The Great Leap at Encore Arts San Francisco
SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY
MARCH 2019 SEASON 52, ISSUE 7 PRESENTS THEATER TOURS 2019 BROADWAY IN NEW YORK CITY THE OREGON SHAKESPEARE FESTIVAL
Experience the bright lights of Broadway, plus Explore charming Ashland at the Oregon Shakespeare optional tickets to Harry Potter and the Cursed Child, Festival, plus an optional vineyard tour! Parts One and Two! July 16–21, 2019 May 14–20, 2019 DUBLIN THEATER TOUR LONDON THEATER TOUR
Uncover the performing arts of Ireland and the Journey to the original theater town, London—plus Dublin Theatre Festival, plus a tour of Ireland’s an exclusive tour of Highclere Castle, the home of glorious West! Downton Abbey! Sep 23–30, 2019 Oct 1–7, 2019
ALL THEATER TOURS ARE LED BY A.C.T. ARTISTIC STAFF AND INCLUDE: • Tickets to world-class productions • Receptions and cocktail hours • Luxury accommodation • Complimentary breakfast each morning in our hotel • Discussions with guest artists • Sightseeing excursions and walking tours • Welcome and farewell dinners • Travel companions who love theater
For more information, visit act-sf.org/theatertours or contact Caitlin A. Quinn at [email protected] or 415.439.2436. My legacy. My partner.
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Untitled-2 1 12/17/18 4:39 PM March 2019 Volume 17, No. 7 music dance theater 2018/19 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY Shakespeare’s Paul Heppner Julius Caesar President Théâtre National de Bretagne by William Shakespeare Mike Hathaway Directed by Arthur Nauzyciel Senior Vice President
French director Arthur Nauzyciel revives his Kajsa Puckett production of Julius Caesar, highlighting Vice President, Sales & Marketing the continuing relevance of Shakespeare’s great political tragedy—with costumes and Genay Genereux design that evoke the era of JFK, a live jazz Accounting & Office Manager trio, and provocative staging. Production “Visually stunning, musically Susan Peterson Vice President, Production moody, and unceasingly stylish.” —The Boston Globe Jennifer Sugden Assistant Production Manager
April 26–28 ZELLERBACH HALL Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers
Sales Marilyn Kallins, Terri Reed Song of the Goat Theatre San Francisco/Bay Area Account Executives
Songs of Lear Devin Bannon, Brieanna Hansen, Directed by Grzegorz Bral Amelia Heppner, Ann Manning Music by Jean-Claude Acquaviva and Maciej Rychly Seattle Area Account Executives
This award-winning production Carol Yip retells the tragic king’s story as a Sales Coordinator dramatic oratorio blending Corsican folk music and Gregorian chant— Marketing a production the New York Times Shaun Swick called “viscerally awe inspiring.” Senior Designer & Digital Lead
Ciara Caya May 11 & 12 ZELLERBACH PLAYHOUSE Marketing Coordinator
Encore Media Group 425 North 85th Street Eifman Ballet Seattle, WA 98103 The Pygmalion Effect p 800.308.2898 | 206.443.0445 (US Premiere) f 206.443.1246 [email protected] For 40 years, the defiantly controversial www.encoremediagroup.com choreographer Boris Eifman has created productions punctuated by sumptuous costumes, exquisite dancing, and riveting Encore Arts Programs and Encore Stages are published monthly drama. Here, the company presents the by Encore Media Group to serve musical and theatrical events United States premiere of his brand new in the Puget Sound and San Francisco Bay Areas. All rights ballet, set to a score by Johann Strauss Jr. reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. “This Russian dancemaker and his dancers are among the most fascinating artists before the public today.” —San Francisco Chronicle
May 31–Jun 2 ZELLERBACH HALL
Season calperformances.org/tickets Sponsor:
4 ACT-SF.ORG American Conservatory Theater, San Francisco’s Tony attracts students from around the world, while the San Award–winning nonprofit theater, nurtures the art of live Francisco Semester offers a unique study-abroad opportunity theater through dynamic productions, intensive actor for undergraduates. Other programs include Studio A.C.T.— training, and ongoing community engagement. We embrace our expansive course of theater study for adults—and the our responsibility to conserve, renew, and reinvent our rich Professional Development Training Program, which offers theatrical traditions, while exploring new artistic forms actor training for companies seeking to elevate employees’ and communities. Founded by William Ball, a pioneer of the business performance skills. Our alumni often grace our regional theater movement, A.C.T. opened in San Francisco in mainstage and perform around the Bay Area, as well as on 1967. We have since performed more than 400 productions to stages and screens nationwide. more than seven million people. A.C.T. brings the benefits of theater-based arts education to Hailed as the “perfect playhouse,” the beautiful Geary Theater more than 20,000 Bay Area students and educators each year. has been our home since the beginning. When the 1989 Loma Among our Education & Community Programs are the Young Prieta earthquake ripped the roof apart, San Franciscans Conservatory (students ages 8–19), our Fellowship Program raised a record-breaking $30 million to rebuild the theater. for emerging theater professionals, and our ACTsmart school The Geary reopened in 1996 with The Tempest, directed by and community programs, including the Student Matinee Carey Perloff, who took over as A.C.T.’s third artistic director (SMAT) program that has brought hundreds of thousands in 1992 after the retirement of Edward Hastings. of young people to A.C.T. performances since 1968. We also Perloff’s tenure was marked by translations of classical provide touring Will on Wheels Shakespeare productions, works; cross-disciplinary performances and international teaching-artist residencies, in-school workshops, and collaborations; and theater made by, for, and about the Bay study materials to Bay Area schools and community- Area. Exploring powerful stories by celebrated artists and based organizations. introducing audiences to extraordinary emerging voices in With the appointments of Artistic Director Pam MacKinnon American theater continues under A.C.T.’s current artistic and Executive Director Jennifer Bielstein, our continuing director, Pam MacKinnon. commitment to the development of new work and new A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, artists, and our increased presence in the Central Market is at the center of our work. Our three-year, fully accredited neighborhood with The Strand and The Costume Shop Master of Fine Arts Program is at the forefront of America’s theaters, A.C.T. plays a leadership role in securing the future actor training programs. Our Summer Training Congress of theater for San Francisco and the nation.
American Conservatory Theater Board of Trustees (As of February 2019) The Board of Directors David Riemer Jennifer Bielstein Abby Sadin Schnair of the M.F.A. Program Chair Lesley Ann Clement Lori Halverson Schryer Jerome L. Dodson Jeff Spears Abby Sadin Schnair Kay Yun Olympia Dukakis Patrick S. Thompson Chair President Rod Ferguson Joaquin Torres Patrick S. Thompson Kirke M. Hasson Frannie Fleishhacker Jeffrey W. Ubben Vice Chair Immediate Past Chair Ken Fulk Nola Yee Nancy Livingston Patti Hart Dianne Hoge Emeritus Advisory Board Norman Abramson Chair Emerita Jo S. Hurley Barbara Bass Bakar Sara Barnes Celeste Ford Alan Jones Rena Bransten Carlotta Dathe Vice Chair David L. Jones Jack Cortis Frannie Fleishhacker Priscilla Geeslin Jascha Kaykas-Wolff Joan Danforth Arnie Glassberg Vice Chair James H. Levy Dagmar Dolby Dianne Hoge Heather Stallings Little William Draper III Christopher Hollenbeck Robina Riccitiello Janet V. Lustgarten John Goldman Luba Kipnis Vice Chair Pam MacKinnon Kaatri Grigg Linda Kurtz Steven L. Swig Jamie Martin James Haire Jennifer Lindsay Vice Chair Rodman Marymor Kent Harvey Katherine McGee Sue Yung Li Toni Ratner Miller Linda Jo Fitz Jeffrey S. Minick Christine Mattison Mary Ann Munro Treasurer Marcy S. Nathan Joan McGrath Joseph Ratner Adriana López Vermut Michael P. Nguyen-Hormel Deedee McMurtry Toni Rembe Secretary Gerine Ongkeko Mary S. Metz Lori Halverson Schryer Toni Rembe Cherie Sorokin Anne Shonk Michael Richter Barry Lawson Williams Melissa Smith Sally Rosenblatt Carlie Wilmans Rusty Rueff American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92. Carey Perloff,Artistic Director 1992–2018.
415.749.2228 5 UP NEXT AT THE GEARY
Vanity Fair by Kate Hamill Based on the novel by William Makepeace Thackeray Directed by Jessica Stone A coproduction with Shakespeare Theatre Company “A show of great charm, with a sharpened feminist edge and a lively sense of contemporary relevance” Philadelphia Inquirer DON’T JUST SIT THERE . . .
“Scandalous, relentless and heartbreaking” Broadway World
Some people want love. Others want glory. Becky Sharp wants everything, and she’ll
do anything to get it. Bound by the class At A.C.T.’s free InterACT events, you structure of 1800s London, Becky must wield can mingle with cast members, join interactive workshops with theater artists, her sharp wit and sharp tongue in ways that and meet fellow theatergoers at hosted challenge society’s expectations. “I’m not celebrations in our lounges. Join us for Vanity Fair and InterACT with us! interested in writing characters who exist to
get the audience’s approval,” says playwright BIKE TO THE THEATER NIGHT Kate Hamill. “They exist because they’re a APR 17, 7 PM Take advantage of secure bike parking, more complicated reflection of how people low-priced tickets, and our preshow actually deal with getting what they want.” mixer, presented in partnership with the San Francisco Bicycle Coalition.
PROLOGUE Named 2017’s playwright of the year by APR 23, 5:30 PM The Wall Street Journal, Hamill is a master Go deeper with a fascinating preshow discussion with a member of the Vanity at infusing classic English literature with Fair artistic team. contemporary verve. She has also adapted AUDIENCE EXCHANGE* Pride and Prejudice, Mansfield Park, and APR 30, 7 PM; MAY 5, 2 PM; MAY 8, 2 PM Join us for an exciting Q&A with the cast Sense and Sensibility, which our M.F.A. Program following the show. actors will present in The Rueff at The Strand OUT WITH A.C.T.* Theater May 9–11. “I’m reclaiming these classics MAY 1, 8 PM with a female gaze,” Hamill says. “Right now we Mix and mingle at this hosted postshow LGBTQ+ party. are interrogating women’s roles, how women WENTE VINEYARDS WINE SERIES are judged by society, and the rules that women MAY 7, 7 PM have traditionally been supposed to follow.” Meet fellow theatergoers at this hosted wine-tasting event.
PLAYTIME In Vanity Fair’s colorful, disorienting world of MAY 11, 12:45 PM Victorian burlesque, what’s more important: Get hands-on with theater at this interactive preshow workshop. being “good,” or coming out on top? *Events take place immediately following the performance.
APR 17–MAY 12, 2019 A.C.T.’S GEARY THEATER
To learn more about act-sf.org/vanityfair our InterACT events, 415.749.2228 visit act-sf.org/interact. Join us at The Strand for a MAY 16–19 week of free readings, master THE STRAND THEATER classes, panel discussions, art installations, happy hours, and 1127 MARKET STREET performances of new work!
VISIT ACT-SF.ORG/NEWSTRANDS FOR MORE INFORMATION PHOTO BY MIRANDA ASHLAND. MIRANDA BY PHOTO
WHAT’S INSIDE LEFT TO RIGHT Actors Arye Gross, BD Wong, Tim Liu, and Ruibo Qian at the first rehearsal for A.C.T.’s 2019 production of The Great Leap. ONSTAGE NOW A.C.T. TODAY
11 LETTER FROM THE ARTISTIC 25 WINTER WARMTH EDITOR SIMON HODGSON AND EXECUTIVE DIRECTORS A.C.T. and Macy’s Partner for Seasonal Fun ASSOCIATE EDITOR 14 GAME ON By A.C.T. Publications Staff ELSPETH SWEATMAN An Interview with Playwright Lauren Yee CONTRIBUTORS and Her Father Larry Yee 26 A NEW CANON JENNIFER BIELSTEIN ARIANA JOHNSON By Joy Meads A.C.T.’s New Strands Program PAM MACKINNON Enters a New Chapter 16 MAO’S GAME PLAN JOY MEADS By A.C.T. Publications Staff ANNIE SEARS Understanding the World of The Great Leap 28 GROUNDING FREEDOM By Ariana Johnson and Annie Sears A Conversation with Associate VOLUNTEER! A.C.T. volunteers provide an invaluable service Conservatory Director Peter J. Kuo with their time, enthusiasm, and love of theater. By Elspeth Sweatman Opportunities include helping out in our performing arts library and ushering in our theaters.
act-sf.org/volunteer
Learn more at act-sf.org/conservatory.
415.749.2228 9 A SNEAK PEEK AT THE 19/20 SEASON
JOIN THE COMMUNITY, EXPERIENCE A NEW SEASON OF INCREDIBLE THEATER, AND BECOME A PART OF THIS EXCITING SEASON TODAY — LEARN MORE AT ACT-SF.ORG/JOIN
What if you had just a few more minutes left to live? Obie Award–winning playwright Will Eno (The Realistic Joneses) WAKEY, WAKEY crafts an intimate and profoundly moving comedy drama about BY WILL ENO the pleasure, humor, and sheer absurdity of life.
How can we understand the present, if we won’t acknowledge TESTMATCH the past? Viewing race, colonialism, gender, and power through BY KATE ATTWELL the lens of cricket, this time-traveling world premiere launches DIRECTED BY PAM MACKINNON an exciting new voice in American theater.
In 1980s Thatcher’s Britain, Marlene celebrates a promotion in a restaurant with legendary, historical, and mythical women. TOP GIRLS Each shares her own story of sacrifice and success, but where’s BY CARYL CHURCHILL the sisterhood? The most unforgettable dinner party you’ll ever attend.
At a Manhattan magazine, competing twentysomethings Ani, Dean, and Kendra are only interested in scoring a book deal to GLORIA kick-start a career. But after disaster strikes, who will write the BY BRANDEN JACOBS-JENKINS story? This scalpel-sharp dark comedy was a finalist for the DIRECTED BY ERIC TING Pulitzer Prize.
To become the first woman to play professional baseball in TONI STONE the Negro Leagues, Toni Stone must confront hostile crowds, BY LYDIA R. DIAMOND ruthless team owners, and players who slide spikes first. DIRECTED BY PAM MACKINNON Enjoy the real-life story of an extraordinary, trail-blazing A COPRODUCTION WITH ARENA STAGE Bay Area athlete.
RICHARD O’BRIEN’S Tony Award–nominated choreographer Sam Pinkleton (Soft Power; Natasha, Pierre & The Great Comet of 1812) reimagines THE ROCKY HORROR SHOW this swirling, sci-fi cult classic for San Francisco 2020. With BOOKS, MUSIC, AND LYRICS BY RICHARD O’BRIEN a dazzling mix of sequins and fishnet stockings, let’s do the DIRECTED AND CHOREOGRAPHED BY SAM PINKLETON Time Warp again!
