SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY

APR–MAY 2017 SEASON 50, ISSUE 7 A Life CAre Community for ACtive AduLts in the heArt of the City.

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Paul Heppner A.C.T. INVITES YOU Publisher Susan Peterson Design & Production Director

TO JOIN OR RENEW YOUR DONOR Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst MEMBERSHIP BEFORE OUR Production Artists and Graphic Design Mike Hathaway Sales Director BENEFIT LEVELS INCREASE! Marilyn Kallins, Terri Reed, Rob Scott San Francisco/Bay Area Account Executives

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

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is at winning nonprofit theater, nurtures the art of live theater the center of our work. Our three-year, fully accredited Master through dynamic productions, intensive actor training, of Fine Arts Program is at the forefront of America’s actor and ongoing engagement with our community. Under the training programs. Meanwhile, our intensive Summer Training leadership of Artistic Director Carey Perloff and Executive Congress attracts students from around the world, and the San Director Peter Pastreich, we embrace our responsibility to Francisco Semester offers a unique study-abroad opportunity conserve, renew, and reinvent our rich theatrical traditions for undergraduates. Other programs include the world-famous and literatures, while exploring new artistic forms and Young Conservatory for students ages 8 to 19, led by 28-year new communities. Founded by William Ball, a pioneer of veteran Craig Slaight; Studio A.C.T., our expansive course of the regional theater movement, A.C.T. opened its first San theater study for adults; and the Professional Development Francisco season in 1967. We have since performed more than Training Program, which offers actor training for companies 350 productions to a combined audience of more than seven seeking to elevate their employees’ business performance skills. million people. Every year we reach more than 250,000 people Our alumni often grace our mainstage and perform around the through our productions and programs. Bay Area, as well as on stages and screens across the country.

Rising from the wreckage of the earthquake and fire of 1906 A.C.T. also brings the benefits of theater-based arts education and hailed as the “perfect playhouse,” the beautiful, historic to more than 12,000 Bay Area students and educators each Geary Theater has been our home since the beginning. When year. Central to our ACTsmart education programs, run by the 1989 Loma Prieta earthquake ripped the roof apart, San Director of Education & Community Programs Elizabeth Franciscans rallied together to raise a record-breaking $30 Brodersen, is the longstanding Student Matinee (SMAT) million to rebuild the theater. The Geary reopened in 1996 with program, which has brought hundreds of thousands of young a production of The Tempest directed by Perloff, who took over people to A.C.T. performances since 1968. We also provide in 1992 after the retirement of A.C.T.’s second artistic director, touring Will on Wheels Shakespeare productions, teaching- gentleman artist Ed Hastings. artist residencies, in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 24-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, A.C.T. plays a leadership and theater made by, for, and about the Bay Area. Her fierce role in securing the future of theater for San Francisco and commitment to audience engagement ushered in a new era the nation. of InterACT events and dramaturgical publications, inviting everyone to explore what goes on behind the scenes.

American Conservatory Theater Board of Trustees (As of April 2017) The Board of Directors of the M.F.A. Program Nancy Livingston Ray Apple Carey Perloff Dagmar Dolby CHAIR Lesley Ann Clement Robina Riccitiello William Draper III Abby Sadin Schnair Kirke M. Hasson Richard T. Davis-Lowell Dan Rosenbaum John Goldman CHAIR PRESIDENT Jerome L. Dodson Sally Rosenblatt Kaatri Grigg Michael G. Dovey Abby Sadin Schnair James Haire Sara Barnes Celeste Ford VICE CHAIR Olympia Dukakis Jeff Spears Kent Harvey Carlotta Dathe Sarah M. Earley Robert Tandler Sue Yung Li Frannie Fleishhacker Priscilla Geeslin Frannie Fleishhacker Patrick S. Thompson Christine Mattison Arnie Glassberg VICE CHAIR Ken Fulk Joaquin Torres Joan McGrath Christopher Hollenbeck David Riemer Dianne Hoge Jeff Ubben Deedee McMurtry Luba Kipnis VICE CHAIR Jo S. Hurley Adriana Lopez Vermut Mary S. Metz Linda Kurtz Steven L. Swig Jeri Lynn Johnson Nola Yee Toni Rembe Jennifer Lindsay VICE CHAIR Alan Jones Kay Yun Rusty Rueff Toni Miller Linda Jo Fitz James H. Levy Cherie Sorokin Toni Rembe TREASURER Heather Stallings Little EMERITUS Alan L. Stein Sally Rosenblatt Janet V. Lustgarten ADVISORY BOARD Susy Wadsworth Anne Shonk Daniel E. Cohn SECRETARY Jeffrey S. Minick Barbara Bass Bakar Barry Lawson Williams Melissa Smith Michael P. Nguyen Rena Bransten Carlie Wilmans Alan L. Stein Alan L. Stein Martim Oliveira Jack Cortis Patrick S. Thompson CHAIR EMERITUS Peter Pastreich Joan Danforth

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

415.749.2228 5 Untitled-1 1 3/10/17 4:03 PM DON’T JUST SIT THERE . . .

At A.C.T.’s free InterACT events, you PASCAL VICTOR/ARTCOMART PASCAL

© can mingle with cast members, join interactive workshops with theater artists, and meet fellow theatergoers PHOTO at hosted celebrations in our lounges. Join us for our upcoming production of A Night with Janis Joplin and InterACT with us!

A NIGHT WITH JANIS JOPLIN AT THE GEARY THEATER

BIKE TO THE THEATER NIGHT Jun 7, 7 PM Ride your bike to A.C.T. and take advantage of secure bike parking and low-priced tickets at our preshow mixer, presented in partnership with the San Francisco Bicycle Coalition.

KDFC PROLOGUE JUN 13, 5:30 PM Ery Nzaramba in Battlefield Go deeper with a fascinating preshow discussion with a member of the Night with Janis Joplin artistic team.

THEATER ON THE COUCH* JUN 16, 8 PM Take part in a lively conversation in our lower-level lounge with Dr. Mason Turner, WHAT’S INSIDE chief of psychiatry at Kaiser Permanente San Francisco Medical Center.

ABOUT THE PLAY INSIDE A.C.T. AUDIENCE EXCHANGE* JUN 20, 7 PM; JUN 25 & 28, 2 PM 10 LETTER FROM THE 26 THROUGH YOUNG EYES Join us for an exciting Q&A ARTISTIC DIRECTOR A Celebration of Young with the cast following the show. By Carey Perloff Conservatory Director Craig Slaight OUT WITH A.C.T.* By Elspeth Sweatman 14 A HUMAN QUALITY JUN 21, 8 PM Mix and mingle at this hosted An Interview with Director Peter Brook 28 FUTURE THEATER postshow LGBT party. By Michael Paller A.C.T. Strengthens Its Roots in San Francisco’s Tech Sector WENTE VINEYARDS WINE SERIES 16 THE WORLD OF BATTLEFIELD JUN 25, 7 PM By Simon Hodgson Inside the Mahabharata Meet fellow theatergoers at this hosted wine-tasting event. By Shannon Stockwell

PLAYTIME 18 LIVING, BREATHING THEATER EDITOR JUL 1, 12:30 PM The Life and Work of Peter Brook SIMON HODGSON Get hands-on with theater at this By Elspeth Sweatman interactive preshow workshop. ASSOCIATE EDITOR SHANNON STOCKWELL To learn more and order tickets for InterACT events, CONTRIBUTORS visit act-sf.org/interact. MICHAEL PALLER CAREY PERLOFF *Events take place immediately ELSPETH SWEATMAN following the performance

CONNECT! VOLUNTEER! LISTEN!

A.C.T. volunteers provide an invaluable service Check out A.C.T.’s new podcast, Theaterology, with their time, enthusiasm, and love of theater. and listen to InterACT events online! Opportunities include helping out in our VISIT: performing-arts library and ushering in our theaters. ACT-SF.ORG/PODCASTS FOR MORE INFORMATION: ACT-SF.ORG/VOLUNTEER

415.749.2228 7 A SNEAK PEEK AT THE

17 18 LEARN MORE AND ENTER TO WIN A FREE SUBSCRIPTION SEASON ACT-SF.ORG/JOIN

Actor John Douglas Thompson returns to A.C.T. to take on one of theater’s most iconic roles: Hamlet. Last season, Thompson dazzled Geary audiences in the virtuoso one-man show Satchmo at the Waldorf. Now, in one of the highlights HAMLET of our 2017–18 season, Thompson will play for the first time one of Shakespeare’s most complex and heartbreaking by William Shakespeare characters. In the story of a man who wakes up to find his Starring John Douglas Thompson world upended and his closest friends unworthy of trust, Directed by Carey Perloff Shakespeare shows us how quickly an orderly kingdom ruled by a loving king can become unrecognizable. This will SEP/OCT 2017 AT A.C.T.’S GEARY THEATER be A.C.T.’s first Shakespeare production sinceThe Tempest reopened The Geary in 1996, so it is a fitting celebration of “[John Douglas Thompson is] A.C.T.’s 50th anniversary. our greatest classical actor.” THE NEW YORKER

On a weeklong silent retreat in the woods, six wildly disparate souls looking for answers find that staying quiet doesn’t necessarily bring inner peace. Small Mouth Sounds is the acclaimed and wickedly sharp new comedy from Drama by Bess Wohl Desk Award–winning playwright Bess Wohl that takes dead Directed by Rachel Chavkin aim at our most private hopes and fears while skewering the mindfulness business. Under the eye of an unseen guru, these OCT/NOV 2017 AT A.C.T.’S STRAND THEATER six have gathered to get away from it all. But as they listen to their leader’s ruminations (and try to hook up while struggling Top 10 Play of the Year to meditate without snacks), they learn that silence can indeed THE NEW YORK TIMES, THE GUARDIAN, be golden. It can also be funny, frustrating, erotic, comforting, THE HOLLYWOOD REPORTER, THE ADVOCATE and profoundly passive-aggressive. Small Mouth Sounds won over audiences and critics alike off Broadway, and its intimate and imaginative storytelling is perfect for The Strand Theater. THE A.C.T. returns to the world of Harold Pinter for our first staging of his classic comedy The Birthday Party, featuring A.C.T. favorite BIRTHDAY Marco Barricelli, Tony Award winner Judith Ivey, and Stratford Festival star Scott Wentworth. In an undisturbed English seaside town, the inhabitants of a ramshackle boarding house react PARTY to the arrival of two unsettling strangers. Where do Goldberg by Harold Pinter and McCann come from? Who sent them? And why do they Directed by Carey Perloff keep asking about the sole boarder, piano player Stanley? As the party guests, including flighty Lula and flirty landlady Meg, JAN 2018 AT A.C.T.’S GEARY THEATER gather for Stanley’s birthday, the desperate pianist is forced to undergo a surreal interrogation. Seething with mystery, danger, “Delicious, impalpable and hair-raising” and sudden humor, this is signature Pinter, a play of “tantalizing THE SUNDAY TIMES theatricality” (The New York Times).

A hit off Broadway and at the Oregon Shakespeare Festival, Vietgone is a contemporary twist on the classic story of boy meets girl. In this irreverent new comedy, three young Vietnamese immigrants leave a war-torn country for an eye-opening journey across the bewildering and foreign by Qui Nguyen landscape that is 1970s America. A vibrant mash-up Directed by Jaime Castañeda of pop-culture references and audacious dialogue, this action-packed road trip that instantaneously moves from FEB/MAR 2018 AT A.C.T.’S STRAND THEATER hilarity to heart-wrenching drama played to sold-out houses at OSF in 2016 and New York’s Manhattan Theatre Club. This “Hip, high-wire theatricality . . . sexy, sassy, freewheeling ride, backed by its hip-hop and sultry sexiness . . . quirky playfulness” Motown rhythms, will roll into The Strand this spring in an THE SEATTLE TIMES all-new production.

From Pulitzer Prize winner Suzan-Lori Parks (Topdog/ Underdog) comes an explosively powerful and lyrical new play set against the backdrop of the Civil War. In (Parts 1, 2 & 3) this epic American take on the Odyssey, Southern slave Hero faces a terrible choice: to seek his freedom by by Suzan-Lori Parks fighting for the Confederacy alongside his master or Directed by Liz Diamond to stay home with the woman and people he loves. A poignant and compelling journey in three succinct acts, APR/MAY 2018 AT A.C.T.’S GEARY THEATER Parks mixes contemporary wit, folk ballads, and classical traditions to tell a timeless story of freedom, heroism, “Thrilling . . . a masterpiece” and belonging. By turns comic and heartbreaking, Father NEW YORK MAGAZINE Comes Home from the Wars is a mythic journey through the American soul from one of our most accomplished modern playwrights.

