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FEB 2017 SEASON 50, ISSUE 4 Ferociously Intense and Highly Dramatic JOSEFOWICZ CAPU Ç ON

FEB 22–25 MAR 1–4 MTT conducts John Adams’ MTT conducts Tchaikovsky Scheherazade.2 and Shostakovich A GRAMMY AWARD-WINNING EVENING

Violinist Leila Josefowicz brings her “wonderfully committed and Gautier Capuçon’s performances with the San Francisco Symphony are ferociously intense” (The Guardian) playing to John Adams’ celebration of “thoughtful, highly dramatic, and played with precision and grace.” female strength, Scheherazade.2. Written specifically for Josefowicz, her (San Francisco Chronicle) The acclaimed cellist joins Michael Tilson Thomas for performance of the work recently garnered her a Grammy nomination for Shostakovich’s provocative Cello Concerto No. 1. The Orchestra then plays Best Classical Instrumental Solo. Then, Michael Tilson Thomas and the Tchaikovsky's Sixth Symphony, the Pathétique, known as one of the San Francisco Symphony perform the work for which they won their first composer's proudest achievements. Grammy together, Prokofiev’s exquisite Romeo and Juliet.

Feb 24 presented in partnership with

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4 ACT-SF.ORG

CLIENT ESC / San Francisco Towers PUB Encore Opera AD NAME Gustavo REF NO EPSF752-06xb TYPE 2/3 page vertical, 4C SIZE 4.75 x 9.875 ISSUE JANUARY DUE 12.16.16 VERSION 01 AGENCY RESIN CONTACT Tim Paschke 415.987.4274 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, we embrace Congress attracts students from around the world, and the San our responsibility to conserve, renew, and reinvent our rich Francisco Semester offers a unique study-abroad opportunity theatrical traditions and literatures, while exploring new for undergraduates. Other programs include the world-famous artistic forms and new communities. Founded by William Ball, Young Conservatory for students ages 8 to 19, led by 28-year a pioneer of the regional theater movement, A.C.T. opened its veteran Craig Slaight; Studio A.C.T., our expansive course of first San Francisco season in 1967. We have since performed theater study for adults; and the Professional Development more than 350 productions to a combined audience of more Training Program, which offers actor training for companies than seven million people. Every year we reach more than seeking to elevate their employees’ business performance skills. 250,000 people through our productions and programs. Our alumni often grace our mainstage and perform around the Bay Area, as well as on stages and screens across the country. Rising from the wreckage of the earthquake and fire of 1906 and hailed as the “perfect playhouse,” the beautiful, historic A.C.T. also brings the benefits of theater-based arts education Geary Theater has been our home since the beginning. When to more than 12,000 Bay Area students and educators each the 1989 Loma Prieta earthquake ripped the roof apart, San year. Central to our ACTsmart education programs, run by Franciscans rallied together to raise a record-breaking $30 Director of Education & Community Programs Elizabeth million to rebuild the theater. The Geary reopened in 1996 with Brodersen, is the longstanding Student Matinee (SMAT) a production of The Tempest directed by Perloff, who took over program, which has brought hundreds of thousands of young in 1992 after the retirement of A.C.T.’s second artistic director, people to A.C.T. performances since 1968. We also provide gentleman artist Ed Hastings. touring Will on Wheels Shakespeare productions, teaching- artist residencies, in-school workshops, and study materials to Perloff’s 24-season tenure has been marked by groundbreaking Bay Area schools and community-based organizations. productions of classical works and new translations creatively colliding with exceptional contemporary theater; cross- With our increased presence in the Central Market neighborhood disciplinary performances and international collaborations; marked by the renovation of The Strand Theater and the and theater made by, for, and about the Bay Area. Her fierce opening of The Costume Shop Theater, A.C.T. plays a leadership commitment to audience engagement ushered in a new era role in securing the future of theater for San Francisco and of InterACT events and dramaturgical publications, inviting the nation. everyone to explore what goes on behind the scenes.