After the rollicking success of Vietgone (2018) at The Strand, POOR YELLA REDNECKS playwright Qui Nguyen returns to A.C.T. for the second chapter VIETGONE PART 2 in his kickass, hip-hop trilogy about a Vietnamese family who BY QUI NGUYEN swap war-torn Saigon for rural ’70s Arkansas. DIRECTED BY JAIME CASTAÑEDA FROM THE ARTISTIC AND EXECUTIVE DIRECTORS
Welcome to A.C.T. and Lauren Yee’s The Great Leap! Dear Friends,
Some of you may have seen a reading of this play, also directed Sports and theater. Both require physicality, fast thinking, by Lisa Peterson, at the New Strands Festival in 2017. Since and responsiveness from the players. Both bring people then, the play had its world premiere directed by California together for a shared live experience. Both are influenced by Shakespeare Theater’s Eric Ting at the Denver Center for the the reactions and energy of their audiences. Performing Arts along with Seattle Repertory Theatre, both in their smaller spaces, as well as a New York premiere starring Basketball and theater merge in The Great Leap. Lauren BD Wong at Atlantic Theater Company’s 99-seat second Yee’s story explores identity, global politics, and the collision stage. We decided to bring this “basketball-court-meets- of cultures and generations through sports. In addition to film-strip” play (in Lisa’s words) up to grand scale. And this building their characters, actors in The Great Leap sharpened deeply personal, wildly playful, and innately political tale is their basketball skills through practice sessions on the courts a beautiful fit. Lauren Yee is the first female Asian American at the University of San Francisco, only blocks away from playwright to be produced at The Geary Theater, steps away the theater! from where she grew up and where this story starts. Soccer and theater merge in Sarah DeLappe’s The Wolves, I first readThe Great Leap shortly after the Marjory Stoneman presented by our Young Conservatory at The Strand Theater Douglas school shooting in Parkland, Florida. The play in April. We see nine young women on a soccer team, playing resonated as a call to action, with the teenage characters ferociously while at the same time thinking about all the teaching others that today is your day to step up and make a things that high schoolers worry about, from weekend house difference. As a girl growing up in suburban Buffalo, we had parties to Cambodian politics to college recruiters. The a basketball net in our driveway where I used to shoot hoops Wolves is a play featuring the kind of characters and issues with my father. Although I was more of an orchestra and that our Young Conservatory actors are hungry for, and we’re drama kid, basketball and soccer were also part of my outlook. excited to give them the opportunity to explore and discover I was tall and, while not super athletic, I was fearless and all that this incredible play has in store. could do some damage in gym class. Title IX, though relatively recent, was in full swing; I benefited, and I valued being a We have recently announced our 2019–20 Season. Within member of a team, as well as personally challenged. that line-up, you’ll find two sports-themed plays:Testmatch I liked the competition; still do. in the fall begins by exploring the inter-team dynamics when a cricket match is rained out, and ends up sparking Six months into living in San Francisco, I am taken with discussion about British colonialism and who gets to take how important sports are to the Bay Area, whether that’s advantage of the rules. Toni Stone, in March 2020, is the true remembering Dwight Clark and “The Catch” at Candlestick story of Bay Area resident Toni Stone, who beat the odds to Park in 1982, or talking about Steph Curry’s game the night become the first woman to play professional baseball at the before, or saying good-bye (for now) to the Oakland Raiders. tail end of the Negro Leagues. Both of these plays draw on all But just as importantly, I see kids and adults in parks in we love about sports, and use the power of storytelling to put every season, playing on asphalt courts and patches of grass. it on the stage. Basketball, baseball, cricket, football . . . we come together for a couple of hours, turn off our cell phones and commit to the Introduce the sports fans in your lives to the world of present. Sounds like theater. theater over the next year and let’s see how much we all have in common! Enjoy! See you at the theater,
Pam MacKinnon Artistic Director Jennifer Bielstein Executive Director
11 A.C.T.’S
A special celebration in support of our artist training and education and community programs
SATURDAY 06.01.19 GEARY THEATER 6pm cocktails · 7pm performance of Rhinoceros
AUGUST HALL 8:30pm dinner + student performances + dancing + games + bowling!
E ENT CO-CHAIRS LEAD SPONSOR
ABBY SADIN SCHNAIR & LORI HALVERSON SCHRYER
FOR FURTHER INFORMATION, VISIT act-sf.org/fling. PAM JENNIFER MACKINNON BIELSTEIN Artistic Director Executive Director
CAST (in alphabetical order) PRESENTS Saul Manford ARYE GROSS TIM LIU
Connie Wen Chang RUIBO QIAN BD WONG
by LAUREN YEE UNDERSTUDIES Directed by LISA PETERSON Wen Chang Saul STEVEN ENG ROGER GRUNWALD
Manford Connie STEVEN HO LISA HORI-GARCIA
STAGE MANAGEMENT THIS PRODUCTION MADE POSSIBLE BY Stage Manager Assistant Stage Manager Stage Management Fellow Executive Producers LESLIE M. RADIN CHRIS WATERS MIRANDA RAMOS KEVIN AND CELESTE FORD PATTI AND MILLEDGE HART JO S. HURLEY NANCY LIVINGSTON AND FRED LEVIN, THE SHENSON FOUNDATION CREATIVE TEAM
Producers Scenic Designer Costume Designer Lighting Designer LLOYD AND JANET CLUFF ROBERT BRILL MEG NEVILLE YI ZHAO MARCY AND PAUL NATHAN DAVID AND CARLA RIEMER Sound Designer Projection Designer Voice and Dialect Coach JAKE RODRIGUEZ HANA S. KIM CHRISTINE ADAIRE
OFFICIAL HOTEL PARTNER Movement Coach Dramaturg Casting Director DANYON DAVIS JOY MEADS JANET FOSTER, CSA
A.C.T. PRODUCING TEAM
Associate Artistic Director General Manager Director of Production ANDY DONALD LOUISA BALCH MARTIN BARRON
The Great Leap is presented by special arrangement with Samuel French, Inc. 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
415.749.2228 13 ONSTAGE NOW PHOTO BY JOEY YEE. COURTESY LAUREN YEE.
GAME ON AN INTERVIEW WITH PLAYWRIGHT LAUREN YEE AND HER FATHER LARRY YEE BY JOY MEADS
14 ACT-SF.ORG From her first published play—Ching Chong Chinaman (2008), winner of the Paula Vogel Award for Playwriting—Lauren Yee has been raising the bar. In this season alone, her work will be seen by audiences at the Oregon Shakespeare Festival, the Guthrie Theater, and New York’s Atlantic Theater Company.
Throughout her work, Yee has consistently drawn on the game on. One time, one of our guys went right by this heavyset culture of her hometown, San Francisco. In a note in the Chinese guy and made the shot and everybody in the stands script of The Great Leap, she writes, “Growing up, my father said, “Wow!” But the next time he did that, he ended up on played basketball. Every day, all night, on the asphalt courts the floor. and rec centre floors of San Francisco Chinatown. It was the only thing he was good at. He was never good enough that he Lauren, when you decided to write a play about basketball, did you know how you were going to dramatize the sport? was going to play for the NBA or even at the college level but for a 6’1’’ Chinatown kid from the projects, he was good. Really I didn’t, because in spite of my father being very athletic, all good. I know this because even today, people still stop me on three of his kids never took after him. Basketball is a sport I the street and try to explain what a legend he was. They tell me never really appreciated. So there was a lot of catching up I his nickname (Spider), his position (center), and his signature had to do to write this play because, in addition to it being a move (the reverse jump shot).” We spoke with Lauren Yee play about basketball, it is a play where basketball is reflected and her father Larry to learn more about the stories that in the storytelling, the vocabulary, the staging, and the inspired her. visuals. Even though you know you’re not seeing a traditional basketball game played onstage, there’s the same excitement Lauren, how did you take these family legends and turn them and tempo and rhythm that you get when you’re watching into a play for the stage? a game. Those basketball stories were a part of the family lore I never really investigated. It was only when I was thinking about How did you build that into the play? what I might write for Denver Center for the Performing Arts Lauren: The structure of the acts and how quickly characters that I really dug into these tales. And in going back to talk to get into scenes and say what they want—that feels to me my dad, I’ve discovered that I wrote some of these things into very much like changes of possession in basketball. A lot of the script without even knowing it was in his story. the scenes feel as though they happen in transition as one team gets the ball and they’re trying to hurtle down the court Larry, how did your relationship with basketball begin? to score. When I was about seven years old, I started playing at a playground in Chinatown. Then I played pick-up basketball We think of basketball as an American sport, but it’s just as popular in China. at the local rec center, which is now called the Betty Ong Rec Center. They used to put on a Chinese New Year tournament. Lauren: China has had basketball almost as long as America Well, I won a few tournaments, so I was recruited to play in has. It was brought to China in the late 1890s. It’s a sport that Taiwan in 1977. They were a professional team, we were a in [Chinese Communist Party leader] Mao Zedong’s eyes pick-up team. really reflected communism. Everyone plays with the same goal. And basketball is a great equalizer—all you need is a ball It sounds like you guys were the underdogs. and a hoop. You don’t even need an asphalt court; you can play Larry: We never looked at ourselves as underdogs. [Laughs] on a dirt floor or on a road. It’s about people working together— We beat their top team. When we played other teams, they’d there’s nothing more Chinese than basketball. n call it a friendship game. But when the ball is up in the air,
415.749.2228 15 ONSTAGE NOW PHOTO BY HOU BO. COURTESY WIKIMEDIA COMMONS. COURTESY HOU BO. BY PHOTO
Chairman of the Central People’s Government Mao Zedong speaks at the founding of the People’s Republic of China, October 1, 1949. MAO’S GAME PLAN UNDERSTANDING THE WORLD OF THE GREAT LEAP BY ARIANA JOHNSON AND ANNIE SEARS
When The Great Leap characters Saul and Wen Chang first meet in 1971, an air of unease permeates China. The Communist Party of China (CCP) is in control, and it doesn’t tolerate any opposition. “You did not want to be someone,” Wen Chang says. “You wanted to be the person three people behind someone. Because being someone could get you killed.” When he is chosen as Saul’s translator, Wen Chang finds himself under tremendous pressure to prove not only that he’s loyal to the Party, but that he’s loyal enough.
16 ACT-SF.ORG CHINA–US RELATIONS
The Chinese ping- China establishes pong team invites the diplomatic relations Tiananmen Square American team to play. Mao dies. with the US. Protests occur. 1971 1976 1979 1989
1972 1978 1984 US President Richard China initiates an open- US President Ronald Nixon visits Mao door policy, trading with Reagan visits China. Zedong in China. the west and engaging with other capitalist nations.
The Great Leap Forward (1958–61) Wen Chang was three years old in 1949, when the CCP— Red Guards and sent 16 million students, young people, and led by Mao Zedong (1893–1976)—established the People’s intellectuals to the countryside to be reeducated through Republic of China. Nearly a decade later, Mao launched the hard labor. Wen Chang was among these “sent down youths.” Great Leap Forward, an ambitious plan to increase industrial Like him, those selected to play on the Chinese basketball production and jumpstart China’s economy. The Party’s goal team had “survived the past decade by keeping their heads was to produce 39 million tons of steel in 1959, a dramatic down, their knees bent, and their eyes on the ground in front increase from the 5 million produced in 1957. Inspired by of them,” he says. But when Wen Chang finds himself on a Mao’s ambition to meet this goal, Chinese citizens built Beijing basketball court in 1971, he can no longer hide in furnaces in their backyards and melted whatever steel they the masses. could find—pipes, pots, pans, tools. Production increased, but up to a third was useless scrap metal. Because citizens After Mao Zedong were focusing on steel, few were farming. Decreased grain By 1989, when Wen Chang and Saul return to that production and unsustainable Party-recommended farming basketball court as adversaries—Chinese against American, practices led to widespread famine, causing more than 30 communism against democracy—Mao has died and Deng million deaths from 1958–61. Xiaoping (1904–97) has become China’s foremost leader. Deng was firmly allied with the CCP, but shifted the Party’s The Great Leap Forward was not only a push for economic direction. He engaged with Western countries and eased the growth, but also a deepening of communist ideals. Mao regime’s intolerance of criticism by journalists and artists, encouraged the working class to take collective ownership of but maintained a strong grip by punishing outright attacks. the Chinese economy. He sought an even playing field, putting everyone in the same position, with the same resources, Today, capitalism in China isn’t vilified as it was during Mao’s working towards the same goal: an economically sound 27-year reign, although government control is still prevalent. China. But after the famine, excitement around this system Many Party members have accumulated great wealth without dwindled. In turn, Mao made a push to revive the threat of public humiliation. But Mao’s presence still infuses communist spirit, a campaign that would become known as the country. The younger Chinese generation is intrigued by the Cultural Revolution. the idea of Mao, and some are calling for a return to a “China model” that relies on Party control. As echoed in The Great The Cultural Revolution (1966–76) Leap, history is cyclical; each step forward into the future In 1966, Mao published the May 16 Notification, announcing brings a longing for an idealized past. n that capitalist ideals and traditions had infiltrated the CCP and must be purged. Those in positions of power—notably local political leaders and schoolteachers—were harrassed and interrogated until they admitted any anti-communist thoughts, at which point onlookers would verbally abuse, beat, and sometimes execute them. To find state enemies, Mao formed the Red Guards: 11 million high school and Want to know more about The Great Leap? college students who reported and punished signs of old Words on Plays is full of interviews and original ideas, cultures, customs, and habits. articles that give you a behind-the-scenes look. Proceeds from sales of Words on Plays benefit The Red Guards were introduced to equalize power, but Mao A.C.T.’s education programs. quickly lost control of them. In response, he disbanded the Available at the box office and lobby, at the bars, and online at act-sf.org/wordsonplays.
415.749.2228 17 A.C.T.’S YOUNG CONSERVATORY PRESENTS
the WOLVES THE WOLVES by SARAH DELAPPE Directed by JESSICA HOLT Try to keep up with teenage soccer team the Wolves as they stretch, run drills, and size up the opposition. But in between their passes are performance anxieties, family tensions, and complex conversations . . . Left lunge. Global genocide. Tampons. Do they have Skype in Cambodia? Right lunge. She got Plan B? There’s the college recruiter! You’re coming to the party this weekend? For these nine young women, becoming an adult doesn’t always come with a game plan.
THE RUEFF AT APR 17–20, 2019 A.C.T.’S STRAND THEATER
To purchase tickets, visit act-sf.org/ycshows.