PLUS TWO MORE SHOWS TO BE ANNOUNCED! FROM THE ARTISTIC DIRECTOR

Dear Friends,

Welcome to Battlefield! In this letter, I wanted to write Marie-Hélène Estienne. The two of them will conduct to you about my decision to pass the baton to a new workshops and engage with the community in their signature artistic director after my 25th-anniversary season next explorations of the human experience. In these polarized times, year. I also want to write to you about the magic of Peter we feel blessed to have in our midst an artist like Brook, who Brook, and, equally importantly, about our brilliant Young has always stood for intercultural exchange and understanding. Conservatory Director Craig Slaight, who is retiring in May after 29 years at A.C.T. As I thought about it, I We are equally blessed to have watched the artistry of Craig realized that these three things are part of an amazing Slaight evolve over the past 29 years. When I arrived at A.C.T., continuum of discovering, learning, and looking forward. I was astonished by the sophistication of Slaight’s work, by his understanding of what it felt like to view the world through For director Peter Brook, now in his nineties, the world is the eyes of young people. His commissions of new plays have always new. Even after decades of creating groundbreaking been daring, complex, funny, and heartbreaking. His classroom theatrical productions that defy expectations, Brook work is varied and rigorous; he is with his students in practice has the demeanor of a perpetual student, filled with and in spirit from the day they start training until long after wonder at the capacity of human beings to imagine and their graduation from the YC. Slaight’s love of musical theater to understand each other in spite of every obstacle. He has spawned a decade of unforgettable cabaret performances has spent his career reinventing the form and stripping in The Garret that rank among the best work A.C.T. has away artifice to get to the most subtle and essential produced. He is the most literate man I know, devouring truths, but his work is also surprisingly filled with joy novels at an astonishing rate and reveling in the beauty of and life. He doesn’t need tricks to keep us engaged. great language. All of us at A.C.T., and the thousands of Instead, he manages to uncover the essence of an actor’s students he has trained, owe Slaight a vast debt of gratitude. humanity so that, in watching them, we see ourselves. He has changed our lives, and we are forever thankful.

Few artists have taken the creative risks Brook has taken, Both of these artists have been inspirations to me over the starting over every few years to reimagine the very nature years. When I arrived at A.C.T. as the new artistic director in of making theater. In 1973, A.C.T. Artistic Director William the fall of 1992, an enthusiastic but relatively untested 32-year- Ball invited Peter Brook to bring his legendary A Midsummer old, I had no real idea of what I was getting into. But I had Night’s Dream to The Geary, and the production had a a deep belief in Ball’s founding goal for A.C.T.: to create an profound effect on the new company. On a recent visit to Paris, ambitious theater, outside of the commercial mainstream, in I met with Brook at his Théâtre des Bouffes du Nord, and we which training and performance were inextricably linked; a talked about Ball. Brook had fond memories. He remembered theater that was about both conserving the richness of the one time when Ball said that he had adopted one of Brook’s past and training the best of the future. It’s a simple idea that acting exercises for use with the A.C.T. acting company. Ball made complete sense to me back in 1992, and it is what I have claimed that it had a huge impact on his actors. Laughing, tried to sustain over the past quarter century. I have been kept Brook told me that he couldn’t remember ever having done buoyant by the thousands of students in our building, by the that exercise; he thought Ball had invented it and attributed passionate artists in our studios, by the fierce engagement of it to him. Nevertheless, Brook had a deep respect for the our audience, by the generosity of our board and donors, and experiments Ball was attempting with A.C.T. and was anxious by my own restless love of learning and desire to experiment. to continue the connection. After the success of The Suit at A.C.T. has given me a chance to grow in ways I never imagined; A.C.T. in 2014, Brook agreed not only to bring Battlefield to because we are a school, there seems to be permission The Geary for our 50th anniversary but also to be in residence here to attempt new ideas and new ways of working and at A.C.T. for two weeks, along with his longtime collaborator to take risks that many theaters could never attempt.

ACT-SF.ORG Slaight and Brook remind me why I fell in love with theater These plays join Qui Nguyen’s hilarious and heartbreaking love to begin with: they have great passion for the process of story, Vietgone; Suzan-Lori Parks’s epic Civil War play, Father excavating truths about the mysterious universe of the Comes Home from the Wars; Harold Pinter’s wicked comedy human experience. Perhaps because I began my career as an The Birthday Party (featuring the return of Marco Barricelli archaeologist, I am at home in the trenches, with dirt in my and the Geary debut of Tony Award winner Judith Ivey) and fingernails, sifting through soil to find nuggets of meaning. And two more exciting productions that we will announce shortly. at this moment in my creative career, I am hungry to get back into the rehearsal studio and create work, both as a director and May will usher in our amazing New Strands Festival, which will as a writer, without also being responsible for a huge institution. explode in every space of the beautiful new Strand Theater May I am also anxious to carve out time to follow the trajectory 17 through 21. Featuring three residencies with writers from of our epic production of A Thousand Splendid Suns, which Ma-Yi Theater Company in New York—plus the next iteration many of you enjoyed in February. The show has proved to be of the movement-theater piece Fatherville, two new musicals, an international hit, playing to sold-out houses and standing and much more—the New Strands Festival is a free week of ovations in Canada, and now it is preparing to travel to many creative play that will leave you feeling exhilarated and inspired. theaters across America. This signature A.C.T. production has much to say about the world in which we live, and I am thrilled There will be plenty of time over the next 18 months for me it is going to have such a long and varied life. Twenty-five to say hello and farewell and thank-you to each of you. In years at the helm of a great organization is a gift. I have loved the meantime, there are great theatrical adventures ahead. every moment of my time at A.C.T. and I have loved working with all of you. This is a unique and magical organization, and Enjoy Battlefield! I know it will attract excellent leadership well into the future.

I am truly excited about introducing my 25th-anniversary Warmly, season, full of work I treasure and artists who are deeply connected to our artistic family. We will open with a production I will direct of Hamlet, starring the great classical actor John Douglas Thompson and an extraordinary company of artists in a vivid new exploration of a play about spying, betrayal, Carey Perloff family, identity, and truth. The perfect mirror for any moment in which it is produced, Hamlet asks both artists and audience to think bigger, to wrestle with complexity, to contemplate the angels. It will be our first Shakespeare production in 20 years and a perfect way to begin this ambitious anniversary season.

At The Strand next fall, we are thrilled to bring you Bess Wohl’s imaginative and hilarious new play, Small Mouth Sounds. In Hamlet’s words, “the rest is silence,” and Wohl’s play is about a silent retreat in the woods in which six participants going through six different life crises come together to try to heal. In the process, they learn surprising things about themselves. In a city obsessed with mindfulness, Small Mouth Sounds is a moving and surprising play for our anxious times.

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EAP full-page template.indd 1 3/22/17 1:13 PM CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director PRESENTS

BASED ON THE MAHABHARATA AND THE PLAY WRITTEN BY JEAN-CLAUDE CARRIÈRE ADAPTED AND DIRECTED BY PETER BROOK AND MARIE-HÉLÈNE ESTIENNE

CREATIVE TEAM CAST MUSICIAN TOSHI TSUCHITORI KAREN ALDRIDGE (from May 16 until May 21) COSTUME DESIGN ORIA PUPPO CAROLE KAREMERA LIGHTING DESIGN PHILIPPE VIALATTE (from April 26 until May 14) JARED MCNEILL ERY NZARAMBA SEAN O’CALLAGHAN

MANAGEMENT STAFF

US PRODUCER DAVID EDEN PRODUCTIONS, LTD. GENERAL MANAGER PAT KIRBY COMPANY MANAGER/ THOMAS BECELEWSKI STAGE MANAGER

THIS PRODUCTION MADE POSSIBLE BY SPONSORED BY

PRODUCERS ASSOCIATE PRODUCERS DR. CAROLINE EMMETT TIM MOTT AND PEGAN BROOKE AND DR. RUSSELL RYDEL VERA AND HAROLD STEIN DIANNE AND RON HOGE KAY YUN AND ANDRE NEUMANN-LORECK

Battlefield premiered on September 15, 2015, at the Théâtre des Bouffes du Nord. Production: C.I.C.T. - Théâtre des Bouffes du Nord Coproduction: The Grotowski Institute, PARCO Co. Ltd./Tokyo, Les Théâtres de la Ville de Luxembourg, Young Vic Theatre, Singapore Repertory Theatre, Le Théâtre de Liège, C.I.R.T., Attiki Cultural Society, Cercle des Partenaires des Bouffes du Nord

415.749.2228 13 ABOUT THE PLAY ERNESTO RODRIGUEZ © ERNESTO BY PHOTO

A HUMAN QUALITY AN INTERVIEW WITH DIRECTOR PETER BROOK BY MICHAEL PALLER

I interviewed director Peter Brook in 1988 for Theater Week be judged by simple criteria anyone can recognize. When you magazine during his visit to New York to mount the International do something clumsy and wasteful and ugly, it’s less good than Centre for Theatre Research’s production of The Cherry Orchard if it is finer and cleaner. at Brooklyn Academy of Music. In that interview, I wrote of him, “Each word carries the weight of heavily concentrated Over the years, I’ve never consciously said, “We must look for meaning, the apparently simple and effortless result not simplicity.” On the contrary, as a young man, I used every device only of that moment’s train of thought, but of many years of that the theater could give. And I gradually found that, while experimentation, of trial and error.” In our brief transatlantic they were intoxicating and thrilling, there was a human quality phone interview this year, “trial and error” are words that that was covered up as a result. And as I gradually became occurred, though the words that appeared most were “gradually” more interested in the human being than in the machinery, I and “suddenly.” Brook might protest that I am casting him in the gradually began not to eliminate but to let things drop away by role of a “philosopher with theories,” but the repeated use of themselves, and I saw that something more was coming through. these words suggests two constants in his approach to theater: the patience that allows inspiration to emerge, unimpeded by You don’t make any attempt to set Battlefield in any particular preconceptions, and an openness to recognize, when it presents time and place. Why is that? itself, the solution that perhaps one least expected. [Specifying time and place would be] as if you took a Shakespeare play or an opera and started with the idea, “We’ve It strikes me that the simplicity of Battlefield is greater than got to make it contemporary.” This leads to the use of modern that of your previous productions. What are you searching for devices, electronics and projections and video and so on, in this lifelong journey of honing down? but those don’t make anything contemporary. What makes You mustn’t try to make me into a philosopher with theories. something contemporary is that you feel what the characters It’s just the opposite. I’ve always said that I’m not an artist, I’m are going through. Although the Mahabharata was conceived an artisan, which means that—like all artisans, from bakers to several thousands of years ago, watching Battlefield, you shoemakers to weavers—I try to do my trade better, which can suddenly feel that this is today. Today not as you see it, but by

14 ACT-SF.ORG PHOTO © CAROLINE MOREAU PHOTO PASCAL VICTOR/ARTCOMART © PASCAL PHOTO PHOTO © CAROLINE MOREAU PHOTO PASCAL VICTOR/ARTCOMART © PASCAL PHOTO

the feeling that you have. A simpler way of putting it: “This is OPPOSITE about us.” Director Peter Brook. CLOCKWISE FROM TOP LEFT (Left to right) Carole Karemera, Sean O’Callaghan, Jared You’ve worked for many years with Marie-Hélène Estienne. McNeill, and Ery Nzaramba in Battlefield; actor Ery Nzaramba; What gifts does she bring to the work as a co-creator, co- (left to right) Jared McNeill, Sean O’Callaghan, Ery Nzaramba, writer, and co-director? and Carole Karemera in Battlefield; actor Sean O’Callaghan. She brings an enormous amount. She brings all sorts of intuitions and a particular degree of scholarship, a knowledge of together, then that relaxation happens by itself. And before themes and materials. It is a real duet. you do anything, you prepare in your own way, you take a little time just to prepare quietly. Just doing a little work each day Over the years, I’ve never seen actors anywhere who are at helps you. once as relaxed and working with as much concentration as the members of your company. Could you say a little about What do you want to do next? how that’s achieved? [Laughs] What presents itself! In fact, we are working on It’s a process. If, for instance, a director tries to be too dominant, something which is much too new and fragile to start talking he can scare actors and make them tense. I remember a director, about. It could fall by the way, it could develop. Recognizing still influenced by the war, saying to the actors, “Now, we’re when something falls by the way is the most valuable thing, going into battle. Over the top!” He was reaching back to the because then suddenly you find that something else becomes language of the trenches. “We’re in the trenches, and here we completely clear that was hidden by all the other options. When go, over the top!” That is ridiculous and useless. I know from things just gradually fall away, other things become quite clear. experience that if I say to the actors, “Relax, now just be relaxed,” It goes back to what I’m saying all the time: you take a leap, but it at once creates tension. If I say, “Don’t be nervous, don’t be there’s trial and error. You try, and then you see it’s an error, and frightened,” that will scare them. But if you work together—and then you try again, and you try something else, and then always, there’s no other way and there’s no defining that—if you work unexpectedly, the solution emerges.

