERFORMING ARTS COMMITTEE A S Raymond Chan • Carol Donahue • Ellen Murray The Mountain View Center for the Performing Arts is fully Daniel Palay • Lucia Milone Williams accessible. Patrons who require wheelchair seating or SecondStage other assistance may make arrangements with Ticket Services at the time of ticket purchase 650-903-6000. CENTER STAFF Notifying the Center in advance will make it possible to The Mountain View Center for the Performing Arts is a better serve your needs. Assistive listening system division of the City of Mountain View’s Community Services headsets are available in the lobby for performances. Department, J.P. de la Montaigne, Director. Audio-described services for patrons who are visually impaired are available at some performances. Patrons Executive Director W. Scott Whisler who are hearing impaired may request translation Marketing & Public Relations Manager Michele Roberts services (for information call 650-903-6000). Assistive Business Manager Cindy Miksa ambulatory devices will be checked at the back of the Booking Coordinator Jenn Poret theater unless the device fits completely beneath the seats. Technical Services Manager Bernadette Fife VOLUNTEER AT THE CENTER Ticket Services Director Liz Nelson The Center owes a great deal of its success to Senior Ticket Representatives its dedicated volunteer staff who serve as Ushers, Morry Goldstein • Carolyn Marie Len Art Docents and Office Volunteers. Join us, support Senior Stagehand Steven Crandell the arts and be a part of the Center! For more information, please call 650-903-6568.

Rotunda 30 THEATREWORKS Campaign for Stanford Medicine SECURING THE FUTURE OF STANFORD MEDICINE AS YOU SECURE YOUR OWN.

With a Stanford Gift Annuity you invest in the future of advanced care and cutting-edge research and you receive guaranteed payments for life.

Photography by Mark Tuschman Photography; Benefactor: Kathy Knudsen

CONSIDER THE BENEFITS: TO LEARN MORE STANFORD GIFT ANNUITIES PLEASE CONTACT US. CURRENT SINGLE-LIFE RATES › With a charitable gift annuity Stanford University Medical Center Office of Planned Giving AGE RATE (%) of $20,000 or more, Stanford makes fixed annual payments Carol J. Kersten, JD 60 4.4 to you or a loved one for life 650.725.5524 70 5.1 › Receive a tax deduction and Erin Phillips, JD 650.721.2954 80 6.8 possible future tax savings Blake Grossman, JD 90 9.0 › It’s easy to set up 650.723.4661 [email protected] http://pgmed.stanford.edu/medcenter

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