18 ACT-SF.ORG WHO'S WHO IN THE GREAT LEAP
ARYE GROSS Book of Will (reading) with Hudson Jurassic Park, and Father of the Bride. (Saul) makes his Valley Shakespeare Festival; Start He received the Drama Desk, Outer A.C.T. debut with Down (Centenary Stage Company); A Critics Circle, Theater World, The Great Leap. Moving Day (B Street Theatre); and Clarence Derwent, and Tony Awards Born in Los They Built America: The Workers of for his Broadway debut, M. Butterfly. Angeles, he the Erie Canal (Capital Repertory Recent television includes Mr. Robot recently played the Theatre). Liu also spent two seasons (Emmy and Critics’ Choice Award Librarian in Geffen with The Shakespeare Theatre of New nominations), Gotham, American Playhouse’s revival of Underneath the Jersey (The Learned Ladies; A Horror Story, and Comedy Central’s Lintel. Also at Geffen, Gross was in the Midsummer Night’s Dream with the upcoming Awkwafina. Other world premiere of Donald Margulies’s New Jersey Symphony Orchestra). television work includes Law & Order: Coney Island Christmas. It was in tim-liu.com Special Victims Unit, All-American Margulies’s Brooklyn Boy that he Girl, Oz, and Awake. Other Broadway made his Broadway debut, having RUIBO QIAN credits include Pacific Overtures and created the role of Ira Zimmerman in (Connie) is an You’re a Good Man, Charlie Brown. the original production at South Coast actor and musician Regionally, he’s appeared in The Repertory. Other shows at SCR whose off- Orphan of Zhao (A.C.T., La Jolla include Future Thinking, directed by Broadway and Playhouse) and Herringbone Lila Neugebauer (with whom he’d regional credits (Williamstown Theatre Festival, worked in Amy Herzog’s After the include Bull in a McCarter Theatre Center, La Jolla Revolution at Baltimore Center Stage); China Shop Playhouse). He is the author of the Circle Mirror Transformation, (Lincoln Center Theater); Fucking A critically acclaimed memoir Following directed by Sam Gold; and the world (Signature Theatre Company); Tiger Foo (Harper Entertainment). He is a premiere of Richard Greenberg’s Our Style! (Huntington Theatre Company, board member of The Actors’ Fund Mother’s Brief Affair, directed by Pam Alliance Theatre); Henry IV, Part 1 and Rosie’s Theater Kids. Wong is a MacKinnon. Gross’s previous (The Pearl Theatre Company); Water proud San Francisco native, a collaborations with Lisa Peterson by the Spoonful (The Old Globe); The graduate of Lincoln High School, and include the world premieres of David Nether (San Francisco Playhouse); holds an honorary M.F.A. from A.C.T. Henry Hwang’s chamber opera The Golden Child (Silk Road Rising); and Instagram: @wongbd Silver River and CTG/Asian Theatre You for Me for You (Woolly Mammoth Workshop’s The Square. Theatre Company). Her film and STEVEN ENG television credits include Manchester (Understudy) is TIM LIU by the Sea, Black Mirror, Orange Is the excited to make his (Manford) is a New Black, Mozart in the Jungle, New debut with A.C.T. New Jersey native. Amsterdam, Broad City, and Jessica He recently New York credits Jones. Qian holds a BFA from Boston appeared in the include A University and an MFA from New off-Broadway Midsummer York University’s Tisch School of the revival of Pacific Night’s Dream with Arts Graduate Acting Program. Overtures (2018 Lucille Lortel Award The Pearl Theatre ruiboqian.com nomination), Waterfall (Pasadena Company; Hedda at HERE; Incident at Playhouse), and Paint Your Wagon Hidden Temple and Baudelaire: La BD WONG (Seattle’s 5th Avenue Theatre). His Mort with Pan Asian Repertory (Wen Chang) additional credits include productions Theatre; and Twelfth Night: A Folk appeared in the in London’s West End, as well as at Musical for Essential Theatre films Bird Box, New York Philharmonic, Ensemble Group at the 2014 New York City Jurassic World, Studio Theatre, Paper Mill Playhouse, International Fringe Festival. Jurassic World: Alliance Theatre, Cincinnati Regional credits include The Tempest, Fallen Kingdom, Playhouse in the Park, Theatre Under The Winter’s Tale, Arabian Nights, A Focus, Mulan, The the Stars, Ordway Center for the Midsummer Night’s Dream, and The Salton Sea, Seven Years in Tibet, Performing Arts, ShakespeareNYC, Prospect Theater Company, Pan 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. 415.749.2228 19 Asian Repertory Theatre, and Dallas STEVEN HO Band, with music by Dengue Fever, Theater Center, as well as in Germany, (Understudy) is premiered at South Coast Repertory Austria, and Cambodia. Eng serves on ecstatic and and is currently running at the Oregon the faculty of New York University’s beyond grateful to Shakespeare Festival, followed by Tisch School of the Arts, Atlantic be returning to productions at La Jolla Playhouse and Theater Company, and HB Studio. He A.C.T. after having Victory Gardens Theater. The Great is also a proud co-founder of National been part of Leap has been produced at the Denver Asian Artists Project, a nonprofit Vietgone last year. Center for the Performing Arts, serving theater artists of Asian Born and raised in the Bay Area, Ho Seattle Repertory Theatre, Atlantic descent through performance, has had the amazing opportunity to Theater Company, and the Guthrie outreach and educational work with some fantastic theaters in Theater, with future productions programming. He holds an MFA from his hometown, including Berkeley at Arts Club Theatre Company and George Washington University and a Repertory Theatre, Ubuntu Theater InterAct Theatre Company. Yee also BFA from Southern Methodist Project, New Conservatory Theatre has an upcoming production of The University. steveneng.us Center, Theatre of Yugen, San Song of Summer at Trinity Repertory Francisco Shakespeare Festival, Company. Honors include the Horton ROGER Davis Shakespeare Festival, and Foote Prize, Kesselring Prize, GRUNWALD Silicon Valley Shakespeare. Ho Primus Prize, a Hodder Fellowship at (Understudy) received his training at Foothill Princeton University, and the top two recently starred in College in Los Altos Hills, California. plays on the 2017 Kilroys List. She’s The Obligation, his @steven_t_ho a member of New Dramatists and the one-person Ma-Yi Writers Lab, and is an alumni Holocaust drama LISA HORI- playwright with The Playwrights (2018 Theater Bay GARCIA Realm. She has written for Mixtape Area Award finalist for Outstanding (Understudy) is (Netflix). Current commissions Solo Production). In early 2018, he was excited to be include Geffen Playhouse, La Jolla the understudy for and appeared working on such an Playhouse, Lincoln Center Theater, several times as Alex Priest in A.C.T.’s amazing show with Portland Center Stage, Second production of Heisenberg and, more this phenomenal Stage Theater, South Coast Rep, recently, understudied the role of company. She was and Trinity Rep. She earned a BA Charlie in A.C.T.’s production of most recently seen on A.C.T.’s Strand from Yale University and her MFA Edward Albee’s Seascape. Between stage in Men on Boats. Hori-Garcia is from UC San Diego. laurenyee.com 2014 and 2018, Grunwald toured in an an actress, director, teaching artist, original presentation he co-created and collective member of the Tony LISA PETERSON (Director) is called The Mitzvah Project, a short, Award–winning San Francisco Mime a two-time Obie Award–winning Holocaust-themed play and lecture Troupe (SFMT), where she has been a writer/director. Her projects at which he presented at over 80 principal actor and collaborator since Berkeley Repertory Theatre, where universities, theaters, high schools, 2004. Hori-Garcia has worked for she is associate director, include and religious organizations in the US, theater companies all over the Bay Watch on the Rhine, Office Hour Canada, the UK, and Israel. He Area. Her most recent theater credits (written by Peterson and Denis co-starred in the premiere episode of include The Gangster of Love (Magic O’Hare), It Can’t Happen Here, An the HBO series Vinyl, directed by Theatre), As You Like It (California Iliad, Mother Courage, and Antony Martin Scorsese, and has portrayed Shakespeare Theater), Madame Ho & Cleopatra. Other recent West Otto Frank in numerous productions (Eugenie Chan Theater Projects), and Coast productions include Culture of the play Anne and Emmett, Seeing Red: A Time-Traveling Musical Clash (Still) in America (South Coast including a special 2018 production in (SFMT). She received her BA from Repertory); You Never Can Tell Amsterdam. A native San Franciscan, Smith College and her MFA in acting (California Shakespeare Theater); Grunwald graduated from UC from University of Southern Hamlet (Oregon Shakespeare Berkeley and trained at the London California. lisahorigarcia.com Festival); and Sweat and Chavez Academy of Music and Dramatic Art. Ravine (Center Theatre Group). LAUREN YEE (Playwright) is Recent New York credits include delighted to be in her hometown, San The Waves (adapted from Virginia Francisco. Her play Cambodian Rock Woolf by Peterson and composers David Bucknam/Adam Gwon at 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. 20 ACT-SF.ORG New York Stage & Film); Ernest Shackleton Loves Me (Second Stage Theater); To the Bone (Cherry Lane Theatre); Hamlet in Bed (Rattlestick Playwrights Theater); and King Liz (Second Stage). She regularly works at the Guthrie Theater, Actors Theatre of Louisville, the Mark Taper Forum, La Jolla Playhouse, Arena Stage, Vineyard Theatre, New York Theatre Workshop, and many others. Peterson and Denis O’Hare are working on a new play called The Good Book, coming up at Berkeley Rep this spring.
ROBERT BRILL (Scenic Designer) returns to A.C.T., having previously designed Love and Information, At Home at the Zoo, Blackbird, and The First Picture Show. His Broadway credits include Ain’t Too Proud: The Life and Times of The Temptations, Summer: The Donna Summer Musical, Assassins (Tony Award nomination), Jesus Christ Superstar, Guys and Dolls (Tony Award nomination), Buried Child, Design For Living, A Streetcar Named Desire, and the set and club design for the critically acclaimed revival of Cabaret, among others. Brill’s other credits include Frozen—Live at the Hyperion (Disney California Adventure Park), Faust (Metropolitan Opera/English National Opera), and The Laramie Project (presented throughout the US, including Brooklyn Academy of Music), as well as numerous world-premiere operas, including Moby-Dick, Cold Mountain, Everest, Doubt, The Manchurian Candidate, and It’s a Wonderful Life. He is a founding member of Sledgehammer Theatre, a recipient of the Michael Merritt Award for Excellence in Design and Collaboration, and professor of scenic design at the UC San Diego. robertbrilldesign.com
MEG NEVILLE (Costume The Henri and Tomoye Takahashi Designer) has worked on recent Charitable Foundation productions including The Music
415.749.2228 21 Man (Arizona Theatre Company), Center, and The Wilma Theater, and Heisenberg (A.C.T.), Imaginary has appeared at the Guthrie Theater, Proud to Comforts (Berkeley Repertory the Mark Taper Forum, Huntington Theatre), and Reel to Reel (Magic Theatre Company, and Shakespeare Theatre). Among her Berkeley Rep Theatre Company, among others. His Support credits are Hand to God; It Can’t opera, music, and dance designs have Happen Here; One Man, Two Guvnors; been seen at ArtsEmerson, Hong Kong A.C.T. Macbeth; X’s and O’s (A Football Love Arts Festival, Opera Omaha, Curtis Story); An Intelligent Homosexual’s Institute of Music, and France’s Guide to Capitalism and Socialism Ballet de Lorraine. He is a recipient with a Key to the Scriptures; Party of the 2016 Vilcek Prize for Creative People; Pericles, Prince of Tyre; and Promise in Theatre. yi-zhao.com Personal attention Eurydice. Other regional credits thoughtful litigation include The Cocoanuts, Long Day’s JAKE RODRIGUEZ (Sound Designer) is a sound designer and final resolution Journey into Night, The Taming of the Shrew, and Ghost Light (Oregon composer based in the San Francisco FAMILY LAW FAMILY Our goal is to preserve our Shakespeare Festival); numerous Bay Area. His recent credits include client’s dignity and humanity. Shakespeare and Shaw productions Women Laughing Alone with Salad for California Shakespeare Theater and The Events (Shotgun Players); as an artistic associate; new works Sweat, Vietgone, and Her Portmanteau (A.C.T.); Everybody (California FA M I LYLAW G R OUP, P. C . at Magic Theatre; and productions at the Guthrie Theater, Yale Repertory Shakespeare Theater); Angels in 575 Market Street, Suite 4000 Theatre, South Coast Repertory, America and An Octoroon (Berkeley San Francisco, CA 94105 Dallas Theater Center, Brooklyn Repertory Theatre); we, the invisibles 415.834.1120 (Actors Theatre of Louisville); A www.sflg.com Academy of Music, Baltimore Center Stage, Hartford Stage, Atlantic Thousand Splendid Suns (A.C.T., Theater Company, The Public Theatre Calgary, Grand Theater, Theater, and New York Stage and The Old Globe); The Christians Film. She is a graduate of Brown (Playwrights Horizons, the Mark University and Yale School of Drama. Taper Forum); Girlfriend (Kirk Douglas Theatre); and Mr. Burns, a YI ZHAO (Lighting Designer) post-electric play (A.C.T., the Guthrie returns to the Bay Area after last Theater). Rodriguez is the recipient season’s Father Comes Home of a 2004 Princess Grace Award. from the Wars (Parts 1, 2 & 3) at A.C.T. and A Doll’s House, Part 2 HANA S. KIM (Projection at Berkeley Repertory Theatre. Designer) is a projection designer Previous New York projects whose recent credits include Eve’s (The Public Theater) and include Pipeline (Lincoln Center Song The Theater); Actually (Manhattan Untranslatable Secrets of Nikki Theatre Club); Suzan-Lori Corona (Geffen Playhouse), both directed by Jo Bonney; Parks’s In the Blood and The Sweat (A.C.T.) and Death of the Last Black Man in The Gangster of Love (Magic Theatre), both directed by the Whole Entire World and Lynn Loretta Greco; , Nottage’s Fabulation, or The Re- Little Black Shadows directed by May Adrales (South Coast Education of Undine (Signature Repertory); , directed by Theatre Company); The House That Weightless Becca Wolff (Z Space); Will Not Stand and Red Speedo (New Wonderful York Theatre Workshop); and Town, directed by David Lee (Los Angeles Opera); and , Futurity, Thunderbodies, and Revolt. The Christians directed by Hana S. Sharif (Baltimore She Said. Revolt Again. (Soho Rep.). His work is frequently seen at the Center Stage). She is a recipient of Oregon Shakespeare Festival, Yale the 2018 Richard E. Sherwood Award Repertory Theatre, Dallas Theater from Center Theatre Group and a Princess Grace Award for theater