415.749.2228 15 ABOUT THE PLAY

THE WORLD OF THE STORY OF THE MAHABHARATA

1 BATTLEFIELD The lineage of the two warring sets INSIDE THE MAHABHARATA of cousins is set up: the Kauravas (one hundred brothers descended BY SHANNON STOCKWELL from demons) and the Pandavas (five brothers descended from gods, led by Yudhishthira). The Pandavas are set to Indian poet A. K. Ramunajan (1929–93) once declared, inherit the throne of Kuru, a kingdom in “No Hindu ever reads the Mahabharata for the first time.” northern India, once the king dies. The story has been engrained in the culture of Hinduism for millennia. The ancient epic, with roots as old as four thousand years, has been passed down from generation to generation and is considered one of the foundational texts of the Hindu religion. After thousands of years of existence, it is clear why the Mahabharata has endured the test of time. When all is said and done, it is simply a great story. It’s a tale of good versus evil in which 2 good ultimately prevails, yes, but to reduce it to a good- After the king dies, however, the kingdom versus-evil tale would be a mistake, because the epic is instead divided in two, with one half is so much more complex than that. Within its many to be ruled by the Kauravas and one half pages, the reader learns that good can exist within evil, to be ruled by the Pandavas. This is an and evil within good. These intricacies are what make attempt to reduce the rivalry between the the Mahabharata so enticing—and always relevant. two sets of cousins, but it does not work.

16 ACT-SF.ORG 3 4 The Kauravas challenge Yudhishthira and After the 13 years are up, the Pandavas the Pandavas to a dice game (which is return to Kuru, but the Kauravas won’t rigged against them). The Pandavas lose give them back their half of the kingdom. and are forced to spend 13 years in exile. War is inevitable.

5 War breaks out in the city of Kurukshetra. Millions of soldiers are slain in an eighteen-day battle. The Pandavas emerge victorious, and Yudhishthira is to be BATTLEFIELD BEGINS crowned king of Kuru.

6 7 Yudhishthira is guilt-ridden about the Bhishma has a very long huge amount of destruction and death conversation with Yudhishthira in the battle caused, and he announces which the older man expounds on that he will not become king after all. the details of the dharma (duty) His supporters try to encourage him of warriors and kings. Bhishma otherwise, but he continues to resist, convinces Yudhishthira that, while so they take him to his grandfather, the war was bloody, it was just. Bhishma, for advice. Yudhishthira finally agrees to be crowned king.

8 Yudhishthira proves to be a kind and ethical ruler, but several years after the BATTLEFIELD ENDS battle of Kurukshetra, he begins to see inauspicious omens. It is the beginning of the Kali Yuga (age of strife).

9 Yudhishthira and the remaining Pandavas prepare for the new age by traveling around the world. They die until only Yudhishthira is left. 10 Yudhishthira visits the afterlife, where he finds the Kauravas living like kings and the Pandavas living in hell. Even though they are in hell, Yudhishthira decides that he will spend the afterlife with his brothers, the Pandavas. It is then revealed that he has passed a test, and he and his brothers are transported to heaven permanently.

415.749.2228 17 ABOUT THE PLAY PASCAL VICTOR/ARTCOMART © PASCAL PHOTO

LIVING, BREATHING THEATER THE LIFE AND WORK OF PETER BROOK BY ELSPETH SWEATMAN

In a career that has spanned almost 80 years, director Peter he was their synthesizer, taking a physical movement from Brook has pushed the boundaries of storytelling. Led by his three weeks ago and combining it with a vocal technique from innate exuberance, inquisitiveness, and restlessness, he has yesterday and a text created that morning. traveled the world searching for ways to create theater that is alive, fresh, and unrepeatable. From these experiments grew the revolutionary productions of The Persecution and Assassination of Marat as Performed by Brook was a force from the moment he began directing for the Inmates of Charenton under the Direction of the Marquis de the stage in 1943. He quickly became one of Britain’s leading Sade (1966 Tony Awards for Best Direction and Best Play) and directors, working in the West End and eventually on Broadway. A Midsummer Night’s Dream, which won a Tony Award for Best He was tireless, directing as many as five productions a year. But Direction in 1971 and played to sold-out houses at The Geary he also felt stifled by the British theater scene, which was ruled Theater in 1973. by tradition; he wanted living, breathing theater. By 1970, Brook was yearning for even more freedom. He wanted In 1961, Brook was asked to join the Royal Shakespeare to be able to rehearse something for six months without the Company. He accepted, on one condition: that he could have pressure of having to produce a finished show at the end. The the artistic and financial freedom to experiment. Through trial only way to accomplish this, he decided, was to create his own and error, Brook stripped away the performers’ reliance on theater company: the International Centre for Theatre Research psychological investigation in favor of physical movement and (CIRT). For three years, this company traveled to Iran, Africa, improvisation. This method of working often made the actors and the US, devising theater for whatever audience turned up to anxious, but they trusted Brook nonetheless. As they tried see them. Laying down a rug on street corners and in the center various exercises, he was their cheerleader, encouraging them to of villages, they used old shoes, boxes, and bamboo sticks to tell push themselves further. When they began creating productions, simple stories.

18 ACT-SF.ORG COLM HOGAN © COLM PHOTO PHOTO BY JOHAN PERSSON BY PHOTO

OPPOSITE kind of leader did he become? In 2011, current tragedies— Carole Karemera in Battlefield. particularly the Syrian Civil War—brought these questions ABOVE, LEFT TO RIGHT Nonhlanhla Kheswa in The Suit, at A.C.T. in 2014; back to Brook with new resonance. He was inspired to create director Peter Brook. Battlefield, which premiered in 2015 before embarking on a world tour. In 1974, CIRT found a permanent home at the Théâtre des Bouffes du Nord in Paris, and the company built upon their “We wanted to speak about what happens after the battle,” says experiences abroad to create groundbreaking productions Brook of Battlefield. “On both sides, the leaders go through based on stories from around the world. But Brook found a moment of profound questioning: the ones who won say himself returning again and again to a text he had first ‘Victory is a defeat’ and the ones who lost admit that ‘They could encountered in 1966: the ancient Sanskrit epic the Mahabharata. have prevented that war.’ In the Mahabharata they at least have After the success of his adaptation of the twelfth-century the strength to ask these questions.” Persian poem The Conference of the Birds in 1979, Brook knew it was time to bring the Mahabharata to Western audiences. At 92 years old, Brook remains restless and inquisitive. As Battlefield graces the Geary stage, Brook is already hard at work It would take Brook, Carrière, and Marie-Hélène Estienne on a new piece. The world waits. (another of Brook’s most valuable collaborators) six years to accomplish this task. The team took several trips to India to see different performances of the Mahabharata; musician Toshi Tsuchitori (who also provides music for Battlefield) spent two years there learning native instruments. In between rehearsals and performances for CIRT’s other productions, Brook’s actors participated in workshops, bringing together all of their varied training and experience to tell this epic tale of war and redemption.

The Mahabharata shook the theatrical world, both at its 1985 Want to know more about world premiere in Paris and the 1987 US premiere at Brooklyn Battlefield? Words on Plays is full Academy of Music in New York. The play ran nine hours and of original essays and interviews that give you a behind- received rave reviews. “It is an extraordinary philosophical epic the-scenes look at Battlefield—perfect for reading before that acknowledges death, destruction and decay while enhancing the play, during intermission, or when you get home! the mystery of life itself,” said Guardian critic Michael Billington. Proceeds from sales of Words on Plays benefit A.C.T.’s education programs. However, the original text of the epic is so long that, in his 1985 production, Brook didn’t have time to focus on what happened to the characters after the central conflict. How did Yudhishthira, AVAILABLE IN THE BOX OFFICE AND LOBBY, AT THE BARS, AND ONLINE AT ACT-SF.ORG/WORDSONPLAYS. the new king, pick up the pieces after such a tragedy? What

415.749.2228 19 WHO’S WHO IN BATTLEFIELD KAREN CAROLE in New York. McNeill played various ALDRIDGE KAREMERA is roles in Peter Brook’s 11 and 12 and starred in the an actress, musician, played the role of Maphikela in The Suit. international choreographer, and Since then, he has performed in August tour (2001–02) director, with a Wilson’s Fences at Geva Theatre Center of Le costume degree in dramatic and in various chapters of Tarell Alvin (The Suit), also arts and jazz from McCraney’s The Brother/Sister Plays directed by Peter the Royal Music at Pittsburgh’s City Theater Company, Brook. She originated the role of Mrs. Conservatory in Brussels. She has as well as the Bay Area’s Marin Theatre Phelps in the Royal Shakespeare performed in many theater, dance, and Company and A.C.T. Most recently, Company’s production of Matilda the film productions, which have been McNeill was an understudy in Musical on Broadway. Chicago theater internationally acclaimed by the public Roundabout Theatre Company’s credits include Margaret in Tug of War: and critics alike. These productions production of Stephen Karam’s Sons Foreign Fire, Olivia in Twelfth Night, include Sometimes in April, The Bogus of the Prophet, as well as taking on the Lady Macbeth in Macbeth, Isabella in Woman, If the Wind Moves the Sand, role of Desmond in Young Jean Lee’s Edward II, and Love’s Labour’s Lost at Scratching the Inner Fields, Rwanda 94, The Shipment and playing in a recent Chicago Shakespeare Theater; The and Jazz. In 2007 she created Ishyo Arts New York production of Bertolt Brecht’s Trinity River Plays (Joseph Jefferson Centre, the cultural hub of the town of Life of Galileo, during which he Award nomination for Best Actress), Kigali, Rwanda, which offers residencies performed musical numbers on the The Good Negro, The Ballad of Emmett and professional coaching to local trombone and harpsichord. He also Till, The Cook, and Proof (Joseph artists and a varied and innovative toured with The Suit, directed by Jefferson Award nomination for Best program to the public. She has directed Peter Brook. Actress) at Goodman Theatre; and several theater and music performances The Qualms, Clybourne Park, and Tracy that have toured many African and ERY Letts’s Pulitzer Prize–nominated Man European countries, including My Little NZARAMBA from Nebraska at Steppenwolf Theatre Hill, Kura, Umuvunyi, and Mboka, and she trained as an actor Company, where she originated the role has coproduced Kina Festival, KigaliUp at the Conservatoire of Tamyra. Other notable Chicago roles Festival, and the international Centre x royal de Bruxelles in include Nina in Seagull at Writers Centre Theatre Festival. Karemera was Belgium and at Theatre and Far Away and In the Blood subsequently the director of the Pan Birmingham School (Joseph Jefferson Award nomination for African Dance Festival and deputy of Acting in the Best Actress) at Next Theatre Company. secretary general of Arterial Network. United Kingdom. Battlefield is Her regional credits include productions She is presently a member of the Nzaramba’s second production with the with the Indiana Repertory Theatre, Rwanda Academy of Language and Théâtre des Bouffes du Nord, following Shakespeare Santa Cruz, The Alabama Culture and of the National Institute of two world tours of The Suit, also Shakespeare Festival, A.C.T., Magic Museums of Rwanda. Since 2014, she directed by Peter Brook and Marie- Theatre, Aurora Theatre Company, has been working on a multidisciplinary Hélène Estienne. Nzaramba has twice and Marin Theatre Company. Aldridge triptych on the theme of memory. been awarded a Grant for the Arts by appears in a guest-star recurring role Karemera is also an activist engaged in Arts Council England in 2012 and 2015 as Adele Kipling in the Netflix series the freedom of expression and creation to write his play Dream of a Nation. A The Get Down (produced and directed in Africa. public staged reading took place at the by Baz Luhrmann). Other television Theatre Royal Stratford East in London and film credits include Dr. Kendra JARED in July 2015. He wrote the one-man play Perrington on NBC’s Chicago Fire MCNEILL trained Split/Mixed and wrote and directed the and Chicago Med and Dr. Ella Harris at Fordham College short films To the Naked Eye (Legacy in the Golden Globe–winning series at Lincoln Center Film Festival, 2011) and The Blues Lover Boss and roles in Blue Bloods (CBS), in New York City (Portobello Film Festival, 2014). He Unforgettable (CBS), and Ron Howard’s where he graduated co-wrote Flora & Dambudzo (working The Dilemma. with a degree in title), a feature film shot in 2015, based theater and visual on the life and work of cult Zimbabwean arts in 2008. That same year, he took author Dambudzo Marechera (whom his first professional role in Chisa Nzaramba will also star as). Nzaramba’s Hutchinson’s She Like Girls at The Lark theater credits include The Suit (Théâtre

20 ACT-SF.ORG des Bouffes du Nord, world tour); The Birmingham, and Plymouth. He recently Bacchae and Blood Wedding (Royal & worked with director Rachel O’Riordan Derngate, Northampton); As You Like It on Conor McPherson’s The Seafarer and (Curve); The Epic Adventure of Nhamo with director John Dove in Edinburgh on the Manyika Warrior and His Sexy Wife Brian Friel’s Faith Healer. He has won Chipo (Tricycle Theatre/Tiata Fahodzi); and been nominated for a number of Split/Mixed (United Solo Theatre Festival theater awards, including the Irish in New York); The Snow Queen (Trestle Times Irish Theatre Awards and the Theatre/British Council, India tour); Critics’ Awards for Theatre in Scotland. The Jew of Malta (Hall for Cornwall); O’Callaghan has also worked extensively and The Three Musketeers and The in film and television. His credits include Tempest (Unicorn Theatre). His film and roles in Maria Graham, directed by television credits include The Gates of Valeria Sarmiento, and Bigga Than Vanity (feature film, Future Focus Films) Ben, directed by Suzie Halewood. He and The Bill (television, ITV). His radio also won the Granada Film Festival credits include 43:59: Yara, The Torturer’s Award for Best Actor. He recently Tale, Ball and Chains, and When I Lived in finished a Canadian television series Peru (BBC Radio drama). called X Company.