American Conservatory Theater Board of Trustees (As of October 2016) 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 Joan Sadler Toni Rembe TREASURER Heather Stallings Little EMERITUS Cherie Sorokin Sally Rosenblatt Janet V. Lustgarten ADVISORY BOARD Alan L. Stein 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 My wealth. My priorities. My partner.

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EAP full-page template.indd 1 9/6/16 11:24 AM DON’T JUST SIT THERE . . .

At A.C.T.’s free InterACT events, you can mingle with cast members, join interactive workshops with theater artists, and meet fellow theatergoers at hosted celebrations in our lounges. Join us for our upcoming production of John and InterACT with us! JOHN AT THE STRAND THEATER

BIKE TO THE THEATER NIGHT FEB 22, 6:30 PM Ride your bike to A.C.T. and take advantage of secure bike parking, low- priced tickets, and happy-hour prices at our preshow mixer, presented in partnership with the San Francisco Bicycle Coalition.

PROLOGUE MAR 7, 5:30 PM Go deeper with a fascinating preshow discussion with a member of the John artistic team.

THEATER ON THE COUCH* MAR 10, 7:30 PM Take part in a lively conversation in The WHAT’S INSIDE Rueff with Dr. Mason Turner, chief of psychiatry at Kaiser Permanente San ABOUT THE PLAY INSIDE A.C.T. Francisco Medical Center. AUDIENCE EXCHANGE* 9 LETTER FROM THE 35 MAKING HISTORY MAR 14, 7 PM; MAR 29 & APR 16, 1 PM ARTISTIC DIRECTOR How Michael Paller Told the Story of Join us for an exciting Q&A with the cast By Carey Perloff A.C.T.’s First 50 Years following the show. By Simon Hodgson 14 THE UNIVERSE OF OUT WITH A.C.T.* THE HUMAN SPIRIT MAR 15, 7:30 PM 36 ODD TIMES Mix and mingle at this hosted postshow An Interview with Playwright Ursula Rani The A.C.T. Master of Fine Arts Program LGBT party. Sarma and Novelist Khaled Hosseini Presents The Lady Vanishes WENTE VINEYARDS WINE SERIES By Simon Hodgson By Shannon Stockwell and Shannon Stockwell MAR 28, 7:30 PM Meet fellow theatergoers at this hosted wine-tasting event. 16 SHIFTING SANDS EDITOR Inside the World of A Thousand PLAYTIME SIMON HODGSON Splendid Suns APR 15, 1 PM By Elspeth Sweatman ASSOCIATE EDITOR Get hands-on with theater at this SHANNON STOCKWELL interactive preshow workshop. 18 THE ART OF MAKING ART CONTRIBUTORS To learn more and order tickets The Creation of CAREY PERLOFF for InterACT events, A Thousand Splendid Suns ELSPETH SWEATMAN visit act-sf.org/interact. By Elspeth Sweatman *Events take place immediately 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: ABOVE: KHALED HOSSEINI IN AFGHANISTAN. performing-arts library and ushering in our theaters. PHOTO BY MICHAEL SIMON. © THE KHALED ACT-SF.ORG/PODCAST HOSSEINI FOUNDATION. FOR MORE INFORMATION: ACT-SF.ORG/VOLUNTEER

415.749.2228 7 CELEBRATE A.C.T.’S 50TH SEASON! TICKETS START AT $20.

FEB 22–APR 23 MAR 30–APR 23 THE STRAND THEATER THE GEARY THEATER

APR 26–MAY 21 JUN 7–JUL 2 THE GEARY THEATER THE GEARY THEATER act-sf.org/join | 415.749.2228

PHOTO CREDITS: Top Row: Needles and Opium: Wellesley Robertson III in Needles and Opium. Photo courtesy Ex Machina. Bottom Row: Battlefield: Photo by Simon Annand. A Night with Janis Joplin: Artwork by Adam Larson. FROM THE ARTISTIC DIRECTOR