22 ACT-SF.ORG design. Her designs have won San and a former associate with Bill T. Black Bottom, and Taking Sides Francisco Bay Area Theatre Critics Jones. Davis has coached individuals (co-cast). Off-Broadway credits Circle awards, a Helen Hayes Award, and taught group workshops in a include True Love, Floyd Collins, The Stage Raw Theater awards, and variety of settings, including school Monogamist, A Cheever Evening, and StageSceneLA awards. hananow.com programs, correctional facilities, Later Life. Regionally, she has worked Middlebury College, the 52nd Street at Intiman Theatre, Seattle Repertory CHRISTINE ADAIRE (Voice and Project, and The Public Theater. Theatre, California Shakespeare Dialect Coach) is head of voice at Theater, Berkeley Repertory Theatre, A.C.T. She is a Designated Master JOY MEADS (Dramaturg), Yale Repertory Theatre, Goodman Linklater Voice Teacher, trained by a native of Oakland, comes to Theatre, Steppenwolf Theatre the world-renowned voice teacher A.C.T. from Center Theatre Group, Company, The Old Globe, and Kristin Linklater. She has worked as where she served as literary American Repertory Theater. Film, an actor, voice coach, and director in manager/artistic engagement television, and radio credits include many American regional theaters, strategist. Her CTG dramaturgy Cosby, Tracey Takes On New York, including The Old Globe, Milwaukee credits include Archduke by Rajiv The Deal, Advice from a Caterpillar, Repertory Theatre, the Guthrie Joseph, Good Grief by Ngozi The Day That Lehman Died (Peabody, Theater, Chicago Shakespeare, Anyanwu, Appropriate by Branden SONY, and Wincott awards), and Goodman Theatre, Lyric Opera, Jacobs-Jenkins, Forever by Dael “T” Is for Tom (Tom Stoppard radio the Oregon Shakespeare Festival, Orlandersmith, Marjorie Prime by plays, WNYC and WQXR). She also Steppenwolf Theatre Company, Jordan Harrison (2015 Pulitzer cast LifeAfter, a GE Theater podcast. Court Theatre, American Players Prize finalist), A Parallelogram by Theatre, Theatre for a New Audience Bruce Norris, The Royale by LESLIE M. RADIN (Stage (NYC), Santa Cruz Shakespeare, La Marco Ramirez, Radiate by Daniel Manager) returns to A.C.T. after Jolla Playhouse, and Shakespeare & Alexander Jones, and SLEEP by working on A Thousand Splendid Company. Adaire has taught at DePaul Naomi Iizuka (a co-commission with Suns, Napoli!, and five seasons ofA University, National Theatre School of Ripe Time, Brooklyn Academy of Christmas Carol. She has worked at Canada, University of Massachusetts– Music, and Yale Repertory Theatre). Aurora Theatre Company, Berkeley Amherst, University of Wisconsin– Previously, Meads was literary Repertory Theatre, California Milwaukee, and Roosevelt University. manager at Steppenwolf Theatre Shakespeare Theater, Center She’s taught workshops in Shanghai, Company and associate artistic REPertory Company, and Santa Barcelona, London, Australia, and director at California Shakespeare Cruz Shakespeare. She has traveled New Zealand. Her current area of Theater. She has also developed with Berkeley Rep productions to research and writing is transgender plays with the Oregon Shakespeare the Hong Kong Arts Festival and voice. She works with transgender/ Festival, New York Theatre The New Victory Theater in New gender-diverse individuals so they Workshop, Berkeley Repertory York. Her favorite past productions can modify their voice to more fully Theatre, Denver Center for the include Fairview, Angels in America, express their gender identity. Performing Arts, the Eugene O’Neill Aubergine, Wittenberg, Sisters Theater Center, Ojai Playwrights Matsumoto, Passing Strange, The DANYON DAVIS (Movement Conference, Portland Center Stage, Lieutenant of Inishmore, and In the Coach) is the head of movement South Coast Repertory, and Campo Next Room (or the vibrator play). at A.C.T. He formerly served as the Santo, among others. Meads is a head of movement at Stella Adler proud co-founder of The Kilroys. CHRIS WATERS (Assistant Studio of Acting, and he’s also Stage Manager) returns to A.C.T. a former faculty member at the JANET FOSTER, CSA (Casting) after working on Sweat earlier this Neighborhood Playhouse, Circle has cast for A.C.T. for seven seasons, season. He has worked off Broadway in the Square Theatre School, and including Edward Albee’s Seascape, at The Public Theater and locally at HB Studio’s Hagen Core Training Men on Boats, Sweat, Hamlet, A Aurora Theatre Company, Berkeley program. Davis assisted Moni Yakim, Thousand Splendid Suns, The Hard Repertory Theatre, California founding faculty member and head Problem, King Charles III, John, Shakespeare Theater, Magic Theatre, of movement at the Juilliard Drama Arcadia, Stuck Elevator, The Orphan Santa Cruz Shakespeare, and Z Space. Division, for many years. He also of Zhao, Napoli!, and Endgame and Favorite past productions include performed, taught, and directed with Play. On Broadway she cast The Office Hour, Ain’t Too Proud: The the Guthrie Theater. He is a former Light in the Piazza (Artios Award Life and Times of The Temptations, collaborator with the SITI Company nomination), Lennon, Ma Rainey’s Hand to God, King Lear, Orlando, 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. 415.749.2228 23 and A House Tour of the Infamous subscriber since 1970 and a donor Porter Family Mansion with Tour since 1975. She is the chair of the ADDITIONAL CREDITS Guide Weston Ludlow Londonderry. Prospero Society Committee, a Ariana Johnson, Assistant Director Waters holds an MA in theater member of the board’s Education and Justin Humphres, management from UC Santa Cruz. Community Programs Committee, Associate Scenic Designer Development Committee, the Yi-Chien Lee, Nicholas Kim, KEVIN AND CELESTE FORD Committee on Trustees and Anna Robinson, (Executive Producers) moved to Governance, and a trustee host to an Assistant Scenic Designers the Bay Area in 1978 and purchased M.F.A. Program student. Hurley is Angrette McCloskey, A.C.T. season tickets to support passionate about supporting A.C.T. Scenic Design Associate and watch two classmates from as an executive producer as well as in Jason Vaughan, the University of Notre Dame who the long term through legacy giving. Head Video Technician were enrolled in the A.C.T. M.F.A. Hurley often joins the staff in the V.I.P. Haley Miller, Video Assistant Program. The Fords have not missed Lounge, chatting with donors about Tim Bohle, Wigs Supervisor a production at A.C.T. since. Celeste is her love of theater and the Prospero Andrea Falkner, Production the board chair and founder of Stellar Society. She is also an ardent patron Props Artisan Solutions, an aerospace engineering of the San Francisco Symphony. Chi Wan Lee, John O’Connor High services business, and Kevin is on She is a member of the advisory School Production Placement the board as well. Stellar Solutions board for Women Philanthopists for was founded in 1995 and has received Kansas University and the Kansas SPECIAL THANKS accolades, including the National University Endowment Association, Frank Allocco and Scott Sidwell, Baldrige Award for performance and a volunteer at Lima Center, a USF Athletics Department excellence and Fortune magazine’s daytime shelter for the homeless Asian Art Museum Great Places to Work list. The and at SFMarin Food Pantry. Cameron House, San Francisco company’s engineers work on a variety Yang Huang of satellite projects, including the NANCY LIVINGSTON AND Kenny Lee science mission to Mars, commercial FRED LEVIN (Executive San Francisco Playhouse communication satellites, and defense Producers) are stewards of The Larry Yee and intelligence satellites. Celeste Shenson Foundation and theater- Byron Au Yong and Peter Novak, and Kevin have three grown children goers who have subscribed to A.C.T. USF Performing Arts and Social who join them at A.C.T. productions for 35 years. They recently supported Justice Department whenever they can. Celeste, who Father Comes Home from the Wars was an engineer by day and actress (Parts 1, 2 & 3), King Charles III, The by night in college, currently serves Unfortunates, and Between Riverside PHOTOGRAPHS AND RECORDINGS on the A.C.T. Board of Trustees. and Crazy. A San Francisco native, Levin attended A.C.T. performances Audience members may take photos PATTI AND MILLEDGE HART in the theater before and after the as a student while Livingston performance and during intermission. (Executive Producers) are long- developed her passion for theater at If you post photos on social media or serving executive leaders in the elsewhere, you must credit the her hometown Cleveland Play House. production’s designers by including technology industry, Patti as a serial A former advertising copywriter, the following names: CEO of numerous public companies Robert Brill (Scenic Designer), Livingston is chair emerita of the @robertbrill and Milledge as an investment A.C.T. Board of Trustees and serves Meg Neville (Costume Designer), banker. Along with their son Dustin, on the dean’s advisory board at @megneville they have created the Hart Family the College of Fine Arts at Boston Yi Zhao (Lighting Designer), yi-zhao.com Foundation, which has performing University. Levin serves on the boards Jake Rodriguez (Sound Designer), arts as a top priority and, as a result, of the San Francisco Symphony, @sounjaerk has chosen to support the mission of the Asian Art Museum, and the San Hana S. Kim (Projection Designer), hananow.com A.C.T. For many years, Patti served Francisco Film Society (which his as a member of the Steppenwolf Please note: Photos are strictly father founded). Both Livingston prohibited during the performance. Theatre Company board of trustees and Levin serve on the Council of Photos of the stage are not permitted if an actor is present. Video recording is in Chicago and is excited to have Advocates of Boston Arts Academy not permitted in the theater at any time. recently joined the board of A.C.T. and on the Advisory Board of the @ACTSanFrancisco #TheGreatLeap
JO S. HURLEY (Executive National Museum of Women in Producer), a member of the A.C.T. the Arts in Washington, DC. Board of Trustees, has been a 24 ACT-SF.ORG PHOTOS BY HALEY SEPPA.
A.C.T. TODAY WINTER WARMTH A.C.T. AND MACY’S PARTNER FOR SEASONAL FUN BY A.C.T. PUBLICATIONS STAFF
What do you get if you combine hot chocolate, caroling, Santa Claus, and a seasonal classic by Charles Dickens? The answer: A Dickens of a Holiday, A.C.T.’s second annual holiday event that raises essential funds for our artist training and Education & Community Programs, which benefit over 20,000 Bay Area students each year. In an event generously hosted by Macy’s at its Union Square flagship store with lead sponsorship support provided by Hilton Union Square and Parc 55 Hotels, dozens of families enjoyed cookies and cupcakes, crowdpleasing holiday performances by members of A.C.T.’s M.F.A. and Young Conservatory programs, and photo ops with cast members of A Christmas Carol, before walking along Geary Street for a matinee performance of the holiday favorite.
The magic of the day kept on giving, as event sponsors provided over 100 complimentary Carol tickets to under- resourced families throughout the Bay Area, helping to make spirits bright. Our deepest thanks to everyone who took part, from event chair Adriana López Vermut and the event Host CLOCKWISE FROM TOP LEFT Christmas ornament- Committee to more than 100 participants. Here’s to A.C.T.’s decorating; wreath-making; A Christmas Carol actors Sophia Koshland, Emma Berman, and Jomar Tagatac, newest seasonal tradition! n with A.C.T. Board of Trustees Chair David Riemer; M.F.A. Program actor John Chukwudelunzu (class of 2021).
415.749.2228 25 A.C.T. TODAY
A NEW CANON A.C.T.’S NEW STRANDS PROGRAM ENTERS A NEW CHAPTER BY A.C.T. PUBLICATIONS STAFF
The past three years at A.C.T. have seen the launch of the for our Young Conservatory, M.F.A. actors, or community- New Strands Festival—a week of workshops, mixers, and based programs, as well as our mainstage. Our current public readings—and the world premieres of A Thousand commissions run the gamut from playwright Susan Soon Splendid Suns (2017) and A Walk on the Moon (2018). Now, He Stanton writing for the M.F.A. Program, to the multi- with the arrival of new work specialist Artistic Director disciplinary work Mi Cuba (featuring Grammy Award Pam MacKinnon and the appointment of prominent nominee Alfredo Rodriguez and former San Francisco dramaturg Joy Meads to the newly created position of Ballet dancer Lorena Feijoo), to partnerships with other Director of Dramaturgy and New Works, A.C.T. is entering organizations here in the Bay and across the country. an exciting chapter of its artistic life: a new investment in Other commissioned artists include Eisa Davis, Casey Lee artists and projects with the potential to join the Hurt, the Kilbanes, and M.F.A. Program alum Udofia American canon. (whose play, Her Portmanteau, is currently playing at The Strand Theater). For the artistic team, the last months have been electric: their shared passion for new work spilling out into animated The initial phase of building A.C.T.’s new work development hallway conversations, emails filled with midnight program is grounded in a rigorous interrogation of what inspirations, and a few fledgling programmatic experiments artists need to create their best work. The new experimental all directed towards creating the most robust conversation initiatives designed to meet those needs range from lofty possible between the greatest artists of generations past and aesthetic issues to the purely practical. “When we have a the leading voices of today. “That’s what makes us unique,” playwright in town, we ask them if they have everything says Associate Artistic Director Andy Donald. “A play from a they need,” says Meads. “How can we help them make new voice like Mfoniso Udofia can live in the same season— the most of their time here? Do they need a quiet place to or even playhouse—as Edward Albee and Eugène Ionesco. remove themselves from the demands of their daily lives We want to encourage playwrights to shape work for both and write? Do they have new pages that they would like to the 1,000-seat Geary as well as the brand new 300-seat hear read by our M.F.A. students?” One new initiative is Strand. Their imagination can go in any direction.” the Hot Desk Residency at our partner, Mozilla. For one week, a playwright will have a quiet, uninterrupted space to A.C.T.’s new works department is challenging playwrights to work, complete with a beautiful view of the Bay, great wifi, think about any and all possibilities, including writing and snacks. They’ll also have the opportunity to engage
26 ACT-SF.ORG PHOTO BY STEFAN COHEN.
FROM LEFT Actors Andrew Humann, Taylor Iman Jones, and Nikita Burshteyn in Untitled Tegan and Sara Musical, part of A.C.T.’s New Strands Festival at The Strand Theater in 2018. with tech workers about the creative process and absorb this summer, directed by MacKinnon (the director has the rhythms of life in the tech sector. Award–winning supported and developed this work over the last six years). playwright David Adjmi recently completed the first of Another world premiere—Testmatch, by new voice Kate these residencies. Attwell—explores inequality, power, and the legacy of colonialism through a world-class women’s cricket team. Another tenet of A.C.T.’s New Strands program is grounded “I’m excited for A.C.T. to develop and launch these two big in the questioning of the standard methods of new work idea sports plays into the world,” says MacKinnon. development. “We want to develop plays in a way that’s different from how you would develop a New Yorker The upcoming New Strands Festival will be another early article,” says Meads. “A play is more than just words.” expression of the promise of this new department, featuring When a playwright works with A.C.T., they partner with readings of new plays by playwrights Jiehae Park (winner Meads, producer Andy Donald, and artistic director Pam of the Princess Grace and Weissberger Awards) and Emily MacKinnon. “Right from the beginning of the process, we’re Feldman (directed by three-time Obie Award winner Daniel thinking about all of the languages of theater and how we Aukin), plus a new performance by Drama Desk Award– can draw upon the imaginations of set, costume, and sound nominated mentalist Vinny DePonto, among many designers during the developmental process to make the other offerings. piece richer,” says Meads. These new productions and the creation of A.C.T.’s new “I love working with a wide variety of playwrights, as an works department spell a promising future for A.C.T.’s New early sounding board and interrogator, as a comrade through Strands program and for emerging voices. “We are creating rehearsal with actors and designers to mine a story’s deep the best possible environment for the next great works of the intent, putting in rewrites up to opening night sometimes,” American theater to take root and flourish,” says Meads. n says MacKinnon. In her second season as artistic director, MacKinnon brings two new works to The Geary and The Strand. Lydia R. Diamond’s Toni Stone, which charts the Stay tuned for more information about this year’s life of the first woman to play professional baseball at the New Strands Festival, running May 16–19 at The tail end of the Negro Leagues, arrives in the Bay following Strand Theater. To learn more about A.C.T.’s New its world premiere at Roundabout Theatre Company Strands Program, visit act-sf.org/newstrands.
415.749.2228 27 A.C.T. TODAY
GROUNDING FREEDOM A CONVERSATION WITH ASSOCIATE CONSERVATORY DIRECTOR PETER J. KUO BY ELSPETH SWEATMAN
In 2013, theater-maker Peter J. Kuo sat down in a rehearsal hall at South Coast Repertory and made a connection that would change his life.
Looking to transition from marketing to directing, he assistant-directed the world premiere of Beau Willimon’s The Parisian Woman, directed by Pam MacKinnon. “I remember thinking, ‘There’s Pam. She just directed a show on Broadway, and now I’m her assistant director,’” says Kuo. During those few short weeks of working together, MacKinnon showed Kuo that his artistic instincts were strong. That experience launched him into more artistic work at Geffen Playhouse and the Oregon Shakespeare Festival and into an MFA directing program at The New School in New York. We sat down with Kuo to hear how he found himself back working on the West Coast with MacKinnon as A.C.T.’s associate conservatory director.
How did you get from The New School to A.C.T.? When it was announced that Pam was A.C.T.’s new artistic director, we saw a show one more time before she left New York. I started talking to her about my post-graduation plans. I didn’t quite know what I wanted to do yet, but I really wanted to implement this idea that I’d been developing about how equity, diversity, and inclusion work can affect the artistic process, not just in the plays that we select, the stories that we’re telling, and the people that we’re casting onstage, but also in informing an actor about character and storyline, why a story is the way it is, and why power structures and relationships are the way they are.
28 ACT-SF.ORG PHOTOS BY BERYL BAKER.
ABOVE Associate Conservatory Director Peter J. Kuo working with students in the San Francisco Semester. OPPOSITE Peter J. Kuo.