SEAN TOSHI TSUCHITORI (Musician) O’CALLAGHAN ’s  was born in Kagawa, a prefecture of comes from Cork, Japan, in 1950 and began performing on Ireland. He trained Japanese traditional drums at an early at The Royal age. Since the 1970s he has performed Academy of internationally with specialists in free Dramatic Art under improvisation such as Milford Graves, Hugh Cruttwell. He Steve Lacy, Derek Bailey, and others. has just finished working with Alexander He began working with Peter Brook’s Zeldin at London’s Royal National theater group in 1976 and has since Proud to Theatre in Beyond Caring. He spent five created the music for productions years working at the Royal Shakespeare including Ubu aux Bouffes, La Company with such directors as Terry conférence des oiseaux (The Conference Support Hands, Michael Bogdanov, Michael of the Birds), L’os de Mor Lam (The Attenborough, and Matthew Warchus, Bone of Mor Lam), Le Mahabharata A.C.T. and also performed in productions of (The Mahabharata), La tempête (The Shakespeare there. He has appeared in Tempest), Hamlet, 11 and 12, Tierno new plays by David Edgar, Anne Devlin, Bokar, and The Valley of Astonishment. and Nick Dear. O’Callaghan was in the He has studied traditional music from first new play produced at the new all over the world and, for more than Personal attention Shakespeare’s Globe with Augustine’s a decade, has been researching the thoughtful litigation Oak and Abi Morgan’s new play, Tender, earliest strata of Japanese music final resolution at Hampstead Theatre. He is an associate and presenting the results as musical artist with Howard Barker’s theater performances. He has released a series Our goal is to preserve our LAW FAMILY company, The Wrestling School, and has of three recordings of prehistoric client’s dignity and humanity. worked with them over a 16-year period Japanese sounds entitled Dotaku, touring Europe and Australia. He spent Sanukaito, and Jomonko. Recently he the early part of his career working with researched and played ancient music FA M I LYLAW G R OUP, P. C . Peter Cheeseman at the New Vic in in a prehistoric painted cave in France. Stoke-on-Trent where he continues to Tsuchitori has also collaborated with 575 Market Street, Suite 4000 work and where he is now based. the traditional master musician Harue San Francisco, CA 94105 O’Callaghan has been in productions in Momoyama since building a studio 415.834.1120 cities throughout the UK, including together in 1988, working both with www.sflg.com Liverpool, Manchester, Belfast, Cardiff, local villagers and international artists.

415.749.2228 21 Tsuchitori has many CD recordings La tragédie de Carmen (The Tragedy and has written three books: an of Carmen) and Impressions de Pelléas autobiography called Spiral Arms; The (Impressions of Pelléas) at the Théâtre Sounds of Jomon, a study of the music des Bouffes du Nord in Paris; and of prehistoric Japan; and The Sound of Don Giovanni for Festival d’Aix-en- Painted Cave, about the origins of music. Provence. Brook’s autobiography, Threads of Time, was published in PETER BROOK (Director and 1998 and joins other titles, including Adaptor) was born in London in The Empty Space (1968), which has 1925. Throughout his career, he has been translated into more than 15 distinguished himself in various genres: languages; The Shifting Point (1987); theater, opera, cinema, and writing. There Are No Secrets (1993); Evoking He directed his first play in London in (and Forgetting) Shakespeare (1999); 1943. He then went on to direct more and The Quality of Mercy (2014). His than 70 productions in London, Paris, films include Moderato Cantabile (1959), and New York. His work with the Royal Lord of the Flies (1963), Marat/Sade Shakespeare Company includes Love’s (1967), Tell Me Lies (1967), King Lear Labour’s Lost (1946), Measure for (1971), Meetings with Remarkable Men Measure (1950), Titus Andronicus (1955), (1979), The Mahabharata (1989), and The King Lear (1962), Marat/Sade (1964), Tragedy of Hamlet (2002, television). US (1966), A Midsummer Night’s Dream (1970), and Antony and Cleopatra MARIE-HÉLÈNE ESTIENNE (1978). In 1971, he and Micheline Rozan (Director and Adaptor) worked with founded the International Centre for Peter Brook on the casting for Timon Theatre Research in Paris, and in 1974, d’Athènes (Timon of Athens) in 1974 and he opened its permanent base in the subsequently joined the International Théâtre des Bouffes du Nord. There, he Centre for Theatre Research for the has directed Timon d’Athènes (Timon creation of Ubu aux Bouffes in 1977. She of Athens), Les Ik (The Ik), Ubu aux was Brook’s assistant on La tragédie Bouffes, La conférence des oiseaux de Carmen (The Tragedy of Carmen), (The Conference of the Birds), L’os de Le Mahabharata (The Mahabharata), Mor Lam (The Bone of Mor Lam), The and collaborated on the staging of La Cherry Orchard, Le Mahabharata (The tempète (The Tempest), Impressions de Mahabharata), Woza Albert!, La tempête Pelléas (Impressions of Pelléas), Woza (The Tempest), L’homme qui (The Man Albert!, and Hamlet (2000). She worked Who), Qui est là (Who Is Here), Happy on the dramaturgy of Qui est là (Who Days, Je suis un phénomène (I Am a Is Here). With Brook, she coauthored Phenomenon), Le costume (The Suit), L’homme qui (The Man Who) and Je suis Hamlet, Far Away, La mort de Krishna un phénomène (I Am a Phenomenon), (The Death of Krishna), Ta main dans la shown at the Théâtre des Bouffes du mienne (Your Hand in Mine), Le grand Nord. She wrote the French adaptation inquisiteur (The Grand Inquisitor), of Can Themba’s short story The Suit (Le Tierno Bokar, Sizwe Banzi est mort costume) and Sizwe Banzi Is Dead, by (Sizwe Banzi Is Dead), Fragments, Athol Fugard, John Kani, and Winston Warum Warum, Love Is My Sin, 11 and Ntshona. In 2003 she wrote the French 12, and Une flûte enchantée (A Magic and English adaptations of The Grand Flute, opera), and lately The Suit Inquisitor, based on Dostoyevsky’s (2012) and The Valley of Astonishment The Brothers Karamazov. She was the (2014)—many of these performing in author of Tierno Bokar in 2005, and of both French and English. In opera, he the English adaptation of 11 and 12, by directed La bohème, Boris Godunov, Amadou Hampâté Bâ, in 2009. With The Olympians, Salomé, and Le nozze Peter Brook, she co-directed Fragments, di Figaro (The Wedding of Figaro) five short pieces by Samuel Beckett. at the Royal Opera House in Covent With Brook and composer Franck Garden; Faust and Eugene Onegin at Krawczyk, she freely adapted Mozart the Metropolitan Opera in New York; and Schikaneder’s Die Zauberflöte into

22 ACT-SF.ORG Une flûte enchantée (A Magic Flute). She Brook. Since the creation of L’homme shares in the creation of The Suit in 2012 qui (The Man Who) in Paris in 1993, and The Valley of Astonishment in 2014. he has designed the lights for Brook’s plays in the Théâtre des Bouffes du ORIA PUPPO (Costume Designer) Nord: Qui est là (Who Is Here), Je suis TOP works between Buenos Aires and Paris. un phénomène (I Am a Phenomenon), In Argentina, she has created sets and Le costume (The Suit), Hamlet, Far BILLING costumes for such directors as Diego Away, La mort de Krishna (The Death AT THE MORTIMER Kogan (Martha Stutz, by Javier Daulte), of Krishna), Hamlet, Ta main dans la Rafael Spregelburd (Modesty, by Rafael mienne (Your Hand in Mine), Tierno Come before or after your Spregelburd), Roberto Villanueva Bokar, Le grand inquisiteur (The Grand A.C.T. show and enjoy (Queen of the Night, by Thomas Inquisitor), Sizwe Banzi est mort (Sizwe hand crafted cocktails and Bernhard; The Goldberg Variations, by Banzi Is Dead), Fragments, 11 and 12, delicious bites! George Tabori), Ciro Zorzoli (State of and recently, Une flûte enchantée Wrath, based on Henrik Ibsen’s Hedda (A Magic Flute) and The Valley of Gabler), and Alejandro Tantanian Astonishment. He travels with all these Show your (Travellers That Die, by D. Veronese; plays on tour and redesigns and adapts Show ticket and receive a Knives in Hens, by David Harrower; and the lighting design to each space. complimentary Los mansos, by Alejandro Tantanian, based on Dostoyevsky’s The Idiot). She DAVID EDEN PRODUCTIONS, CHEF’S also worked as technical director for LTD. (US Tour Producer) has been one APPETIZER the Buenos Aires International Festival of the leading American organizations with the purchase from 1999 to 2007. Puppo has also devoted to producing international of one beverage. taken part in Alejandro Tantanian’s work in the United States for more creation of Romeo and Juliet, by William than 30 years. Most recently, David Shakespeare (Théâtre de Lucerne, Eden Productions has produced Switzerland), Tiziano Manca’s opera La tours for Druid Theatre Company, the gabbia (Stuttgart Theater, Germany), Théâtre des Bouffes du Nord, the Maly and Amerika, based on Franz Kafka’s Drama Theatre, Théâtre de la Ville, novel, and The Threepenny Opera, by Ensemble Basiani from the Republic Bertolt Brecht (National Theatre of of Georgia, the Gate Theatre in Dublin, Mannheim). For the Théâtre des Bouffes and Batsheva Dance Company. David at Hotel Adagio du Nord, she acts as the technical Eden Productions has produced tours 550 Geary Street, SF 94102 director for works by Peter Brook and for The Public Theater, Martha Clarke, 415-775-5000 Marie-Hélène Estienne, including Tierno Declan Donnellan, Propeller, Rezo hoteladagiosf.com Bokar, based on the novel by Amadou Gabriadze, Piccolo Teatro di Milano, ONE BLOCK FROM THE GEARY THEATER Ampathé Bâ, and Une flûte enchantée London’s Royal Court Theatre, the (A Magic Flute, co-created with Franck Russian Patriarchate Choir of Moscow, Krawczyk). She was also costume the State Ballet of Georgia, and co-designer for The Suit, based on the Bolshoi Ballet. David Eden Productions novel by Can Themba. Recently, she has worked on special projects with did the decor for Handel’s Resurrection, the John F. Kennedy Center for the directed by Lilo Baur, at the Paris Opera Performing Arts, Lincoln Center for Atelier Lyrique, and she designed the Performing Arts, American Dance sets and costumes for Jean Genet’s Festival, and Jacob’s Pillow Dance. The Maids, directed by Ciro Zorzoli with Marilú Marini in Buenos Aires.

PHILIPPE VIALATTE (Lighting Designer) started at the Théâtre des Bouffes du Nord in 1985 as a light operator on Le Mahabharata (The Mahabharata), also directed by Peter Brook. He assisted Jean Kalman for the lighting design of Woza Albert! and La tempête (The Tempest), directed by

415.749.2228 23 May 17–21 The Strand Theater 1127 Market Street

Join us at our newest playground, The Strand Theater, for a week of free readings, live music, clowning, happy hours, and master classes.

VISIT ACT-SF.ORG/NEWSTRANDS FOR MORE INFORMATION

IN MEMORIAM: JOAN SADLER A.C.T. mourns the loss of Joan Sadler, one of our most energetic and beloved board members, who passed away on Sunday, March 26. Joan had been a part of A.C.T.’s family since 1966, first as a volunteer, then as secretary and vice president of the company’s fundraising foundation. When A.C.T.’s founding artistic director William Ball retired a third-year A.C.T. Master of Fine Arts about A.C.T. was its focus on the future. in 1986, Joan was active in A.C.T.’s Program actor for his or her exemplary She was passionate about the M.F.A. reorganization, serving as president work as a student who represents the Program and watched the success of of the newly formed A.C.T. Board of highest standards of theatrical art. In our graduates with incredible pride. I Trustees from 1987 to 1989. 2013, Joan received the A.C.T. Benefactor think the reason Joan seemed vital and Award for her tireless support of and young to me well into her nineties was After her retirement, Joan served on enthusiasm for the next generation of the joy she took in the new, in risk-taking, A.C.T.’s Conservatory Committee. She theater artists. in artistic dreams and bold adventures. was particularly inspired by the role the She delighted in watching the creative Conservatory plays in contributing to “Joan was one of the true ‘founding process. I know she is looking down on the strength of A.C.T. and the culture of mothers’ of A.C.T.,” says Artistic Director us now with those sparkling eyes and San Francisco. In 2002, she established Carey Perloff. “It was she who always that enormous grin, urging us to keep the the annual Joan Sadler Award, given to said that the most important thing great experiment alive. Bless you, Joan!” May 17–21 The Strand Theater 1127 Market Street “ROCKS THE HOUSE!” Join us at our newest playground, THE NEW YORK TIMES The Strand Theater, for a week of free readings, live music, clowning, happy hours, and master classes. “WILD AND JOYOUSLY RAUCOUS” VISIT ACT-SF.ORG/NEWSTRANDS FOR MORE INFORMATION THE HOLLYWOOD REPORTER

“ELECTRIFYING!” VARIETY

IN MEMORIAM: BEGINS JUN 7 JOAN SADLER A.C.T. mourns the loss of Joan Sadler, one of our most energetic and beloved WRITTEN AND DIRECTED BY RANDY JOHNSON board members, who passed away on Sunday, March 26. Joan had been a part of A.C.T.’s family since 1966, first as a LIKE A COMET THAT BURNS TOO BRIGHTLY TO LAST, While 2017 marks five decades of A.C.T., it is also the 50th volunteer, then as secretary and vice Janis Joplin exploded onto the music scene and, almost anniversary of the Summer of Love, an unprecedented cultural president of the company’s fundraising overnight, became the queen of rock ’n’ roll. The unmistakable phenomenon in which thousands of young people flocked foundation. When A.C.T.’s founding voice, laced with raw emotion and Southern Comfort, made to San Francisco to celebrate peace, understanding, and free artistic director William Ball retired a third-year A.C.T. Master of Fine Arts about A.C.T. was its focus on the future. her a headliner from Monterey to Woodstock. This spring, love. A Night with Janis Joplin is the perfect way to celebrate in 1986, Joan was active in A.C.T.’s Program actor for his or her exemplary She was passionate about the M.F.A. A.C.T. invites you to share an evening with the woman and the 50th anniversary of the Summer of Love. “The Summer reorganization, serving as president work as a student who represents the Program and watched the success of her influences in the hit Broadway musicalA Night with Janis of Love changed so much in our culture and let all of us be of the newly formed A.C.T. Board of highest standards of theatrical art. In our graduates with incredible pride. I Joplin. Fueled by such unforgettable songs as “Me and Bobby ourselves,” says the show’s writer and director Randy Johnson. Trustees from 1987 to 1989. 2013, Joan received the A.C.T. Benefactor think the reason Joan seemed vital and McGee,” “Piece of My Heart,” “Cry Baby,” and “Summertime,” “A Night with Janis Joplin being at A.C.T. is a homecoming Award for her tireless support of and young to me well into her nineties was along with a remarkable cast and stunning performances, A and a love letter to the life of Janis Joplin and the city where After her retirement, Joan served on enthusiasm for the next generation of the joy she took in the new, in risk-taking, Night with Janis Joplin is a musical journey celebrating Janis it all began.” A.C.T.’s Conservatory Committee. She theater artists. in artistic dreams and bold adventures. and her biggest musical influences—icons likeAretha Franklin, was particularly inspired by the role the She delighted in watching the creative Etta James, Odetta, Nina Simone, and Bessie Smith. Conservatory plays in contributing to “Joan was one of the true ‘founding process. I know she is looking down on the strength of A.C.T. and the culture of mothers’ of A.C.T.,” says Artistic Director us now with those sparkling eyes and San Francisco. In 2002, she established Carey Perloff. “It was she who always that enormous grin, urging us to keep the the annual Joan Sadler Award, given to said that the most important thing great experiment alive. Bless you, Joan!” THE GEARY THEATER | ACT-SF.ORG/JANIS | 415.749.2228 INSIDE A.C.T. PHOTO BY KEVIN BERNE BY PHOTO

By commissioning professional playwrights to write plays for young actors, Slaight soon discovered that there was a wide THROUGH range of topics to be explored. From the home front during World War I (The Life to Come) to Amish country (Fields of Gold), teenage angst (Punk Rock) to living dolls (The Automata YOUNG EYES Pietà), the young students who have come through A.C.T.’s A CELEBRATION OF YOUNG CONSERVATORY doors have met every challenge. With these works, they have DIRECTOR CRAIG SLAIGHT been given a lens through which to view their own lives in new ways and a stage on which to discover themselves. BY ELSPETH SWEATMAN To date, more than 40 new works have been developed and Over the last 29 years, the A.C.T. Young Conservatory produced by the YC through the Grace McGill New Plays has undergone a theatrical and organizational revolution, Program. “Craig Slaight’s groundbreaking work commissioning spearheaded by Craig Slaight—teacher, writer, theater maker, and producing a remarkable number of new plays for students and leader—who steps down this May after nearly 30 years of has reshaped the landscape of theater education,” says Timothy service as director of the YC. Mason, the YC’s first playwright-in-residence. “The value of his contribution to the lives of young people is incalculable.” When Slaight joined A.C.T. in 1988, he immediately recognized that the young students, aged 8 years to 19 years, needed This process has not only provided these young actors with new material they could really sink their teeth into. “As a major material to work on, but it has also brought them into contact regional theater, I felt we needed to provide new work for this with leading theater professionals. Students have collaborated age group,” says Slaight. “The actors are a little young for Death with playwrights like Academy Award winner Horton Foote (To of a Salesman, but they need something more sophisticated Kill a Mockingbird) and Tony Award winner Simon Stephens than Babar the Elephant. What could they work on?” (The Curious Case of the Dog in the Night-Time).

26 ACT-SF.ORG PHOTO BY JAY YAMADA JAY BY PHOTO YAMADA JAY BY PHOTO PHOTO BY JAY YAMADA JAY BY PHOTO YAMADA JAY BY PHOTO

OPPOSITE Young Conservatory Director Craig Slaight.

ABOVE, CLOCKWISE FROM LEFT Haleyann Hart in I’m Still Standing; The cast from Riot; Quincy Corsello in Fields of Gold; Rachel Cunningham and Ryan Semmelmayer in Bright Young People.

The Grace McGill New Plays Program went international in 1999, full of illumination. He combines rigor and love of the craft with the YC becoming the first American young actor group to with incredible compassion and a sense of play. The result is a perform at the Royal National Theatre in London. Since then, unique ability to unlock the creative potential of young people A.C.T. has also partnered with the University of the Arts in Zurich, in moving ways. He is with those young actors in practice Switzerland; Theatre Royal Bath; and His Majesty’s Theatre and in spirit from the day they start training until long after in Aberdeen, Scotland. Through an exchange program, YC their graduation from the YC; indeed, there are YC alums on students have acted alongside students from these international Broadway and in the industry today who cite Craig as their theaters here in the Bay Area and overseas. formative influence and who have stayed in touch with him throughout their careers. For them and for me, Craig has always The legacy of the commissioning program has not only set the bar.” benefited the Young Conservatory but has also made an impact across the whole of A.C.T. When Artistic Director Carey Perloff Thank you, Craig, for your brilliance, your infectious laugh, and was searching for the perfect playwright to adapt Khaled your dedication to the Bay Area’s young artists. Hosseini’s A Thousand Splendid Suns for the stage, it was Slaight who recommended Ursula Rani Sarma, who had written Want a way to say thanks to Craig? Make a donation to Riot for the YC in 2010. A.C.T. and help endow the YC Chair in his name!

“There’s really no one in the American theater quite like Craig,” Visit act-sf.org/slaight for more information. says Perloff. “His teaching and direction are deft, specific, and

415.749.2228 27 INSIDE A.C.T. PHOTO BY JESSICA KATZ JESSICA BY PHOTO

new-play process shares a lot with technology development: internal trial and error, peer and audience feedback, public FUTURE THEATER brainstorming, and beta testing.” To explore this shared creative DNA, A.C.T. has forged a new-play partnership with nonprofit A.C.T. STRENGTHENS ITS tech company Mozilla. So far this spring, we have produced two ROOTS IN SAN FRANCISCO’S readings, performed by M.F.A. Program actors and hosted at Mozilla’s Embarcadero offices, in which Donald’s artistic team TECH SECTOR presented and received feedback on new tech-related plays. BY SIMON HODGSON They’re gearing up to present one more.

The Bay Area has always been a home for innovators, risk-takers, Before the partnership with Mozilla started, A.C.T. Assistant and thinkers-outside-the-box. It’s no wonder, then, that two Producer Ken Savage visited companies including Facebook, of the greatest industries in San Francisco are technology and Pandora, Google, and Dolby to further research the tech the performing arts. The two fields have more in common than community’s point of view when it came to the performing arts. meets the eye. “One common thread between the performing “I discovered that tech folks are excited to be active participants arts and technology sectors is that we are all creators and in the creation of an artistic production,” says Savage. “They ask makers,” says A.C.T. Associate Artistic Director Andy Donald. questions about our shows, want to know how things work, and say they’d go to more theater events if they knew about them.” Because the team at A.C.T. recognizes this profound connection, our work is already woven into the Bay Area’s technology sector Bolstered by this knowledge, the A.C.T. artistic team looked in many ways. This is apparent in mainstage productions, like for a tech company with whom we could build a long-term Love and Information, about the challenges of connection in the collaboration, and they found the perfect partner in Mozilla, Internet age. Our Professional Development Training Program introduced to A.C.T. by Christopher Hollenbeck (on the A.C.T. has worked with companies such as Google, Cisco, and Pandora. M.F.A. Program Board of Directors). Best known for its Firefox And last February, Community Artistic Director Tyrone Davis web browser, Mozilla’s mission is to make the Internet safer and brought Every 28 Hours, a production about police brutality and more accessible for future generations. Because it is focused racism in America, to Google’s headquarters. on the future, the team at Mozilla was particularly motivated to work with the young M.F.A. Program actors, emerging But the similarity between technology and theater is especially playwrights, and new plays. All of these factors came together apparent when it comes to play development, says Donald: “The to create the reading series at Mozilla.

28 ACT-SF.ORG PHOTO BY SIMONE FINNEY BY PHOTO SIMONE FINNEY BY PHOTO

Through the collaboration, Mozilla team members get to OPPOSITE The cast and creative team of Today Is My Birthday, by Susan influence future theater makers. They also gain the opportunity Soon-He Stanton. to compare creative notes with artists at a major Bay Area arts organization as engineers and designers observe new ways ABOVE, LEFT TO RIGHT of eliciting and incorporating audience/user feedback. “We’re M.F.A. Program actor Lily Narbonne (class of 2018) in clickshare, by Lucas Kavner; The cast of Today Is My Birthday. confident that this collaboration will lead to insights about how to generate inspiration through the study of another creative process,” says Mozilla Chief Marketing Officer Jascha Kaykas-Wolff. “It also might force us to think about how we evolve our style of working in the open to generate more productive feedback.” “ONE COMMON THREAD BETWEEN THE

The partnership benefits A.C.T. as well. It gives our M.F.A. PERFORMING ARTS AND TECHNOLOGY Program actors the chance to develop their skills of working with new plays and emerging playwrights. These student actors SECTORS IS THAT WE ARE ALL also get to flex their community-engagement muscles as they discuss the play with Mozilla team members following the reading, CREATORS AND MAKERS.” using art as a framework for conversations about technology. A.C.T. ASSOCIATE ARTISTIC DIRECTOR ANDY DONALD

And the A.C.T. artistic team gets an opportunity to develop new work reflecting contemporary San Francisco that might end up promote theatergoing among San Francisco’s Asian American on our mainstages, or as a production for the Conservatory. The tech workers. As part of this grant, A.C.T. also established the feedback from the tech audience contributes directly to the Asian stARTup Council, a group of Asian American and Asian play’s development; after the reading of Today Is My Birthday (the tech workers, artists, and arts administrators who are invited first play to be staged in the series), Mozilla team members made to our mainstage productions to advise on how to engage tech suggestions about adjusting the length of the tweets in the play workers with the arts. (of which there were many), while also mentioning how much they related to the professional uncertainty of the main character. We hope that the Bay Area will always be a home for creativity. By connecting the arts and technology, A.C.T. is developing the The new collaboration with Mozilla is made possible in part by a playwrights, the actors, and the audience that will create the Doris Duke Charitable Foundation grant that A.C.T. received to theater of tomorrow.