During that meeting, Pam was already thinking about you for In May, you direct the first- and second-year M.F.A. Program A.C.T.’s associate conservatory director. What do you do in actors in Medea. Why did you choose that story to tell in 2019? that role? Medea has been a passion project for a long time. I love I live in both an administrative and an artistic realm. Both female-centric stories and watching women be empowered. are important to me and I wouldn’t want to give either of It’s really important for us to be able to see that; it’s them up. The administrative work keeps me grounded, and something we don’t get to see very often. What I’m looking the artistic work keeps me free. What I love the most is forward to exploring is Medea as an other. She’s a foreigner. teaching, which is rather new to me and I’m learning how She’s an outsider whom the kingdom is rejecting. That’s much I love it. Right now, my class focuses on building something I connect to as someone who has been othered. collaboration. How do you communicate with your fellow actors and your director when you need something as an And as I was researching more of Medea, I realized that she’s actor? How do you communicate with the playwright and not seeking justice; she’s not seeking something that’s fair for advocate for your character without being critical of the everyone. She wants vengeance. She wants Jason to suffer. writing or prescriptive about it? How do you engage in the The fact that this was written back in Grecian times is insane. story that that the playwright wants to tell? A woman is given room to say, “If you’re going to trample me, I’m going to trample you.” What I’m really interested in One of the best lessons I can impart to an actor is how to be seeing in the final moments of the play is how that vengeance comfortable with advocating for themselves and the art. The costs her. When we’re dealing with stories about people who best thing an actor can do when working on a new play is are othered or oppressed, it seems like vengeance is the advocate for the play and how that character does or does answer but there’s a cost. I’d love for us to see a moment not fit in that play and that story. What does the playwright where she has to live with what she has done. n want to do? What is the story the play wants to tell? And how do we get to that as clearly as possible? To purchase tickets for our upcoming M.F.A. Program productions, including Medea (May 8–12) and Sense and Sensibility (May 9–11), visit act-sf.org/mfashows.
415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during theJanuary 1, 2018, to January 1, 2019, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].
† A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter * Leadership Circle Member ** Deceased
Season Presenters JEROME L. AND JAMES C. HORMEL AND TONI REMBE AND JEFF AND LAURIE UBBENw THAO N. DODSON† MICHAEL P. NGUYEN-HORMELw ARTHUR ROCKw Jeff is a founder of ValueAct Capital Jerry is president of Parnassus James, the first openly gay US Past chair of A.C.T.’s Board of and a director of 21st Century Fox Investments and serves on the boards ambassador, founded the James C. Trustees, Toni is a retired partner at Inc. and Willis Towers Watson PLC. of San Francisco Opera and A.C.T. Thao Hormel Gay & Lesbian Center at the Pillsbury Winthrop Shaw Pittman. He serves on the boards of Duke and Jerry have established scholarships San Francisco Public Library (SFPL). Arthur was one of America’s first University, Northwestern University, for music education at the San Francisco Michael works alongside James on their venture capitalists. Along with other and the E. O. Wilson Biodiversity Symphony, undergraduate education at charitable giving foundation, and has community endeavors, they are Foundation. Laurie founded San UC Berkeley, and high school education served on the SFPL Commission for cofounders of the Arthur and Toni Francisco’s Bird School of Music. for 125 girls in Vietnam. two terms. A trustee of A.C.T., Michael Rembe Rock Center for Corporate is profoundly passionate about the arts Governance at Stanford Law School. KAY YUN AND ANDRE PRISCILLA AND KEITH GEESLIN†w and humanities. NEUMANN-LORECK†w Priscilla is a vice chair of A.C.T.’s ROBINA RICCITIELLO†w President of A.C.T.’s Board of Trustees, Board of Trustees and Development FRED M. LEVIN AND NANCY Robina is communications director for Kay is a partner at private equity fund Committee chair. She is vice president LIVINGSTON, THE SHENSON the Million Person Project, a company Health Evolution Partners. She is a of the SF Symphony, Grace Cathedral, FOUNDATIONw that helps people identify their core trustee of Parnassus Funds and a board and past chair of NARAL Pro-Choice Nancy is the Chair Emerita of A.C.T.’s values to tell their personal story. She member of San Francisco University America’s Foundation Board. Board of Trustees. She serves on the is involved with the UCLA Depression High School. Andre, the founder of On A principal of Francisco Partners, boards at the College of Fine Arts at Grand Challenge, an effort to cure Tap Consulting, has held executive roles Keith is president of SF Opera’s board Boston University and the National depression by the end of this century, in startups and Fortune 500 companies. of trustees and a board member of Council for the American Theatre. and with NARAL Pro-Choice America. Episcopal Community Services. Fred serves on the boards of the San Francisco Symphony, the Asian Art MARY AND STEVEN SWIGw Museum, and the SF Film Society. Steven has served on A.C.T.’s board since 1986 and is cofounder of Presidio Graduate School. Mary is on the Women’s Leadership Board of Harvard University’s John F. Kennedy School of Government. They serve on the boards of the Solar Electric Light Fund and the Americans for Cures Foundation.
Company Sponsors Executive Producers Matthew and Lisa Sonsini Mary and Gene Metz ◆ Lesley Ann Clement and Karl Mrs. Barbara Bakar Barbara and Stephan Vermut Donald J. and Toni Ratner Miller ◆† Diane B. Wilsey Clay Foundation - West Lukaszewicz ◆ Bill Draper Ray and Dagmar Dolby Family Fund Sakana Foundation Nola Yee Rich Rava and Elisa Neipp Norman and Janet Pease Frannie Fleishhacker Linda Jo Fitz ◆† Kevin and Celeste Ford The Milledge and Patti Hart Family Producers Elsa and Neil Pering Merrill Randol Mr. and Mrs. Gordon P. Getty Dianne and Ron Hoge ◆† Paul Asente and Ron Jenks Kathleen Scutchfield Kirke and Nancy Sawyer Hasson ◆ Jo S. Hurley ◆ Lloyd and Janet Cluff
Jeri Lynn and Jeffrey W. Johnson Christopher and Leslie Johnson Daniel E. Cohn and Lynn Brinton Anne and Michelle Shonk ◆ Mr. and Mrs. Robert McGrath John Little and Heather Stallings Little The New Ark Fund Cherie Sorokin Burt** and Deedee McMurtry Janet V. Lustgarten Concepción and Irwin Federman Emmett and Marion Stanton Valli Benesch and Bob Tandler ◆ Kenneth and Gisele Miller Nion McEvoy and Leslie Berriman ◆ Luba Kipnis and David Russel
David and Carla Riemer ◆† Barbara Ravizza and John S. Osterweis Marcia and Jim Levy †
Patti and Rusty Rueff ◆ Sally and Toby Rosenblatt ◆ The Marymor Family Fund
Aaron Vermut and Adriana Abby and Gene Schnair ◆† Don and Judy McCubbin
López Vermut ◆† Lori Halverson Schryer ◆† Mr. and Mrs. J. A. McQuown
Jack and Susy Wadsworth ◆
Barry Williams and Lalita Tademy ◆
Associate Producers Carol Dollinger Alan and Cricket Jones ◆† Joseph E. and Julie Ratner ◆†
Vicki and David Fleishhacker Mr. Joel Krauska and Ms. Patricia Fox Sara Eisner Richter and Michael Richter ◆ Paul Angelo
Marilee K. Gardner Linda Kurtz ◆ Rick and Cindy Simons Sara and Wm. Anderson Barnes Fund Dr. and Mrs. Richard E. Geist Ken Lamb Vera and Harold Stein Dr. Barbara L. Bessey Arnie and Shelly Glassberg Mr. and Mrs. John P. Levin Dr. Martin and Elizabeth Terplan Linda K. Brewer Glasser Family Fund Ann McNamee Mrs. Katherine G. Wallin and Mr. Homer Linda Joanne Brown
Dr. Allan P. Gold and Mr. Alan C. Ferrara Milton Mosk and Thomas Foutch Wallin ◆ Gayle and Steve Brugler Marcia and John Goldman Marcy and Paul Nathan Beverly and Loring Wyllie Carlotta and Robert Dathe Stephen and Diane Heiman The Bernard Osher Foundation James and Julia Davidson
Hilton San Francisco † Mr. and Mrs. Tom Perkins Richard Davis-Lowell and Bill Lowell Betty Hoener Barbara Phillips
30 ACT-SF.ORG DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR
We are privileged to recognize these members’ generosity during the January 1, 2018, to January 1, 2019, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].
† A Dickens of a Holiday event sponsor/lead supporter w Lead Gala supporter ** Deceased Benefactors Paula and John Murphy Ms. Kathleen Dumas Elisabeth and Daniel McKinnon Susan and Ralph G. Coan, Jr. Peter Pastreich and Jamie Whittington Robert Ellis Mr. Byron R. Meyer Philip and Judy Erdberg John Riccitiello Barb and Gary Erickson Ms. Nancy Michel Tom Frankel Susan Roos Joseph Fanone Mr. and Mrs. Merrill E. Newman Dr. and Mrs. Fred N. Fritsch Scott and Janis Sachtjen Mr. Alexander L. Fetter and Ms. Mary D. Niemiller Mr. and Mrs. Thomas A. Gallagher George and Camilla Smith Ms. Lynn Bunim Barbara O’Connor Kaatri and Doug Grigg Lee and Carolyn Snowberg Mr. Robert Feyer and Ms. Marsha Cohen Ms. Mary Jo O’Drain Sue Yung Li and Dale K. Ikeda The Somekh Family Foundation Mr. and Mrs. Patrick F. Flannery Emilie and Douglas Ogden Marmor Foundation/Drs Michael Laura Spivy † Mr. and Mrs. Richard Fowler Don and Sally O’Neal and Jane Marmor Laura and Gregory Spivy Mrs. Susan Fuller Janet and Clyde Ostler Jeffrey and Elizabeth Minick Diana L. Starcher William Garland and Michael Mooney Mr. and Mrs. William Pitcher
Terry and Jan Opdendyk Roselyne C. Swig ◆ Mr. Michael R. Genesereth Sandi and Mark Randall
Lisa and John Pritzker Family Fund John and Sandra Thompson ◆ Susan and Dennis Gilardi Jeff and Karen Richardson Gordon Radley Pasha and Laney Thornton Dr. A. Goldschlager Gary and Joyce Rifkind Dr. James Robinson and Mrs. Helena Troy Wasp Barbara Grasseschi and Tony Crabb Rick and Anne Riley Ms. Kathy Kohrman Ms. Allie Weissman Marcia and Geoffrey Green Mr. Orrin W. Robinson, III Matt and Yvonne Rogers Katherine Welch Mark and Renee Greenstein Deborah Romer and William Tucker Mr. Laurence L. Spitters Barbara and Chris Westover Mr. Bill Gregory Gary Rubenstein and Nancy Matthews Mr. and Mrs. Bruce White Raymond and Gale L. Grinsell Betty and Jack Schafer Patrick S. Thompson ◆ Kenneth and Sharon Wilson Naren and Vinita Gupta Kent and Nancy Clancy James Haire and Timothy Cole Mr. and Mrs. John Shankel Playwrights Mr. and Mrs. Richard Halliday Mr. James Shay and Mr. Steven Correll Anonymous (3) Directors Vera and David Hartford Te Smith and Dennis Cress Ray and Jackie Apple Anonymous (4) Ms. Kendra Hartnett and Robert Santilli Kristine Soorian and Bryce Ikeda The Tournesol Project Mr. Howard J. Adams Kent Harvey Ms. Valerie Sopher Paul Blake Martha and Michael Adler Lenore Heffernan Mr. Richard Spaete Roger and Helen Bohl Bruce and Betty Alberts Mrs. Deirdre Henderson Mr. and Mrs. Robert S. Spears Ms. Donna Bohling and Lynn Altshuler and Stanley D. Herzstein Mr. and Mrs. Henry Paul Hensley Steven and Chris Spencer Mr. Douglas Kalish Sharon L. Anderson Ms. Marcia Hooper Vibeke Strand, MD and Jack Loftis, PhD Christopher and Debora Booth Ms. Kay Auciello Bannus and Cecily Hudson Richard and Michele Stratton Ed Brakeman Jeanne and William Barulich
Rob Hulteng Mr. Jay Streets ◆ Richard DeNatale and Craig Latker Mr. Michael Bassi and Ms. Christy Styer Robert Humphrey & Diane Amend Dawna Stroeh Ms. Roberta Denning David V. Beery and Norman Abramson ◆ Robert and Riki Intner Mr. M. H. Suelzle William H. Donner Foundation Donna L. Beres and Terry Dahl Harold and Lyn Isbell Susan Terris Anne and Gerald Down David and Rosalind Bloom Franklin Jackson & Maloos Anvarian Nancy Thompson and Andy Kerr Charles and Susan Fadley Peter Blume Anne Jamieson John R. Upton Jr. and Nancy and Jerry Falk Mr. Mitchell Bolen and Phil and Edina Jennison Janet Sassoon-Upton Mr. Rodney Ferguson and Mr. John Christner Brenda and Roger Borovoy Stephanie and Owen Jensen Arnie and Gail Wagner Ms. Kathleen Egan ◆ Ms. Pamela L. Kershner Mr. and Mrs. James Wagstaffe Sue and Ed Fish Benjamin Bratt and Talisa Soto Mr. R. Samuel Klatchko Joy and Ellis Wallenberg, Lynda Fu Susan Breyer Harold L. Wyman Foundation Milton Meyer Foundation Sameer Gandhi and Monica Lopez Mrs. Libi Cape Harold and Leslie Kruth Ms. Margaret Warton and Bruce Golden Steven and Karin Chase Harriet Lawrie Mr. Steve Benting Kenneth Hitz Teresa Clark and Martin Lay Julius Leiman-Carbia Ms. Carol Watts Alex Ingersoll and Martin Tannenbaum Mr. and Mrs. David Crane Mr. Michael Levy and Ms. Patricia Tomlinson and Sy Kaufman and Kerstin Edgerton Ms. Karen T. Crommie Mr. Michael Golden Mr. Bennet Weintraub Paola and Richard Kulp Joan T. Dea and Lionel F. Conacher Ms. Helen S. Lewis Irv Weissman and Family Jennifer S. Lindsay Madeline and Myrkle Deaton Ms. Gayla Lorthridge Ms. Beth Weissman Melanie and Peter Maier, John Brock- Robert and Judith DeFranco Dr. Thane Kreiner and Marie and Daniel Welch way Huntington Foundation Ingrid M. Deiwiks Dr. Steven Lovejoy Andrew and Billie Wiesenthal Christine and Stan Mattison Mrs. Julie D. Dickson Richard N. Hill and Nancy Lundeen Mr. and Mrs. Roy B. Woolsey Mr. and Mrs. Roger Miles Art and JoAnne Dlott John B. McCallister Mr. and Mrs. Roger Wu Mr. Daniel Murphy Bonnie and Rick Dlott
Did you know? • Ticket sales cover 40% of the costs to bring bold theatrical productions of artistic excellence to the Bay Area. • A.C.T. is one of the largest providers of arts education in the region, reaching over 20,000 young people each year. • Many Bay Area students experience their first live performance through A.C.T.’s diverse community outreach efforts. Please consider making a tax-deductible donation when you renew your subscription or call 415.439.2353 to donate over the phone.
415.749.2228 31 We are privileged to recognize Friends of A.C.T. members’ generosity during the January 1, 2018, to January 1, 2019 period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Hillary Bray at 415.439.2353 or [email protected].