415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR Producers Circle members make annual contributions of $12,000 or more to A.C.T. We are privileged to recognize these members’ generosity during the March 1, 2016, to March 1, 2017, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*Member of A.C.T. Next Stage Crew

SEASON PRESENTERS EXECUTIVE PRODUCERS PRODUCERS Elsa and Neil Pering ($100,000+) ($25,000–$49,999) ($12,000–$24,999) Mr. and Mrs. Tom Perkins Merrill Randol Sherwin Frannie Fleishhacker Valli Benesch and Bob Tandler Anonymous Rich Rava and Elisa Neipp Priscilla and Keith Geeslin Lesley Ann Clement Paul Asente and Ron Jenks David and Carla Riemer Fred M. Levin and Nancy Livingston, Jerome L. and Thao N. Dodson Clay Foundation - West Sally and Toby Rosenblatt The Shenson Foundation Bill and Phyllis Draper Lloyd and Janet Cluff* Anne and Michelle Shonk Burt and Deedee McMurtry Sarah and Tony Earley Daniel E. Cohn and Lynn Brinton Cherie Sorokin Arthur Rock and Toni Rembe Kevin and Celeste Ford Mrs. Robyn Coles and Dr. Tony Coles Jeff and Maria Spears Mary and Steven Swig Mr. and Mrs. Gordon P. Getty Carlotta and Robert Dathe Mr. David G. Steele Laurie and Jeff Ubben Jo S. Hurley Dr. Caroline Emmett and Christopher and Leslie Johnson Dr. Russell Rydel Ruth and Alan L. Stein John Little and Heather Stallings Little Concepción and Irwin Federman Nola Yee COMPANY SPONSORS Janet V. Lustgarten Linda Jo Fitz ($50,000–$99,999) Nion McEvoy and Leslie Berriman Rose Hagan and Mark Lemley Ray and Dagmar Dolby Family Fund Donald J. and Toni Ratner Miller Kirke and Nancy Sawyer Hasson Jeri Lynn and Jeffrey W. Johnson Kenneth and Gisele Miller Dianne and Ron Hoge Barbara Ravizza and John S. Osterweis* Abby and Gene Schnair Luba Kipnis and David Russel Robina Riccitiello Kathleen Scutchfield* Rodman and Ann Marymor Rusty and Patti Rueff Susan A. Van Wagner Don and Judy McCubbin Jack and Susy Wadsworth Aaron Vermut and Mr. and Mrs. J. A. McQuown Kay Yun and Andre Neumann-Loreck* Adriana Lopez Vermut Mary and Gene Metz Barbara and Stephan Vermut Tim Mott and Pegan Brooke Paula and John Murphy

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR Directors Circle members make annual contributions of $2,000 to $11,999 to A.C.T. We are privileged to recognize these members’ generosity during the March 1, 2016, to March 1, 2017, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*Member of A.C.T. Next Stage Crew

ASSOCIATE PRODUCERS Mr. Joel Krauska and Ms. Patricia Fox Patrick S. Thompson Mr. and Mrs. Henry Paul Hensley* ($6,000–$11,999) Paola and Richard Kulp Doug Tilden Bannus & Cecily Hudson Paul Angelo Linda Kurtz* Katherine Welch Becky and Lorin Kaplan & Family Mr. and Mrs. Gerson Bakar Jennifer Langan Minott and Ashley Wessinger Joseph D. Keegan, Ph.D. Valerie Barth and Peter Booth Wiley Marcia and Jim Levy Beverly and Loring Wyllie Amanda and John Kirkwood Kathleen Bennett and Tom Malloy Jennifer S. Lindsay Mr. and Mrs. John P. Levin Kenneth Berryman Drs. Michael and Jane Marmor PLAYWRIGHTS Patrick Machado Dr. Barbara L. Bessey Christine and Stan Mattison ($4,000–$5,999) Melanie and Peter Maier — Linda Joanne Brown Mr. and Mrs. Robert McGrath Anonymous John Brockway Huntington Gayle and Steve Brugler Mr. Byron R. Meyer Ray and Jackie Apple Foundation Drs. Devron Char and Milton Mosk and Thomas Foutch* Mr. Eugene Barcone Mr. Daniel Murphy Valerie Charlton-Char The New Ark Fund Sara and Wm. Anderson Barnes Fund Barbara O’Connor Mr. and Mrs. David Crane Terry and Jan Opdendyk Roger and Helen Bohl Denise Orwin James and Julia Davidson LeRoy Ortopan Ms. Donna Bohling and Peter Pastreich and Jamie Whittington Richard Davis-Lowell and Bill Lowell Norman and Janet Pease Mr. Douglas Kalish Mr. Adam Pederson Joan Dea Ms. Carey Perloff and Mr. Anthony Giles Christopher and Debora Booth* Mr. and Mrs. William Pitcher Carol Dollinger Marjorie Perloff Ben and Noel Bouck Joseph E. Ratner Mr. Joseph W. Donner, III Ms. Saga Perry and Mr. Frederick Perry Leslie and Buzz Burlock Jeff and Karen Richardson* Michael G. Dovey Jon and Barbara Phillips Madeline and Myrkle Deaton Gary and Joyce Rifkind Barb and Gary Erickson Lisa and John Pritzker Richard DeNatale and Craig Latker Gary Rubenstein and Nancy Matthews Mr. Rodney Ferguson and John Riccitiello Anne and Gerald Down Lori Schryer Ms. Kathleen Egan Rick and Anne Riley Emerald Gate Charitable Trust Thomas Schumacher Vicki and David Fleishhacker Dr. James Robinson and Philip and Judy Erdberg Dr. F. Stanley Seifried Myrna and Tom Frankel Ms. Kathy Kohrman Jacqueline and Christian Erdman* The Somekh Family Foundation Mr. and Mrs. Thomas A. Gallagher Matt and Yvonne Rogers Nancy and Jerry Falk Mr. Richard Spaete Dr. and Mrs. Richard E. Geist Susan Roos Sue and Ed Fish* Pasha and Laney Thornton Arnie and Shelly Glassberg Paul and Julie Seipp Dr. and Mrs. Fred N. Fritsch* The Tournesol Project Dr. Allan P. Gold and Mr. Alan C. Ferrara Rick and Cindy Simons Mrs. Susan Fuller Jane and Bernard von Bothmer Marcia and John Goldman Mr. Laurence L. Spitters Sameer Gandhi and Monica Lopez Joy and Ellis Wallenberg, Marcia and Geoffrey Green Emmett and Marion Stanton Glasser Family Fund Milton Meyer Foundation Betty Hoener Vera and Harold Stein Jason Goldman Barbara and Chris Westover Chris and Holly Hollenbeck Dr. Martin and Elizabeth Terplan* Barbara Grasseschi and Tony Crabb Mr. and Mrs. Bruce White Alan and Cricket Jones John and Sandra Thompson Mark and Renee Greenstein* Dr. and Mrs. Andrew Wiesenthal

30 ACT-SF.ORG Helen M. Marcus and Bonnie and Rick Dlott Mr. Richard Lee and Scott and Janis Sachtjen David J. Williamson* Robert Eklund Ms. Patricia Taylor Lee Ms. Monica Salusky and Carlie Wilmans Charles and Susan Fadley* Dr. Lois Levine Mundie* Mr. John Sutherland Mr. and Mrs. Roger Wu Mr. Alexander L. Fetter and Mr. Michael Levy & Mr. Michael Golden Betty and Jack Schafer The Arthur and Charlotte Zitrin Ms. Lynn Bunim Ms. Helen S. Lewis Ms. Jean Schulz Foundation Mr. Robert Feyer and Sue Yung Li and Dale K. Ikeda Russ Selinger Ms. Marsha Cohen* Herbert and Claire Lindenberger Mr. and Mrs. John Shankel DIRECTORS Mr. and Mrs. Patrick F. Flannery* Ron and Mary Loar Mr. James Shay and Mr. Steven Correll ($2,000–$3,999) Jacques Fortier Ms. Evelyn Lockton Michelle Shonk Anonymous Mr. and Mrs. Richard Fowler Mr. and Mrs. Alexander Long Ms. Ruth A. Short Martha and Michael Adler Elizabeth and Paul Fraley Ms. Gayla Lorthridge* Mr. Earl G. Singer Bruce and Betty Alberts Lynda Fu Dr. Thane Kreiner and Raven Sisco Lynn Altshuler and Stanley D. Herzstein Ms. Kathleen Gallivan Dr. Steven Lovejoy* Richard and Jerry Smallwood Mr. and Mrs. Harold P. Anderson Mr. Jon Garber and Ms. Bonnie Fought Stephanie and Jim Marver Ms. Judith O. Smith Sharon L. Anderson* William Garland and Michael Mooney* Ms. Jill Matichak Handelsman Mr. and Mrs. Edward H. Snow Whitney and Phillip Arnautou Mr. Michael R. Genesereth John B. McCallister Lee and Carolyn Snowberg Jeanne and William Barulich Susan and Dennis Gilardi John G. McGehee Kristine Soorian and Bryce Ikeda Bonnie Frank and Michele Bear Dr. A. Goldschlager Kathleen McIlwain Mr. and Mrs. Robert S. Spears Nancy and Joachim Bechtle Ms. Ann M. Griffiths Casey and Charlie McKibben* Steven and Chris Spencer* David V. Beery and Norman Abramson Douglas W. and Kaatri Grigg Elisabeth and Daniel McKinnon Mr. Paul Spiegel Donna L. Beres and Terry Dahl Raymond and Gale L. Grinsell Ms. Nancy Michel* Diana L. Starcher Barbara Berkeley and Wendy Storch Nadine Guffanti and Ed Medford Mr. and Mrs. Roger Miles Lillis and Max Stern Jane Bernstein and Robert Ellis Naren and Vinita Gupta J. Sanford Miller and Vinie Zhang Miller Rick Stern and Nancy Ginsburg Stern Fred and Nancy Bjork James Haire and Timothy Cole Mr. and Mrs. Michael J. Mouat Vibeke Strand, MD and Jack Loftis, PhD David and Rosalind Bloom Mr. and Mrs. Richard Halliday Jeanne Newman Richard and Michele Stratton Larry and Lisbeth Blum Vera and David Hartford Mr. and Mrs. Merrill E. Newman Jay Streets John Boland and James Carroll Mr. Greg Hartman* Ms. Mary D. Niemiller J. Dietrich and Dawna Stroeh Mr. Mitchell Bolen and Ms. Kendra Hartnett Ms. Lisa Nolan Ms. Norah Terrault Mr. John Christner Mr. Stephen Heiman Mrs. Margaret O’Drain* Susan Terris Carol and Shelby Bonnie Mrs. Deirdre Henderson Ms. Mary Jo O’Drain Dr. Eric Test and Dr. Odelia Braun* Brenda and Roger Borovoy Richard N. Hill and Nancy Lundeen Emilie and Douglas Ogden Nancy Thompson and Andy Kerr Romana D. Bracco Mr. and Mrs. Jerre Hitz Margo and Roy Ogus Ian and Olga Thomson Benjamin Bratt and Talisa Soto Ms. Marcia Hooper Mr. Don O’Neal John R. Upton Jr. and Marilyn and George Bray Rob Hulteng Meredith Orthwein* Janet Sassoon-Upton Tom and Carol Burkhart Robert Humphrey & Diane Amend Janet and Clyde Ostler Arnie and Gail Wagner Mrs. Libi Cape Judy and Bob Huret Janine Paver and Eric Brown Mr. and Mrs. James Wagstaffe Ms. Sally Carlson Sarah and Jordan Hymowitz Mark Pigott Mrs. Katherine G. Wallin and Denis Carrade and Jeanne Fadelli Robert and Riki Intner Ms. M. N. Plant Mr. Homer Wallin The Donald and Carole Chaiken Harold and Lyn Isbell Victoria and Dan Prendergast Ms. Margaret Warton and Foundation Franklin Jackson & Maloos Anvarian* Kenneth Preston Mr. Steve Benting Steven and Karin Chase Stephanie and Owen Jensen Gordon Radley Ms. Carol Watts Irmgard Chu Russell and Mary Johnson Sandi and Mark Randall Ms. Patricia Tomlinson and Kent and Nancy Clancy Kathy and Joe Jolson Mr. and Mrs. Jacob Ratinoff Mr. Bennet Weintraub Mr. Byde Clawson and Barbara and Ron Kaufman Shirley and Robert Raymer Ms. Allie Weissman Dr. Patricia Conolly Sy Kaufman* Mr. and Mrs. John A. Reitan Ms. Beth Weissman Susan and Ralph G. Coan, Jr. Ed and Peggy Kavounas Albert and Roxanne Richards Fund Irv Weissman and Family Rebecca Coleman Ms. Pamela L. Kershner Victoria and Daniel Rivas Marie and Daniel Welch Jean and Mike Couch Miss Angèle Khachadour Mr. Orrin W. Robinson, III* Diane B. Wilsey Mr. and Mrs. Ricky J. Curotto Ms. Nancy L. Kittle Mrs. Marianne B. Robison Kenneth and Sharon Wilson Tiffanie DeBartolo and Scott Schumaker Mr. R. Samuel Klatchko* Barbara G. Rosenblum Mr. David S. Wood and Robert and Judith DeFranco Mr. Brian Kliment Susan Rosin and Brian Bock Ms. Kathleen Garrison Ingrid M. Deiwiks Stephanie Hencir Lamey and Ms. Irene Rothschild Mr. and Mrs. Roy B. Woolsey Reid and Peggy Dennis Patrick Lamey Marieke Rothschild Mrs. Julie D. Dickson Harriet Lawrie Ms. Diane Rudden Art and JoAnne Dlott Ms. Pamela D Lee Ms. Dace Rutland

415.749.2228 31 ALAN JONES, CHAIR Friends of A.C.T. make annual contributions of $125–$1,999 in support of A.C.T.’s operations and programs. We are privileged to recognize these members’ generosity during the March 1, 2016, to March 1, 2017, 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 Stephanie Swide at 415.439.2353 or [email protected].