†A Dickens of a Holiday event sponsor/lead supporter wLead Gala supporter * Leadership Circle Member ** Deceased
Patrons Mr. and Mrs. Robert W. Logan Sustainers Helen M. Marcus, in memory of Anonymous (3) Mr. and Mrs. Alexander Long Anonymous (3) David Williamson Mr. and Mrs. Harold P. Anderson Jeff and Susanne Lyons Mr. and Mrs. James Michael Allen Marina and Andy Martin Mr. Paul Anderson Mr. and Mrs. Bruce A. Mann Robert Anderson Marsha Mason Ms. Patricia Wilde Anderson Amelia Lis Ms. Gwynn August Robert McCleskey Mr. David N. Barnard Karen and John McGuinn Donna and Dan Aykroyd Carol McCutcheon-Aguilar and Mr. and Mrs. Paul Berg Dr. Margaret R. McLean Dick Barker Luis Aguilar
Fred and Nancy Bjork Maris Meyerson ◆ Mr. William Barnard Linda McPharlin and Nick Nichols Mr. John Blankenship and Trudy and Gary Moore Ms. Linda J. Barron Sue and Ken Merril Ms. Linda Carter Thomas and Lydia Moran Mr. Daniel R. Bedford Ms. Jane E. Miller Ben and Noel Bouck Jane and Bill Neilson Monique and Avner Ben-Dor Sharon and Jeffrey Morris Mr. and Mrs. Bernard Butcher Nancy and Bill Newmeyer Mrs. Fowler A. Biggs John and Betsy Munz Denis Carrade and Jeanne Fadelli Bruce Noble and Diane Elder Mr. Igor R. Blake Joseph C. Najpaver and Deana Logan Cecily Cassel & Larry Cassel Melodee and Lee Nobmann Mr. Noel Blos Jon Nakamura Todd Charles in memory of Ms. Lisa Nolan John Boland and James Carroll Ms. Berna Neumiller Robert E. Scheid Ms. Susan O’Brien Mr. Roland E. Brandel Jeanne Newman Drs. James and Linda Clever Mrs. Margaret O’Drain Marilyn and George Bray Ms. Joanna Officier and Mr. Ralph Tiegel Mr. Edward Conger Margo and Roy Ogus Ms. Angela Brunton Jillian C. Robinson Jean and Mike Couch Shelly Osborne Jaime Caban and Rob Mitchell Mr. L. Kyle Rowley Mr. and Mrs. Ricky J. Curotto Barbara Paschke and Ms. Jean Cardoza Ms. Diane Rudden Reid and Peggy Dennis David Volpendesta Susan Austin and Michael Charlson* Laura Jo Ruffin Ron Dickel Janine Paver and Eric Brown Rebecca Coleman Mr. Joshua Rutberg Elizabeth Eaton Caitlin A. Quinn and Peter C. Garenani Mr. Copley E. Crosby Ms. Monica Salusky and Mr. John Michael Kalkstein and Susan English Ms. Diane Raile James Cuthbertson Sutherland Leif and Sharon Erickson Mr. and Mrs. Jacob Ratinoff Ms. Kathleen Damron Louise Adler Sampson Dr. Angela Sowa and Ms. Danielle Rebischung Ira and Jerry Dearing Mr. James J. Scillian Dr. Dennis B. Facchino Maryalice Reinmuller William Dewey Mr. Jim Sciuto M. Daniel and Carla Flamm Mr. and Mrs. John A. Reitan Edward and Della Dobranski Mr. Jon Shantz Elizabeth and Paul Fraley Albert and Roxanne Richards Fund Ms. Kirsty Ellis Catharine Shirley Ms. Susan Free Barbara and Saul Rockman Ms. Winn Ellis and Mr. David Mahoney Donna and Michael Sicilian Alan and Susan Fritz Marguerite Romanello Marilynne Elverson Jeffrey Stern, M.D. Ms. Mary Ellen Rossi Margaret Stewart and Lisa Fung † Mrs. Samuel Engel John L. Garfinkle Michele and John Ruskin Mr. Albert M. Everitt Severin Borenstein Ms. Nonie Greene and Mr. Todd Werby Sonja Schmid Dr. Marcus Feldman and Mr. and Mrs. Monroe Strickberger Ms. Ann M. Griffiths Andrew and Marva Seidl Mrs. S. Shirley Feldman Mr. Jason Surles Bill and Nancy Grove Ms. Ruth A. Short Karen and Stuart Gansky Mr. John E. Sweeney and Ms. Margaret J. Grover Dr. Elliot and Mrs. Kathy Shubin Frederick and Leslie Gaylord Ms. Lana Basso Mr. Kim Harris and Bennet Marks Ms. Patricia Sims David and Betty Gibson Ms. Kim Szelog
Mr. John F. Heil Mr. Earl G. Singer Kathleen Goldman Jane and Jay Taber * Leni and Doug Herst Mr. Mark Small David B. Goldstein and Julia Vetromile Catherine Tait Tracy Brown and Greg Holland Richard and Jerry Smallwood Dr. and Mrs. Gabriel Gregoratos Marvin Tanigawa Richard and Cheryl Jacobs Candrah Smith Mr. Harry Hamlin and Ms. Lisa Rinna Ian and Olga Thomson Dr. and Mrs. John E. Jansheski Dr. Gary Stein and Jana Stein Ms. Margaret Handelman Michael and Shirley Traynor Ms. Carolyn Jayne Joe Tally and Dan Strauss Dr. James and Suzette Hessler Leon Van Steen Jeffrey and Loretta Kaskey Robert Tufts Kathy Hart Susan A. Van Wagner Michael Kim Steven and Jacqueline Tulsky Ginger and Bill Hedden Mr. and Mrs. Ron Vitt George and Janet King Mr. Douglass J. Warner Ms. Rebecca Helme Anita Watkins Jennifer Langan Mr. David S. Wood and Susana Hernandez Ms. Meredith J. Watts Thomas and Barbara Lasinski Ms. Kathleen Garrison Ms. Sandra Hess Mr. Richard West Mr. Richard Lee and Jacqueline L. Young Adrienne Hirt and Jeffrey Rodman Mr. Robert Weston Ms. Patricia Taylor Lee Mr. and Mrs. Philip Zimbardo Edward L. Howes, MD Judie and Howard Wexler Mrs. Gary Letson The Arthur and Charlotte Allan and Rebecca Jergesen Tim M. Whalen Dr. Lois Levine Mundie Zitrin Foundation Mrs. Zeeva Kardos Mr. Laird Williamson Julia Lobel Dan and Gloria Kearney Fund Mr. Steven Winkel Jody Kelley Wypych Susan Wojcicki Dr. and Mrs. David Kessler Timothy Wu Ms. Nancy L. Kittle Marilyn and Irvin Yalom Ms. Peggy Kivel Nancy and Kell Yang Mr. and Mrs. Kevin Klotter Ms. Emerald Yeh Edward and Miriam Landesman Carlene Laughlin Leadership Circle Barry and Ellen Levine Donors under $750 Thomas Lange and Spencer Lockson Ms. Denise Brosseau* Ms. Evelyn Lockton Ceil Cirillo* Harold and Diane Lunde Mr. Ronald Steininger* For a full list of member benefits or to make a Mr. and Mrs. William Manheim donation, visit act-sf.org/memberships or contact A.C.T.’s Development Department at 415.439.2353.
32 ACT-SF.ORG For more information about Prospero Society JO S. HURLEY, CHAIR membership, please contact A.C.T. gratefully acknowledges the Prospero Society members listed below, Tiffany Redmon, who have made an investment in the future of A.C.T. by providing for the theater in their estate plans. Deputy Director of
**Deceased Development Providing a Legacy for A.C.T. 415.439.2482 [email protected]. Gifts Designated to A.C.T. Marilee K. Gardner Mr. and Mrs. Michael R. Marron Michael E Tully Anonymous Michele Garside, PhD John B. McCallister Herman Victor Mr. Anthony Alfidi Dr. Allan P. Gold and Mr. Alan C. Ferrara John G. McGehee Ms. Nadine Walas Judith and David Anderson Dr. A. Goldschlager Burt** and Deedee McMurtry Ms. Marla M. Walcott Ms. Kay Auciello Ruth Goldstine and David Weber Dr. Margaret R. McLean Mrs. Katherine G. Wallin and Nancy Axelrod Ms. Carol A. Goodman and Mary and Gene Metz Mr. Homer Wallin Ms. Mary Lou Baird Mr. Anthony Gane J. Sanford Miller Paul Weintraub and Raymond Szczesny Mr. Eugene Barcone Ms. JeNeal Granieri and Alfred F. Milton Mosk and Thomas Foutch Ms. Beth Weissman Teveia Rose Barnes and Alan Sankin McDonnell Pennie Needham Tim M. Whalen Robert H. Beadle Mr. Bill Gregory James C. Hormel and Michael P. Barry Williams and Lalita Tademy Ms. Susan B. Beer James Haire and Timothy Cole Nguyen-Hormel Kay Yun and Andre Neumann-Loreck David V. Beery and Norman Abramson Mr. and Mrs. Richard Halliday Mr. Dante Noto Ms. Terilyn Hanko Shelly Osborne Leo and J. Michael Berry-Lawhorn Gifts Received by A.C.T. Richard H. Harding Ms. Patricia Patton Dr. Barbara L. Bessey The Estate of Barbara Beard Kent Harvey Elsa and Neil Pering Mr. Arthur Bredenbeck and The Estate of John Bissinger William E. Hawn Barbara Phillips Mr. Michael Kilpatrick The Estate of Ronald Casassa Betty Hoener Robert and Marcia Popper Linda K. Brewer The Estate of Rosemary Cozzo Dr. and Mrs. Richard W. Horrigan Kellie Raines Ms. Agnes Chen Brown The Estate of Nancy Croley Jo S. Hurley Bert and Anne Raphael Martin and Geri Brownstein The Estate of Leonie Darwin Alex Ingersoll and Martin Tannenbaum Mr. and Mrs. Jacob Ratinoff Gayle and Steve Brugler The Estate of Mary Jane Detwiler Mr. Barry Johnson John and Karen Kopac Reis Christine Bunn and William Risseeuw The Estate of Olga Diora Ms. Robin Johnson and Arthur Rock and Toni Rembe Mr. Bruce Carlton The Estate of Mortimer Fleishhacker Ms. Dottie Lofstrom Mary L. Renner Florence Cepeda and Earl Frick The Estate of Mary Gamburg Carol and Paul Kameny Ellen Richard Ms. Paula Champagne and The Estate of Rudolf Glauser Dr. and Mrs. Stewart Karlinsky Jillian C. Robinson Mr. David Watson The Estate of Phillip E. Goddard Nelda Kilguss Susan Roos Steven and Karin Chase The Estate of Mrs. Lester G. Hamilton Heather M. Kitchen Ms. Andrea Rouah Lesley Ann Clement and The Estate of Sue Hamister Nina Hatvany and Jonathan Kitchen Dr. David Rovno Karl Lukaszewicz The Estate of Howard R. Hollinger Catherine Kuss and Danilo Purlia Ms. Pamela Royse Lloyd and Janet Cluff The Estate of William S. Howe, Jr. Stephanie Hencir Lamey and Mr. and Mrs. Paul Sandberg Mr. James L. Coran and The Estate of Ines R. Lewandowitz Patrick Lamey Andrew Smith and Brian Savard Mr. Walter A. Nelson-Rees The Estate of Thomas H. Maryanski Mr. Philip C. Lang Sonja Schmid Patricia Corrigan The Estate of Michael L. Mellor Mindy Lechman Mr. Harold E. Segelstad Jack and Susan Cortis The Estate of Bruce Tyson Mitchell Ms. Marcia Leonhardt Dr. F. Stanley Seifried Ms. Joan Danforth The Estate of Gail Oakley Marcia and Jim Levy Ms. Ruth A. Short Richard Davis-Lowell and Bill Lowell The Estate of Dennis Edward Parker Jennifer S. Lindsay Dr. Elliot and Mrs. Kathy Shubin Mrs. Carl Degler The Estate of Rose Penn Fred M. Levin and Nancy Livingston, The Cherie Sorokin Sharon Dickson The Estate of Shepard P. Pollack Shenson Foundation Ruth and Alan L.** Stein Jerome L. and Thao N. Dodson The Estate of Margaret Purvine Ms. Paulette Long Bert and LeAnne Steinberg Bill Draper The Estate of Gerald B. Rosenstein Dr. Thane Kreiner and Dr. Steven Lovejoy Jasmine Stirling Drs. Peter and Ludmila Eggleton The Estate of Charles Sassoon Mr. and Mrs. Jim Magill Mr. John E. Sweeney and Ms. Lana Basso Linda Jo Fitz The Estate of Olivia Thebus Melanie and Peter Maier, John Brockway Jane and Jay Taber Frannie Fleishhacker The Estate of Ayn and Brian Thorne Huntington Foundation Marilyn E. Taghon Kevin and Celeste Ford The Estate of Sylvia Coe Tolk Mr. Jeffrey P. Malloy Marvin Tanigawa Mr. and Mrs. Richard Fowler The Estate of Elizabeth Wallace The Kenneth and Muriel Marks Nancy Thompson and Andy Kerr Alan and Susan Fritz The Estate of Frances Webb Living Trust Mr. Dayton E. Torrence Mr. and Mrs. Russell Fudge The Estate of William Zoller
The following members of the A.C.T. community made gifts in memory and in honor of friends, Memorial & Tribute Gifts colleagues, and family members of $100 or more during the January 1, 2018, to January 1, 2019, period.
Susan Medak and Gregory S. Murphy In Honor of Louisa Balch Ms. Agnes Chen Brown In Memory of Robert Elliott Brown and Jennifer Bielstein Carol and Don Hardesty In Memory of Bart Cannon Patrick Hobin In Honor of Giles Havergal Mr. David J. Pasta In Memory of Gloria J. A. Guth Dr. Sandra L. Lillie In Honor of Dakota Lillie Susan L. Kaplan In Memory of Richard M. Kaplan Anne Jamieson In Honor of Nancy Livingston and Fred Levin Dr. Margaret R. McLean In Memory of Teresa and Phillip McLean Ms. Roberta Denning In Honor of Carey Perloff Richard and Victoria Larson In Memory of Dennis Powers Bill Draper In Honor of Carey Perloff Ms. Peggy Kivel In Memory of Eva Ramos Dorothy Saxe In Honor of Carey Perloff Philip Huff In Memory of Mrs. Barbara Rosenblum Kristina Veaco In Honor of Carey Perloff Wendy, David, Marisa and Jared Robinow In Memory of Barbara Rosenblum Jacqueline L. Young In Honor of Carey Perloff and Linda Jo Fitz Barbara C. Ross In Memory of Barbara Rosenblum The Kellners & The Bunises In Honor of David A. Riemer Rosenblum - Silverman - Sutton, SF Inc. In Memory of Mrs. Barbara Rosenblum Peter Blume In Honor of Hannah Roth-Evans Susan Terris In Memory of Barbara Rosenblum and Alan Stein Joan W. Sadler Trust In Honor of the Joan Sadler Award Ms. Carol Tessler In Memory of Barbara Rosenblum Jon Nakamura In Honor of Craig Slaight Alan P. Winston In Memory of Deborah Rush Eric and Susan Nitzberg In Honor of Craig Slaight Richard Gibson and Paul Porcher In Memory of Robert Simpson Mr. and Mrs. Sandy Dean In Honor of Adriana Vermut Judy and Robert Aptekar In Memory of Alan Stein Sally-Ann and Ervin Epstein, Jr. In Memory of Alan Stein Anonymous In Memory of Ruth Asawa Dan and Gloria Kearney Fund In Memory of Alan Stein Ms. Sandra H. Lanier In Memory of Ruth Asawa Susan and John Weiss In Memory of Alan Stein Michael Kim In Memory of Youngmee Baik Ms. Joy Eaton In Memory of Todd Wees Marilee K. Gardner In Memory of Winnie Biocini, Joey Chait, Joe Greenbach, Helen M. Marcus In Memory of David J. Williamson and Roland Lampert 415.749.2228 33 Corporate Membership Program
As the Bay Area’s leading theater, A.C.T. provides unique partnership opportunities to the business sector, including visibility before an affluent and influential audience, entrée to creative and dynamic spaces for client entertaining and business meetings, and exceptional artistic insiders’ experiences like backstage tours, meet-and-greets with artists, and so much more. Member companies support the artistic mission of A.C.T., including A.C.T.’s investment in helping to develop the next generation of the Bay Area’s creative and empathetic workforce through our vibrant artist training and education and community outreach programs serving over 20,000 young people each year. For more information, please contact Caitlin A. Quinn at [email protected] or 415.439.2436.