*Member of A.C.T. Next Stage Crew

PATRONS Mr. Daniel R. Bedford Karin and Gregory McClune* CONTRIBUTOR LEVEL ($1,200–$1,999) Mr. Ari Benbasat Mr. and Mrs. Jason McDonell NEXT STAGE CREW Anonymous (3) Mr. and Mrs. Paul Berg Karen and John McGuinn ($500–$749) Kat and Dave Anderson* Richard and Katherine Berman* Dr. Margaret R. McLean* Dr. Seth D. Ammerman* Ms. Kay Auciello* Stuart and Helen Bessler Mr. and Mrs. Casey McManemin David and Michele Benjamin* Mr. David N. Barnard Mr. John Blankenship and Jeffrey and Elizabeth Minick Mr. Igor R. Blake* Dorothy and Ervin Behrin Ms. Linda Carter Thomas and Lydia Moran Mrs. Katie Budge* Mr. Thomas Benet Mr. Noel Blos John and Betsy Munz Ms. Cecily Cassel* Lauren Berman Jeff and Cecil Bodington Dorotea C. Nathan Ms. Buffy Cereske* Peter Blume Ms. Linda R. Clem Adam Neeley Fine Art Jewelry SF LLC Craig E. Claussen* Mr. Nicholas Brathwaite Lisa Conte* Jane and Bill Neilson Mr. Edward Conger* Stan and Stephanie Casper Martha Conte Nancy and Bill Newmeyer Kristen and Charles Correll* Paul and Deborah Cleveland Ms. Shirley Cookston Ms. Nancy F. Noe Mr. Gregory Curatolo* Gregory Davis Ms. Karen T. Crommie Alicia Nogales and Greg Little Alan Entine* Ira and Jerry Dearing* Mr. Copley E. Crosby Ms. Joanna Officier and Mr. Ralph Tiegel Dr. Marcus Feldman and William Dewey James Cuthbertson Pamela Orloff Mrs. S. Shirley Feldman* Ms. Kathleen Dumas Yogen and Peggy Dalal Mr. James O’Toole Andrew Ferguson and Kay Wu* Mr. Timothy C. Duran Ms. Roberta Denning Barbara Paschke and David Karen and Stuart Gansky* Leif and Sharon Erickson Richard and Sheryl Donaldson Volpendesta Bill and Nancy Grove* Ms. Susan Free Ms. Joanne Dunn Mr. David J. Pasta Ms. Marlyne L. Hadley* Kathleen and Paul Goldman Marilynne Elverson Ms. Danielle Rebischung Mr. Mark Hall* Ms. Margaret J. Grover Michael Kalkstein and Susan English Maryalice Reinmuller Adrienne Hirt and Jeffrey Rodman* Mr. David C. Hale M. Daniel and Carla Flamm Mr. Philip Rich Jeff and Sue Mulvihill* Kathy Hart* Darla and Patrick Flanagan Ms. Allison Rock and Mr. Lester Olmstead-Rose* Mr. John F. Heil Mrs. Dorothy A. Flanagan Mr. Christopher Wuthmann Richard and Donna Perkins* James and Helen Hobbs Mr. Gregory Fung Marguerite Romanello Jillian C. Robinson* Dr. and Mrs. Richard W. Horrigan Mr. John Garfinkle Dan Rosenbaum and Suzanne L. Klein Meline and Jirayr Roubinian* Edward L. Howes, MD Frederick and Leslie Gaylord Maureen and Paul Roskoph Mr. Robert Scheid and Mr. Todd Charles* Alex Ingersoll and Martin Tannenbaum David and Marcia Glassel Ms. Mary Ellen Rossi Jill Stanfield* Jeffrey and Loretta Kaskey Matthew G. Gloss Patti and Rusty Rueff Kay Sternberger* George and Janet King Marlys T. Green Paul Sack The Toland-Yeh Family* Tori and David Kistler Kelly and Mike Halper Mrs. H. Harrison Sadler Mr. and Mrs. Ron Vitt* Hal and Leslie Kruth Julia Hardin Hansen Sonja Schmid Ms. Rosemary Welde* Eileen Landauer and Mark Michael Mr. Thomas Harkins Mr. Paul Schmidt Christy Wise and Bob Axelrod* Thomas and Barbara Lasinski Mr. Kim Harris and Bennet Marks Dr. and Mrs. Stephen M. Schoen Ms. Nicole Zayac* Julia Lobel David Hawkanson Mr. James J. Scillian Mark Zielazinski* Mr. and Mrs. Robert W. Logan William Heavlin Mr. Jim Sciuto Jeff and Susanne Lyons Mr. and Mrs. R. S. Heinrichs Mr. Robert J. Sehr Mr. E. Craig Moody The Brian and Patricia A. Herman Fund Mr. Jon Shantz Joseph C. Najpaver and Deana Logan at Community Foundation Santa Ms. Patricia Sims Cindy Nicola* Cruz County Christina Sonas Ms. Susan O’Brien Leni and Doug Herst Mr. Herbert Steierman Robert and Marcia Popper Dr. James and Suzette Hessler Jeffrey Stern, M.D. Ms. Diane Raile Mr. and Mrs. Donald M. Hill Mr. and Mrs. Monroe Strickberger Barbara and Saul Rockman* Leslie and George Hume Mr. Jason Surles Peter and Janice Scattini* Richard and Cheryl Jacobs Roselyne C. Swig David Schnur Anne and Ed Jamieson Marilyn E. Taghon Jason Seifer and Brian Ayer Ms. Carolyn Jayne Joe Tally and Dan Strauss Dr. Gary Stein and Jana Stein Allan and Rebecca Jergesen Marvin Tanigawa Ms. Jacqueline Stewart Mr. and Mrs. Norman L. Johnson Maggie Thompson Ian E. Stockdale and Ruth Leibig* Mrs. Zeeva Kardos Ms. Mary Topliff Dr. and Mrs. G. Cook Story Louise Karr Ms. Leslie Tyler Mr. Jay Streets Mr. Dennis Kaump Leon Van Steen Mrs. Helena Wasp Troy Jascha Kaykas-Wolff Mr. and Mrs. Ronald G. VandenBerghe Larry Vales Ms. Josephine Kennedy Marsha Veit Melissa and Jonathan Weinberg Michael Kim Mr. Douglass J. Warner Karla Kirkegaard Mr. William R. Weir SUSTAINERS Mr. and Mrs. Kevin Klotter Mr. Richard West ($750–$1,199) Michael Kossman Mr. Robert Weston Ms. Hamila Kownacki Mr. Keith Wetmore Anonymous (4) Edward and Miriam Landesman Tim M. Whalen Susan Adamson and George Westfall Mrs. Judith T. Leahy Mr. David S. Winkler Dr. and Mrs. Douglas Anderson Mrs. Gary Letson Marilyn and Irvin Yalom Ms. Patricia Wilde Anderson Barry and Ellen Levine Elysa Yanowitz* Mr. Paul Anderson Ms. Elise S. Liddle Jacqueline Young Dick Barker Mr. and Mrs. Kenneth Marks Mr. and Mrs. Philip Zimbardo Mr. William Barnard Dennis and Karen May Ms. Pamela Barnes Robert McCleskey Robert H. Beadle*

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

**Deceased

Providing a Legacy for A.C.T.

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

FOR MORE INFORMATION ABOUT PROSPERO SOCIETY MEMBERSHIP

HELEN RIGBY, DIRECTOR OF LEGACY GIVING 415.439.2469 | [email protected]

415.749.2228 33 Memorial & Tribute Gifts

The following members of the A.C.T. community made gifts in memory and in honor of friends, colleagues, and family members of $100 or more during the March 1, 2016, to March 1, 2017, period.

Sandi and Mark Randall in Honor of Frannie Fleischhacker Anonymous in Memory of Ruth Asawa Vicki and Stephen Hoffman in Honor of Skylar Goldberg Michael Kim in Memory of Youngmee Baik Robert and Riki Intner in Honor of Ruth Keith Romana D. Bracco in Memory of John Bracco Elizabeth Mason in Honor of Luba Kipnis Mr. David J. Pasta in Memory of Gloria Guth Laurie Hernandez in Honor of Alan Littlehales Susan Stevenson in Memory of Meribeth Meacham Anne and Ed Jamieson in Honor of Nancy Livingston Gregory Davis in Memory of Orlando, Florida Lisa Fung in Honor of Anna Neumann-Loreck Ms. Carey Perloff and Mr. Anthony Giles in Memory of Liz Perle Anonymous in Honor of Abby Pañares Richard and Victoria Larson in Memory of Dennis Powers Katherine E. Akos and Harry L. Jacobs in Honor of Peter Pastreich, Ms. Peggy Kivel in Memory of Eva Ramos Tiffany Redmon, and Nancy Mims Daniel Weinstein in Memory of Eva Ramos Priscilla and Keith Geeslin in Honor of Luz Perez and Amber Jo Manuel Ms. Elizabeth Greenberg in Memory of Eva Ramos and Virginia Ingham Susan Medak and Gregory S. Murphy in Honor of Ellen Richard Cheryl Brandon in Honor of Craig Slaight Lisa Conte in Honor of Craig Slaight Bonnie Frank and Michele Bear in Honor of Craig Slaight Mr. and Mrs. Casey McManemin in Honor of Maria Spears Ms. Libby Tracy in Honor of Maria and Jeff Spears Ms. Eve Niquette in Honor of Kay Yun

Corporate Partners Circle

The Corporate Partners Circle comprises businesses that support the artistic mission of A.C.T., including A.C.T.’s investment in the next generation of theater artists and audiences, and its vibrant educational and community outreach programs. Corporate Partners Circle members receive extraordinary entertainment and networking opportunities, unique access to renowned actors and artists, premium complimentary tickets, and targeted brand recognition. For information about how to become a Corporate Partner, please contact Bethany Herron at 415.439.2434 or [email protected].

LEAD EDUCATION PRESENTING PARTNERS PERFORMANCE STAGE PARTNERS OFFICIAL HOTEL 50TH ANNIVERSARY SPONSOR ($25,000–$49,999) PARTNERS ($5,000–$9,999) SPONSOR AIRLINE SPONSOR Bank of America Foundation ($10,000–$24,999) Burr Pilger Mayer, Inc. Hotel G United Airlines Theatre Forward BNY Mellon Wealth McGraw Hill Financial U.S. Bank/Ascent Management Schoenberg Family Bank of the West Law Group Deloitte LLP Farella Braun + Martel SEASON SPONSOR Perkins Coie LLP Mozilla Pillsbury Winthrop Shaw Pittman LLP

Foundations and Government Agencies

The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Bethany Herron at 415.439.2434 or [email protected].

$100,000 AND ABOVE $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Doris Duke Charitable Department of Children, Anonymous The Kenneth Rainin Leonard and Sophie Foundation Youth & Their Families Walter and Elise Haas Fund Foundation Davis Fund San Francisco Grants The Edgerton Foundation The Kimball Foundation Laird Norton Family Edna M. Reichmuth for the Arts National Endowment for Koret Foundation Foundation Educational Fund of The William and Flora the Arts The Harold and Mimi San Francisco Neighborhood The San Francisco Hewlett Foundation The Bernard Osher Steinberg Trust Arts Collaborative Foundation Jewels of Charity, Inc. Foundation MAP Fund The Sato Foundation Saint Francis Foundation The Stanley S. Langendorf San Francisco’s Office of Foundation Economic and Workforce The Valentine Foundation Development Wallis Foundation The Virginia B. Toulmin The Zellerbach Family Foundation Foundation 34 ACT-SF.ORG Theatre Forward Current Funders List as of January 2017

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

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

Gifts in Kind

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

4imprint Krista Coupar Adrienne Miller The Marker Hotel Blackbird Vineyards Moleskine Chateau St. Jean Piedmont Piano Company Chris and Holly Hollenbeck Premium Port Wines, Inc. Clift Hotel Recchiuti Confections CyberTools for Libraries diptyque Emergency BBQ Company First Crush Restaurant and Wine Bar Joe Tally and Dan Strauss Just Water

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

CAREY PERLOFF PETER PASTREICH MELISSA SMITH DON-SCOTT COOPER Artistic Director Executive Director Conservatory Director General Manager

James Haire Keely Weiman, Build Manager/Draper Ticket Services Jasmin Hoo, Citizen Artistry Producing Director Emeritus Jef Valentine, Inventory Manager Ian Fullmer, Box Office Manager Mark Jackson, Devised Theater Maria Montoya, Head Stitcher Mark C. Peters, Subscriptions Manager W. D. Keith, On-Camera Acting ARTISTIC Kelly Koehn, Accessories & Crafts Artisan David Engelmann, Head Treasurer Philip Charles MacKenzie, Andy Donald, Associate Artistic Director Chanterelle Grover, First Hand Gillian Eichenberger, Head Clerk On-Camera Acting Michael Paller, Dramaturg Megan LaFleur, Costume Administrator Scott Tignor, Stephanie Arora, Heidi Marshall, On-Camera Acting Janet Foster, Director of Casting and Victoria Mortimer, Alexandra Shier Perry, Subscriptions Coordinators Seana McKenna, Acting Artistic Associate Costume Fellows Andy Alabran, Hillary Bray, Peter Davey, Corrine Nagata, Dance Allie Moss, Artistic Administrator Elizabeth Halperin, Alex Mechanic, Caymichael Patten, Audition Wig Shop Ken Savage, Assistant Producer Johnny Moreno, Katharine Torres, Jeanna Parham, Stage Makeup Lindsay Saier, Wig Master Treasurers Jessica Katz, Artistic Fellow Carey Perloff, Arts Leadership Melissa Kallstrom, Wig Supervisor Front of House Kari Prindl, Alexander Technique Resident Artists David Whitman, House Manager Stacey Printz, Dance Anthony Fusco, Nick Gabriel, Domenique STAGE STAFF Lozano, Craig Slaight The Geary: Miguel Ongpin, Head Carpenter Cara Chrisman, Assistant House Manager Helen Rigby, Fundraising Suzanna Bailey, Head Sound Leontyne Mbele-Mbong, Associate House Megan Q. Sada, Theater Professionalism Associate Artists Manager Mark Pugh, Head Properties Ken Savage, Director Marco Barricelli, Olympia Dukakis, Kevin Hoskins, Lead Bartender Elyse Shafarman, Alexander Technique Giles Havergal, Bill Irwin, Steven Daniel Swalec, Head Electrician Oliver Sutton, Security Liz Tenuto, Dance Anthony Jones, Andrew Polk, Colin Wade, Flyman Susan Allen, Rodney Anderson, Danica Tom Stoppard, Gregory Wallace, Lisa Townsend, Director, Choreographer Mary Montijo, Wardrobe Supervisor Burt, Margaret Cahill, Jose Camello, Timberlake Wertenbaker Becca Wolff, Director Diane Cornelius, Assistant Anthony Cantello, Barbara Casey, Kathy Wardrobe Supervisor Playwrights Dere, Larry Emms, Doris Flamm, Gabriella Studio A.C.T. Joe Nelson, Stage Door Monitor Gonzalez, Lee Jewel, Blue Kesler, Ryszard Annie Baker; Mike Bartlett; Jean-Claude Liz Anderson, Filmmaking The Strand: Patsy McCormack, Strand Koprowski, Sharon Lee, Leontyne Mbele- Carriére, Peter Brook, and Marie-Hélène Mbong, Sam Mesinger, Kathy Napoleone, Heidi Carlsen, Voice Estienne; Randy Johnson; Robert Lepage; Master Technician Genevieve Pabon, Brandie Pilapil, Matt Chapman, Movement Carey Perloff and Paul Walsh; Ursula Rani Sarah Jacquez, Strand Sound Engineer Tuesday Ray, Steven Salzman, Michael Julie Douglas, Mask, Clown, and Movement Sarma; Tom Stoppard John Abele, Strand Head Carpenter Sousa, Melissa Stern, Lorraine Williams, Acting and Ushers Lauren English, Directors ADMINISTRATION Shannon Amitan, Kim Anthony, Forrest Audition Technique Peter Brook and Marie-Hélène Estienne; Choy, Holly Coley, Jake Freeman, Anthony Francie Epsen-Devlin, Musical Theater Randy Johnson; Robert Lepage; Denys Baker, Administrative Hernandez, Brooke Jensen, Caleb Lewis, Domenique Lozano; David Muse; Carey Project Manager Paul Finocchiaro, Acting Fiona McGovern, Michael Mittelbuscher, Perloff; Ken Rus Schmoll Coralyn Bond, Executive Assistant and Nick Gabriel, Acting Susan Monson, Pete Pickens, Jeremy Rice, Board Liaison W. D. Keith, On-Camera Acting Choreographers Miki Richmond, Tracey Sylvester, Leonard Val Caniparoli Human Resources Thomas, Cevie Toure, Bartenders Drew Khalouf, Speech and Diction Jessica Kitchens, Acting Composers/Orchestrators Nancy Mims, Human Resources Director Strand Cafe Kari Prindl, Alexander Technique Mark Bennett; David Coulter; Karl Kate Stewart, Human Resources Rafael Monge, Cafe Manager Mark Rafael, Acting Lundeberg, Nick Perloff-Giles and LaRina Hazel, Raj Paul Pannu, Baristas Brendan Aanes General Management Patrick Russell, Acting, Movement, Amy Hand, Associate General Manager and Clown EDUCATION & COMMUNITY Music Directors Amy Dalba, Company Manager Rebecca Struch, Acting Daniel Feyer Joseph Reyes, General/Company PROGRAMS Laura Wayth, Acting Management Fellow Elizabeth Brodersen, Director of Education Designers & Community Programs YOUNG CONSERVATORY John Arnone, Andrew Boyce, Marsha Finance Tyrone Davis, Community Artistic Director Craig Slaight, Young Conservatory Director Ginsberg, Ken MacDonald, Daniel Sharon Boyce, Matt Jones, Finance Jasmin Hoo, Curriculum & Training Specialist Ostling, Scenic Associates Andy Alabran, Acting Vincent Amelio, School & Community Cristina Anselmo, Acting Jessie Amoroso, Beaver Bauer, Linda Cho, Programs Coordinator Alex Jaeger, Jennifer Moeller, Costumes Information Technology Pierce Brandt, Musical Theater Thomas Morgan, Director Stephanie Wilborn, Education & Community Lap Chi Chu, Russell H. Champa, Robert Programs Fellow Nancy Gold, Physical Character, Acting Hand, Nancy Schertler, Robert Wierzel, Joone Pajar, Network Administrator Dan Griffith, Movement Lighting Elizabeth Halperin, Student Matinees Emily Hanna, Acting Brendan Aanes, Mark Bennett, Jake Operations Joseph Givens, David McKneely, Raven W. D. Keith, Director Rodriguez, Sound Jamie McGraw, Associate Manager, Facilities Sisco, Apprentices Operation and Security Domenique Lozano, Director, Acting Coaches Jeffrey Warren, Assistant Facilities Manager CONSERVATORY Christine Mattison, Dance, Choreographer Nancy Benjamin, Lisa Anne Porter, Curtis Carr, Jr., Victor Newman, Nick Gabriel, Director of Studio A.C.T. Vivian Sam, Musical Theater, Dance Voice, Text & Dialect Jesse Nightchase, Security Christopher Herold, Director of Summer Dan Seda, Musical Theater Jeffrey Crockett, Voice & Text Jaime Morales, Geary Cleaning Foreman Training Congress Trish Tillman, Acting Stephen Buescher, Movement Jamal Alsaidi, Jeaneth Alvarado, Jack Sharrar, PhD, Director of Valerie Weak, Acting Academic Affairs Jonathan Rider, Danielle O’Dea, Fights Lidia Godinez, Geary Cleaning Crew Krista Wigle, Musical Theater Daniel Feyer, Music Jerry Lopez, Director of Financial Aid Development Dan Kolodny, Manager, Conservatory Conservatory Accompanists PRODUCTION Caitlin Quinn, Director of Development Operations & Professional Development Training Thaddeus Pinkston, Naomi Sanchez, Audrey Hoo, Production Manager Luz Perez, Director of Special Events Emily Hanna, Conservatory Associate, Young Lynden James Bair, Daniel Feyer Conservatory & Studio A.C.T. Robert Hand, Associate Helen Rigby, Director of Legacy Giving Production Manager Bethany Herron, Associate Director of Matt Jones, Bursar/Payroll Administrator Library Staff Chris Lundahl, Design and Development, Institutional Partnerships Vanessa Flores, Conservatory Associate, Joseph Tally, Head Librarian Production Associate Tiffany Redmon, Associate Director of Academic Programs G. David Anderson, Laurie Bernstein, Michelle Symons, Assistant Development, Individual Giving Lena Mier, Marcella Toronto, Helen Jean Bowie, Bruce Carlton, Production Manager Rose Oser, Grant Writer Conservatory Fellows Barbara Cohrssen, James Daniel, William Goldstein, Pat Hunter, Connie Walter Ryon, Conservatory Renée Gholikely, Special Events Assistant M.F.A. Program Core Faculty Ikert, Martha Kessler, Nelda Kilguss, Production Manager Sarah Armstrong, Major Gifts and Nancy Benjamin, Co-Head of Voice and Barbara Kornstein, Analise Leiva, Ines Corporate Associate Maeve Morgan, Conservatory Design and Dialects, Director Lewandowitz, Richard Maggi, Patricia Production Coordinator Peter Macfarlane, Development Associate Stephen Buescher, Head of O’Connell, Roy Ortopan, Maida Paxton, Haley Miller, Conservatory Design and Stephanie Swide, Individual Movement, Director Connie Pelkey, Christine Peterson, Dana Production Coordinator Giving Associate Rees, Peter Schmid, Roger Silver, Jane Jeffrey Crockett, Head of Voice Marlena Schwartz, Production Fellow Julia Ludwig, Special Events Fellow Taber, Susan Torres, Jean Wilcox, Marie Domenique Lozano, Acting, Director Wood, Library Volunteers Madelene Tetsch, Development Fellow Stage Management Michael Paller, Director of Humanities Elisa Guthertz, Head Stage Manager Marketing & Public Relations Lisa Anne Porter, Co-Head of Voice A.C.T. thanks the physicians and staff of Elisa Guthertz, Deirdre Rose Holland, Christine Miller, Associate Director of and Dialects the Centers for Sports Medicine, Saint Megan Q. Sada, Karen Szpaller, Stage Marketing Jack Sharrar, PhD, Theater History Francis Memorial Hospital, for their care Managers Brad Amorosino, Senior Graphic Designer Melissa Smith, Head of Acting, Director of the A.C.T. company: Dr. Victor Prieto, Dr. Hoylond Hong, Dr. Susan Lewis, Christina Larson, Megan McClintock, Simon Hodgson, Publications Manager Leslie M. Radin, Assistant Stage Managers M.F.A. Program Adjunct Faculty Don Kemp, P.A., and Chris Corpus, Simone Finney, Digital Content Manager Clinic Supervisor. Hal Day, Production Assistant Milissa Carey, Singing, Director Kevin Kopjak/Charles Zukow Associates, Tyrone Davis, Citizen Artistry Danielle Bae, Joelle Hagen, Charlotte Public Relations Counsel Accreditation Morrill, Stage Management Fellows Andy Donald, Arts Leadership Ashley Gennarelli, Marketing Associate A.C.T. is accredited by the Accrediting Julie Douglas, Improv Prop Shop Thomas Moore, Visual Designer Commission for Senior Colleges and Daniel Feyer, Music Director, Accompanist Ryan L. Parham, Supervisor Sara Morales, Graphic Designer Universities of the Western Association of Janet Foster, Audition, Showcase Schools and Colleges (WASC), 985 Atlantic Abo Greenwald, Assistant Shannon Stockwell, Publications Associate Anthony Fusco, Acting Avenue, Suite 100, Alameda, CA 94501, Emilianne Lewis, Marketing Fellow Costume Shop Nick Gabriel, Acting, Director 510.748.9001, an institutional accrediting Karen Loccisano, Graphic Design Fellow body recognized by the Council on Jessie Amoroso, Costume Director Giles Havergal, Director Elspeth Sweatman, Publications Fellow Postsecondary Accreditation and the U.S. Callie Floor, Rentals Manager Gregory Hoffman, Combat Department of Education.

36 ACT-SF.ORG A.C.T. PROFILES

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

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

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

415.749.2228 37 F.Y. I .

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

38 ACT-SF.ORG LIMITED ENGAGEMENT!

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