Business Leadership Council PRESENTING PRODUCING PARTNERS Nancy Livingston, Co-Chair PARTNERS ($15,000–$24,999) A.C.T. Chair Emerita ($25,000–$49,999) BNY Mellon Wealth Management OFFICIAL HOTEL PARTNER Jamie Martin, Co-Chair Theatre Forward VP, Business Finance, PG&E
Lesley Clement, Clement & Associates Jerome L. Dodson, Parnassus EXECUTIVE Investments DIRECTING PARTNERS PARTNERS Celeste Ford, Stellar Solutions ($10,000–$14,999) ($50,000 +) Kirke M. Hasson, Pillsbury Winthrop Farella Braun & Martel Shaw Pittman LLP Perkins Coie LLP Jascha Kaykas-Wolff, Mozilla Pillsbury Winthrop Shaw Janet V. Lustgarten, Kx Systems, Inc. Pittman LLP Jeffrey Minick, Bank of America David Riemer, UC Berkeley Steven L. Swig, Presidio World College STAGE PARTNERS Patrick S. Thompson, Perkins Coie LLP ($5,000–$9,999) Jeffrey W. Ubben, ValueAct Capital RBC Wealth Management Kay Yun, Health Evolution Partners Schoenberg Family Law Group
Foundations and Government Agencies The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Director of Grants and Foundation Relations Nicole Chalas at 415.439.2337 or [email protected].
$100,000 and above $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Department of Children, The Edgerton Foundation Anonymous California Arts Council Anonymous Youth & Their Families National Endowment for Walter and Elise Haas Fund The Stanley S. Langendorf Davis/Dauray Family Fund Doris Duke Charitable the Arts The Kimball Foundation Foundation The Bill Graham Memorial Foundation The Bernard Osher MAP Fund Laird Norton Family Foundation The William Randolph Hearst Foundation The Harold & Mimi Foundation Edna M. Reichmuth Foundations Steinberg Charitable Trust The Kenneth Rainin Educational Fund of The William and Flora The Virginia B. Toulmin Foundation The San Francisco Hewlett Foundation Foundation San Francisco Arts Foundation Jewels of Charity, Inc. Commission Koret Foundation The Sato Foundation San Francisco Grants The Zellerbach Family for the Arts Foundation The Shubert Foundation
34 ACT-SF.ORG Theatre Forward Current Funders List as of October 2018
Theatre Forward advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theatres. Theatre Forward and its theaters are most grateful to the following funders:
THEATRE PACESETTERS DONORS SUPPORTERS Leslie C. Quick, Jr. and EXECUTIVES ($15,000–$24,999) ($10,000–$14,999) ($2,500–$9,999) Regina A. Quick Charitable American Express Aetna Joe Baio & Anne Griffin* Trust Foundation ($50,000+) Sarah Robertson AT&T ◆ AudienceView Mitchell J. Auslander• Sheri and Les Biller Elliott Sernel & Larry Falconio* Bank of America• Bloomberg Philanthropies DELL Foundation Ten Chimneys Foundation Citi• Paula A. Dominick• Dorsey & Whitney Foundation Sue Ann Collins* Theatermania The Hearst Foundations ◆ The Estée Lauder Bruce R. & Tracey Ewing• Dramatists Play Service, Inc. John Thomopoulos • The Schloss Family Foundation◆ • Companies Inc. Mary Kitchen & Jon Orszag* Kevin & Anne Driscoll* Ubiñas Family Charitable Trust James S. & Lynne P. Turley* ◆ • Alan & Jennifer Freedman* • KLDiscovery John R. Dutt* Michael A. Wall* Wells Fargo ◆ Frank & Bonnie Orlowski• Anthony & Diane Lembke* Jessica Farr Marsh & McLennan Lisa Orberg ◆ Lucy Fato & Matt Detmer* Mary Beth Winslow & Companies, Inc. Presidio Foresight Theatrical Bill Darby* BENEFACTORS • The Music Man Foundation◆ RBC Wealth Management Steven & Donna Gartner* Terrence P. Yanni ($25,000–$49,999) Westlake Reed Leskosky ◆ Buford Alexander & Pamela Farr• Meltwater Daniel A. Simkowitz & Glen Gillen & • The Augustine Foundation ◆ Pfizer, Inc. Mari Nakachi Michael Lawrence • • BNY Mellon Thomas C. Quick S&P Global Richard K. Greene ◆ Steven & Joy Bunson• Southwest Airlines † Evelyn Mack Truitt* Nancy Hancock Griffith* ◆ • • EY TD Charitable Foundation Isabelle Winkles Joyce & Gregory Hurst George S. Smith, Jr.* • Willkie Farr & Gallagher Jujamcyn Goldman, Sachs & Co. *National Society Membership MetLife UBS Rob Kauffman* †Includes in-kind support Morgan Stanley Jonathan Maurer & • Patti & Rusty Rueff Foundation• Gretchen Shugart ◆ Educating through Theatre Support Louise Moriarty & Stephanie Scott• •Advancing Strong Theatre Support Patrick Stack* Robin and Bob Paulson Charitable Fund For a complete list of funders visit, theatreforward.org.
Gifts in Kind A.C.T. thanks the following donors for their generous contributions of goods and services.
Hafner Vineyard ad sheet
ACORN Winery The Marker Hotel HAFNER VINEYARD CyberTools for Libraries Piedmont Piano Company Joe Tally and Dan Strauss Premium Port Wines, Inc. www.hafnervineyard.com Kryolan Professional Make-up
HAFNER VINEYARD www.hafnervineyard.com Corporations Matching Annual Fund Gifts As A.C.T. is both a cultural and an educational institution, many employers will match individual employee contributions to the theater. The following corporate matching gift programs honor their employees’ support of A.C.T., multiplying the impact of those contributions.
Acxiom Corporation BlackRock GE Foundation Macy’s, Inc. The Clorox Company Adobe Systems Inc. Charles Schwab Google Merrill Lynch & Co. Foundation Apple, Inc. Chevron Hewlett-Packard Foundation, Inc. The James Irvine Foundation Applied Materials Chubb & Son IBM International Foundation Northwestern Mutual The Morrison & Foerster AT&T Foundation Dell Direct Giving Campaign JPMorgan Chase Foundation Foundation Bank of America Dodge & Cox Johnson & Johnson Family Pacific Gas and Electric TPG Capital, L.P. Bank of America Foundation Ericsson, Inc. of Companies Arthur Rock Verizon Bank of New York Mellon Federated Department Stores Levi Strauss Foundation Salesforce Visa International Community Partnership The Gap Lockheed Martin Corporation State Farm Companies John Wiley and Sons, Inc. Foundation
415.749.2228 35 A.C.T. STAFF
PAM MACKINNON JENNIFER BIELSTEIN MELISSA SMITH Artistic Director Executive Director Conservatory Director
Artistic Director Emerita The Strand: Front of House M.F.A. Program Core Faculty Carey Perloff Sarah Jacquez, Head Sound Kevin Nelson, Theater Manager Christine Adaire, Head of Voice Ana Gabriella Hernandez-Mikig, Head David Whitman, House Manager and Volunteer Danyon Davis, Head of Movement Producing Director Emeritus Electrician Usher Coordinator Peter J. Kuo, Collaboration Building James Haire Dante Clark, Head Carpenter Megan Murray, Genevieve Pabon, Joy Meads, Character and Text Tuesday Ray, House Managers Lisa Anne Porter, Head of Text and Dialects ARTISTIC ADMINISTRATION Oliver Sutton, Security Jack Sharrar, PhD, Theater History Andy Donald, Associate Artistic Director Coralyn Bond, Executive Assistant and Ramsey Abouremeleh, Monica Amitin, Melissa Smith, Head of Acting, Shannon Amitin, Forrest Choy, Bernadette Janet Foster, Director of Casting and Board Liaison Conservatory Director Artistic Associate April Andrickson, Receptionist Fons, Nailah Harper-Malveaux, Anthony Hernandez, Caleb Lewis, Svetlana Karasyova, Joy Meads, Director of Dramaturgy M.F.A. Program Adjunct Faculty Susan Monson, Haley Nielsen, Trever and New Works Human Resources Milissa Carey, Singing, Director Pearson, Scott Phillips, Pete Pickens, Miki Allie Moss, Literary Manager and Amanda Williams, Human Resources Director Richmond, Travis Rowland, Tracey Sylvester, Andy Donald, Arts Leadership Artistic Associate Amanda Roccuzzo, Human Resources Cevie Toure, Robyn Williams, Bartenders Julie Douglas, Improv Ken Savage, Associate Producer Generalist Lauren English, The Actor’s Work Ariana Johnson, Kayla Minton Kaufman, Susan Allen, Rodney Anderson, Branden Daniel Feyer, Accompanist Artistic Fellows General Management Bowman, Serena Broussard, Danica Burt, Janet Foster, Audition Louisa Balch, General Manager Jose Camello, Barbara Casey, Wendy Chang, Anthony Fusco, Acting Associate Artists Amy Dalba, Associate General Manager Niyjale Cummings, Kathy Dere, John Doll, Larry Emms, Doris Flamm, Claire Gerndt, Liz Jasmin Hoo, Citizen Artistry Marco Barricelli, Olympia Dukakis, Anthony Sabra Jaffe, Company Manager Githuka, Carol Grace, Blue Kesler, Ryszard Mark Jackson, Performance Making Fusco, Giles Havergal, Bill Irwin, Steven Christina M. Sturken, Assistant Koprowski, Sharon Lee, Sadie Li, David Darryl Jones, Acting, Director Anthony Jones, Andrew Polk, Tom Stoppard, Company Manager Gregory Wallace, Timberlake Wertenbaker Linger, Joe MacDonald, Maria Markoff, Val W. D. Keith, On-Camera Acting Emma Penny, General/Company Management Mason, Sam Mesinger, Edvida Moore, Kathy Fellow Philip Charles MacKenzie, On-Camera Acting Coaches Napoleone, Mary O’Connell, Brandie Pilapil, Mark Saladino, Steve Salzman, Walter Heidi Marshall, On-Camera Acting Christine Adaire, Lisa Anne Porter, Finance Schoonmaker, Michael Sousa, Melissa Stern, Seana McKenna, Acting Voice and Text Rob Fore, Chief Financial Officer Dale Whitmill, Lorraine Williams, June Yee, Danielle O’Dea, Combat Danyon Davis, Movement Sharon Boyce, Accounting Manager Ushers Caymichael Patten, On-Camera Acting Dave Maier, Danielle O’Dea, Fights May Chin, Matt Jones, Ryan Jones, Finance Kari Prindl, Alexander Technique Daniel Feyer, Music Associates The Strand Cafe Stacey Printz, Dance Rafael Monge, Cafe Manager Tiffany Redmon, Fundraising PRODUCTION Information Technology LaRina Hazel, Barista Lindsay Saier, Stage Makeup Martin Barron, Director of Production Thomas Morgan, Director Virginia Scott, Clowning Robert Hand, Production Manager Joone Pajar, Network Administrator EDUCATION & COMMUNITY Elyse Shafarman, Alexander Technique Jack Horton, Production Manager PROGRAMS Lisa Townsend, Director, Choreographer Operations Marlena Schwartz, Susie Falk, Interim Director of Education & Stephanie Wilborn, Citizen Artistry Assistant Production Manager Eric Brizee, Operations and Facilities Manager Community Programs Chris Lundahl, Design and Production Associate Jeffrey Warren, Assistant Facilities Manager Vincent Amelio, School & Community Programs Studio A.C.T. Michelle Symons, Leopoldo Benavente, Matt Stewart-Cohn, Operations Manager Mark Jackson, Program Director Conservatory Production Manager Facilities Crew Members Vanessa Ramos, School Programs Manager Liz Anderson, On-Camera Acting, Improv Conservatory Design and Curtis Carr, Jr., Jesse Nightchase, Security Haley Miller, Stephanie Wilborn, Heidi Carlsen, Acting, Voice, Movement Production Associate Jaime Morales, Geary Cleaning Foreman Community Programs Manager Julie Douglas, Acting, Clown Sean Key-Ketter, Jamal Alsaidi, Jeaneth Alvarado, Lidia Jarrett Holley, School Programs Associate Francie Epsen-Devlin, Musical Theater Conservatory Technical Director Godinez, Geary Cleaning Crew Elizabeth Halperin, Student Matinees Paul Finocchiaro, Acting Miranda Erin Campbell, Conservatory Hannah Clague, School & Community Margo Hall, Acting Production and Stage Management Coordinator Development Programs Fellow Lavine Leyu Luo, Caitlin A. Quinn, Director of Development W. D. Keith, Acting Production Management Fellow Tiffany Redmon, Deputy Director of YOUNG CONSERVATORY Drew Khalouf, Speech, Shakespeare Development Jill MacLean, Craig Slaight Director of Kari Prindl, Alexander Technique Stage Management Nicole Chalas, Director of Grants and the Young Conservatory Mark Rafael, Acting Elisa Guthertz, Head Stage Manager Foundation Relations Sophia Nguyen, Young Conservatory Katie Rubin, Stand-Up Comedy, Acting Dani Bae, Samantha Greene, Elisa Guthertz, Jody Price, Director of Special Events & Studio A.C.T. Associate Patrick Russell, Acting, Clown Christina Hogan, Leslie M. Radin, Hillary Bray, Donor Relations and Rahel Zeleke, Young Conservatory Naomi Sanchez, Musical Theater Cristine Reynolds, Stage Managers Membership Manager Administrative Assistant Michael Gene Sullivan, Playwriting Cheryle Honerlah, Maggie Manzano, Renée Gholikely, Development Research and Andy Alabran, Acting Caitlyn Tella, Movement Chris Waters, Hannah Woodward, Prospect Manager Cristina Anselmo, Acting Assistant Stage Managers Laura Wayth, Acting, Musical Theater Stephanie Swide, Development Operations Enrico Banson, Musical Theater Amanda Marshall, Production Assistant Manager Denise Blase, Musical Theater Professional Development Brianna Grabowski, Miranda Ramos, Emily Remsen, Special Events Associate Kimberly Braun, Musical Theater Liz Anderson, Fontana Butterfield, Mark Noah Usher, Stage Management Fellows Taylor Steinbeck, Development Assistant Nancy Gold, Physical Character, Acting Rafael, Katie Rubin, Patrick Russell, Mads Leigh-Faire, Special Events Fellow Prop Shop Dan Griffith, Movement Radhika Rao Ashley Mareira, Development Fellow Abo Greenwald, Supervisor Jane Hammett, Musical Theater Conservatory Accompanists W. D. Keith, Director Marketing & Public Relations Lynden James Bair, Daniel Feyer, Christopher Costume Shop Domenique Lozano, Director, Acting Joan Rosenberg, Director of Marketing Hewitt, Louis Lagalante, Paul McCurdy, Jessie Amoroso, Costume Director Danielle O’Dea, Stage Combat Syche Phillips, Associate Director of Marketing Thaddeus Pinkston, Naomi Sanchez Callie Floor, Rentals Manager Thaddeus Pinkston, Accompanist Simone Finney, Digital Content Manager Keely Weiman, Build Manager/Draper Corinna Rezzelle, Musical Theater Simon Hodgson, Publications Manager Library Staff Jef Valentine, Inventory Manager Lauren Rosi, Musical Theater Kevin Kopjak/Charles Zukow Associates, Joseph Tally, Head Librarian Maria Montoya, Head Stitcher Public Relations Counsel Vivian Sam, Musical Theater, Dance G. David Anderson, Theresa Bell, Laurie Kelly Koehn, Accessories & Crafts Artisan Matt Mullin, Senior Graphic Designer Lauren Spencer, Acting Bernstein, Helen Jean Bowie, Bruce Carlton, Barbara Cohrssen, William Goldstein, Pat Chanterelle Grover, First Hand Dani Karonis, Graphic Designer Trish Tillman, Acting Victoria Mortimer, Costume Administrator Valerie Weak, Acting Hunter, Connie Ikert, Ashok Katdare, Martha Beryl Baker, Digital Content Associate Kessler, Nelda Kilguss, Barbara Kornstein, NJ Bice, Kinsey Thomas, Costume Fellows Krista Wigle, Musical Theater Elspeth Sweatman, Publications Associate Patricia O’Connell, Roy Ortopan, Maida Samantha Wong, Conservatory Wig Shop Paxton, Connie Pelkey, Christine Peterson, Marketing Associate CONSERVATORY Dana Rees, Roger Silver, Whitney Spaner, Lindsay Saier, Wig Master Miranda Ashland, Marketing Assistant Peter J. Kuo, Associate Conservatory Director Jane Taber, Aileen Thong, Susan Torres, Lyre Alston, Wigs Fellow Aaron Higareda, Marketing Fellow Christopher Herold, Director of Summer Joyce Weisman, Jean Wilcox, Marie Wood, Annie Sears, Publications Fellow Training Congress Library Volunteers STAGE STAFF Audrey Walker, Graphic Design Fellow Jack Sharrar, PhD, Director of Academic Affairs Jerry Lopez, Director of Financial Aid Accreditation A.C.T. is accredited by the Accrediting The Geary: Ticket Services Charlotte Brockman, Conservatory Manager Commission for Senior Colleges and Miguel Ongpin, Head Carpenter Ian Fullmer, Director of Ticket Services Sophia Nguyen, Young Conservatory & Studio Universities of the Western Association of Suzanna Bailey, Head Sound A.C.T. Associate Mark C. Peters, Subscriptions Manager Schools and Colleges (WASC), 985 Atlantic Amy Domjan, Head Electrician David Engelmann, Head Treasurer Callie Garrett, Conservatory Associate, Avenue, Suite 100, Alameda, CA 94501, Candace Drucelle Shankel, Head of Props Elizabeth Halperin, Assistant Head Treasurer Academic Programs 510.748.9001, an institutional accrediting Colin Wade, Flyman Anthony Miller, Group Sales Matt Jones, Bursar/Payroll Administrator body recognized by the Council on Mary Montijo, Wardrobe Supervisor Scott Tignor, Subscriptions Coordinator Miranda Reilly, Young Conservatory/Studio Postsecondary Accreditation and the U.S. A.C.T. Fellow Department of Education. Diane Cornelius, Assistant Wardrobe Supervisor Andy Alabran, Liam Blaney, Richard Claar, Loren Lewis, Joe Nelson, Stage Door Monitors Peter Davey, Leontyne Mbele-Mbong, Alex Hannah Rosenzweig, Conservatory/Academic Fellow Mechanic, Treasurers
36 ACT-SF.ORG A.C.T. PROFILES
PAM MACKINNON (Artistic Director) Bruce Norris’s Clybourne Park (Obie Award for Excellence in is celebrating her inaugural season as Direction, Tony and Lucille Lortel nominations). After five A.C.T.’s fourth artistic director. She is a years as board chair of Clubbed Thumb, a downtown New Tony, Drama Desk, and Obie Award– York theater company dedicated to new American plays, she winning director, having directed sits on its advisory board. She is an artistic associate of the upwards of 70 productions around the Roundabout Theatre Company, a Usual Suspect of New York country, off Broadway, and on Theatre Workshop, and an alumna of the Drama League, Broadway. Her Broadway credits Women’s Project, and Lincoln Center Theater’s Directors’ include Beau Willimon’s The Parisian Woman (with Uma Labs. She is also the executive board president of the Stage Thurman), Amelie: A New Musical, David Mamet’s China Directors and Choreographers Society (SDC). She grew up in Doll (with Al Pacino), Wendy Wasserstein’s The Heidi Toronto, Canada, and Buffalo, New York, acted through her Chronicles (with Elisabeth Moss), Edward Albee’s A Delicate teens, but majored in economics and political science at the Balance (with Glenn Close and John Lithgow), Edward University of Toronto and briefly pursued a PhD in political Albee’s Who’s Afraid of Virginia Woolf? (Tony Award, Drama science at UC San Diego, before returning to her true Desk Award, and Outer Critics Circle nomination), and passion: theater.
JENNIFER BIELSTEIN (Executive well as serving on the boards of the League of Chicago Director) joins A.C.T. with more than 25 Theatres, Theatre Forward, the Arts and Cultural years of theater management Attractions Council, and other civic boards. She has experience. She is currently president received the Center for Nonprofit Excellence’s Pyramid of the League of Resident Theatres Award of Excellence in Leadership, and has been (LORT)—an organization that recognized as one of Louisville’s Business First’s 40 represents 74 theaters nationwide— Under 40. In 2017, Bielstein was named by Twin Cities having previously served as LORT’s Business as a Person to Know, and, in 2018, Minnesota vice president; chair of its Equity, Diversity, and Inclusion Business magazine named her as a Real Power 50 Committee; secretary; and on multiple union negotiating member. Bielstein is a graduate of the University of North teams. Before relocating to the Bay Area, Bielstein was the Carolina at Chapel Hill, attended Stanford’s Graduate managing director of the Guthrie Theater in Minneapolis, School of Business Executive Program for Nonprofit managing director of Actors Theatre of Louisville, and Leaders in the Arts, and earned an MBA from Bellarmine executive director of Writers Theatre in Chicago. She has University, where she received the MBA Faculty Merit also worked for Steppenwolf Theatre Company, About Face Award and was inducted into Beta Gamma Sigma, the Theatre, Northlight Theatre, and the Lincoln Park Zoo, as honor society for business programs.
MELISSA SMITH (Conservatory leadership of the Conservatory, Smith was the director of Director, Head of Acting) has served as the Program in Theater and Dance at Princeton University. Conservatory director and head of She has taught acting classes to students of all ages in acting in the Master of Fine Arts various colleges, high schools, and studios around the Program at A.C.T. since 1995. During continental United States, at the Mid-Pacific Institute in that time, she has overseen the Hawaii, New York University’s La Pietra campus in expansion of the M.F.A. Program from Florence, and the Teatro di Pisa in San Miniato, Italy. She is a two- to a three-year course of study featured in Acting Teachers of America: A Vital Tradition. and the further integration of the M.F.A. Program faculty Also a professional actor, she has performed regionally at and student body with A.C.T.’s artistic wing, while also the Hangar Theatre, A.C.T., the California Shakespeare teaching and directing in the M.F.A. Program, Summer Festival, and Berkeley Repertory Theatre; in New York at Training Congress, and Studio A.C.T. In 2013, she launched Primary Stages and Soho Rep.; and in England at the the San Francisco Semester, a semester-long intensive that Barbican Centre in London and Birmingham Repertory deepens students’ acting. In 2016, she was honored by Theatre. Smith holds a BA from Yale College and an MFA in Theatre Bay Area as one of 40 individuals who have acting from Yale School of Drama. changed the face of Bay Area theater. Prior to assuming
415.749.2228 37 F.Y. I .
ADMINISTRATIVE OFFICES REFRESHMENTS AFFILIATIONS Full bar service, sweets, and savory items are A.C.T.’s administrative and conservatory A.C.T. is a constituent of Theatre available one hour before the performance in offices are located at 30 Grant Avenue, San Communications Group, the national Fred’s Columbia Room on the lower level and Francisco, CA 94108, 415.834.3200. On the organization for the nonprofit professional the Sky Bar on the third level. You can avoid web: act-sf.org. theater. A.C.T. is a member of Theatre Bay the long lines at intermission by preordering Area, the Union Square Association, the San food and beverages in the lower- and third- Francisco Chamber of Commerce, and the level bars. Bar drinks are now permitted in BOX OFFICE INFORMATION San Francisco Convention & Visitors Bureau. the theater. A.C.T. BOX OFFICE Visit us at 405 Geary Street at Mason, next to CELL PHONES A.C.T. operates under an agreement the theater, one block west of Union Square; If you carry a pager, beeper, cell phone, or between the League of Resident Theatres or at 1127 Market Street at 7th Street, watch with an alarm, please make sure that and Actors’ Equity Association, the union of across from the UN Plaza. Walk-up hours it is set to the “off” position while you are professional actors and stage managers in are Tuesday–Sunday (noon–curtain) on in the theater. Text messaging during the the United States. performance days, and Monday–Friday performance is very disruptive and not allowed. (noon–6 p.m.) and Saturday–Sunday The Director is a member of the STAGE (noon–4 p.m.) on nonperformance days. PERFUMES DIRECTORS AND CHOREOGRAPHERS (For Strand Box Office walk-up hours, please The chemicals found in perfumes, colognes, SOCIETY, a national theatrical labor union. visit act-sf.org.) Phone hours are Tuesday– and scented aftershave lotions, even in Sunday (10 a.m.–curtain) on performance small amounts, can cause severe physical The scenic, costume, lighting, and sound days, and Monday–Friday (10 a.m.–6 p.m.) reactions in some individuals. As a courtesy to designers in LORT theaters are represented and Saturday–Sunday (10 a.m.–4 p.m.) on fellow patrons, please avoid the use of these by United Scenic Artists, Local USA-829 of nonperformance days. Call 415.749.2228 and products when you attend the theater. the IATSE. use American Express, Visa, or MasterCard; or fax your ticket request with credit card EMERGENCY TELEPHONE The scenic shop, prop shop, and stage crew information to 415.749.2291. Tickets are also Leave your seat location with those who are represented by Local 16 of the IATSE. available 24 hours a day on our website at may need to reach you and have them call act-sf.org. All sales are final, and there are no 415.439.2317 in an emergency. A.C.T. is supported in part by an award from refunds. Only current ticket subscribers and the National Endowment for the Arts. LATECOMERS those who purchase ticket insurance enjoy Performances begin promptly, and late ticket exchange privileges. Packages are seating is at the house manager’s discretion. A.C.T. is supported in part by a grant from available by calling 415.749.2250. A.C.T. gift Latecomers may have to watch the Grants for the Arts. certificates can be purchased in any amount performance on a video monitor in the lobby online, by phone or fax, or in person. until intermission. Latecomers and those who SPECIAL SUBSCRIPTION DISCOUNTS leave the theater during the performance may GEARY THEATER EXITS Full-time students, educators, and be seated in alternate seats (especially if they administrators save up to 50% off season were in the first few rows) and can take their subscriptions with valid ID. Visit act-sf.org/ assigned seats at intermission. educate for details. Seniors (65+) save $40 on LISTENING SYSTEMS 8 plays, $35 on 7 plays, $30 on 6 plays, $25 Headsets designed to provide clear, amplified on 5 plays, and $20 on 4 plays. ORCHESTRA sound anywhere in the auditorium are SINGLE TICKET DISCOUNTS available free of charge in the lobby before Joining our eClub is the best—and sometimes performances. Please turn off your hearing aid only—way to find out about special ticket when using an A.C.T. headset, as it will react to offers. Visit act-sf.org/eclub to sign up. Find the sound system and make a disruptive noise. us on Facebook and Twitter for other great RESTROOMS deals. Beginning two hours before curtain, Gender diversity is welcome at A.C.T. We a limited number of discounted tickets invite audiences to use the restroom that are available to seniors (65+), educators, best fits your gender identity or expression. If administrators, and full-time students. For preferred, a single-user restroom can be found matinee performances, all seats are just $20 on the 5th floor. for seniors (65+). Valid ID required—limit one ticket per ID. Not valid for Premiere Wheelchair Seating is located Orchestra seating. All rush tickets are subject in Fred’s Columbia Room on the to availability. lower lobby level, the Balcony MEZZANINE Lobby, and the Garret on the GROUP DISCOUNTS uppermost lobby level. Groups of 15 or more save up to 35%! For more information, call Anthony Miller A.C.T. is pleased to announce that an Automatic at 415.439.2424. External Defibrillator (AED) is now available in the house management closet in the lobby AT THE THEATER of The Geary. A.C.T.’s Geary Theater is located at 415 Geary Street. The lobby opens one hour before LOST AND FOUND curtain. Bar service and refreshments are If you’ve misplaced an item while you’re available one hour before curtain. The theater still at the theater, please look for it at our opens 30 minutes before curtain. merchandise stand in the lobby. Any items found by ushers or other patrons will be taken ABOUT OUR PLAYS there. If you’ve already left the theater, please Copies of Words on Plays, A.C.T.’s in-depth call 415.439.2471 and we’ll be happy to check BALCONY performance guide, are on sale in the main our lost and found for you. Please be prepared lobby, at the theater bars, at the box office, with the date you attended the performance and online at act-sf.org/wordsonplays. and your seat location.
38 ACT-SF.ORG “An invitation to this Home is very much worth saying yes to!” —BOSTON GLOBE
CREATED BY Geoff Sobelle SCENIC CONCEPT BY Steven Dufala DIRECTED BY Lee Sunday Evans ORIGINAL SONGS BY Elvis Perkins
Right before your eyes, a two-story house is conjured from the shadows. Residents past, present, and future rollick through its rooms in an impromptu dance that defies time and space, magically transforming our mundane everyday tasks into a glorious, intimate, and profound celebration. STARTS MARCH 22 · RODA THEATRE
From the team that brought you the stunning theatrical experience of An Iliad
BY Denis O’Hare and Lisa Peterson DIRECTED BY Lisa Peterson
This powerful play weaves together three distinct yet connected stories: a devout young man struggling to reconcile his belief with his identity; an atheist biblical scholar trying to find meaning as she faces her own mortality; and the creative journey of the Bible itself. STARTS APRIL 25 · PEET’S THEATRE
Call 510 647-2949 · Click berkeleyrep.org SEASON SPONSORS E A S S EA A N AT TH A TH AT
H N C S BY N N SC TRA SLATE BY S RE TE BY AN A AT
T C TS N SA N ACT S . H N . .