Dear Friends,

Happy New Year to each and every one of you! Our decision regarding Suns was that the friendship between Laila and Mariam would be the central driver of the play, and We’re thrilled to continue A.C.T.’s 50th-anniversary season with that the story would begin at the moment they meet. This is not a world premiere that we have been developing for several how the novel is structured: in the book, we meet Mariam and years. The idea of adapting Khaled Hosseini’s novel A Thousand learn about her childhood long before we arrive at the Kabul Splendid Suns for the stage began in 2011 when we produced bombings of 1992, when Mariam’s husband Rasheed pulls Laila another Middle Eastern play, Scorched, by Wajdi Mouawad. from the rubble and brings her home. That event became our Khaled and his wife, Roya, came to see Scorched, and we spent theatrical starting point, which means that Mariam’s story is a wonderful evening together talking about the many issues introduced later, as a way to move the friendship of the two and images the play had evoked. Out of that conversation came women forward. We also end the play before the novel ends, at the idea of creating a stage play from Khaled’s extraordinary the moment when Laila and Mariam’s story felt complete to us. second novel. Given our current political climate, it is perhaps fortuitous to What I was most drawn to in A Thousand Splendid Suns was be doing a play about Muslim women in Afghanistan. It’s a its depiction of three generations of Afghan women, and its joy to be able to make theater that opens up worlds that are unveiling of a friendship between two women who in other often depicted in stereotype, and we are hugely grateful to the circumstances would never have even met, let alone become many members of the Bay Area’s Afghan community who have bonded for life. War has a way of creating strange bedfellows, helped us along the way as we’ve developed this piece. After and when Laila and Mariam are thrust together in Rasheed’s its San Francisco run, this production travels to Canada as our house, it is impossible to predict that, over the years, the women third coproduction with Theatre Calgary. These cross-border will save each other again and again from the depredations of a collaborations have become increasingly valuable to us as we try violent husband and an even more violent culture. Their journey to activate the role storytelling can play in the global dialogue. seemed ripe for theatricalization. William Ball’s initial vision for A.C.T. included a huge appetite for international exchange, so we launch Suns in tribute to his We commissioned Irish Indian playwright Ursula Rani Sarma original vision and in celebration of 50 years of making theater to create this play for us because of her deep affinity for the in the Bay Area. culture and because we felt that her poetic imagination would free all of us from being too literal as we approached adapting Meanwhile at The Strand, we’re exploring the latest work of the novel. Khaled was generous, open-minded, and clear from one of the most exciting female voices in the American theater, the beginning that a piece of prose is entirely different from a Annie Baker, whose play John opens on February 22. We hope play, and that he wanted Ursula to adapt the book as she and you’ll join us for that, and for more special events tied to our we saw fit, as long as she retained its essential thematic core. 50th this spring, including A.C.T.’s birthday celebration at The Thus began a multiyear developmental process, through A.C.T.’s Geary on March 18, free and open to all. New Strands initiative and with the participation of artists from around the country. Meanwhile, enjoy A Thousand Splendid Suns, and may the year ahead be filled with as much hope and compassion as we can There is no formula for making a viable theater piece out of a possibly muster. beloved novel. One has to make choices early on about what Best, the spine of the play is going to be, how the dramatic action will unfold, which characters are going to carry the burden of the story, and what can be told through music and movement rather than exposition. There is less “real estate” in a play than in a novel, so not every thread or every character can fit. Carey Perloff

9 Business, meet Box Office.

Encore Media Group connects businesses and brands to the best of arts & culture in the Bay Area and Seattle. We’re proud to have published programs with A.C.T. for 15 years. From finance and fine art museums to jewelers and schools, smart business owners know Encore is the best way to get their brand in the spotlight.

To learn what Encore can do for your business, visit encoremediagroup.com. THE LATEST HIT FROM PULITZER PRIZE–WINNING PLAYWRIGHT ANNIE BAKER

JOHN“A true masterpiece. JOHN Revolutionary” BY Slate ANNIE BAKER DIRECTED BY KEN RUS SCHMOLL “Haunting and haunted” The New York Times

Georgia Engel Ann McDonough Joe Paulik Stacey Yen (The Mary Tyler Moore Show)

FEB 22–APR 23 A.C.T.’S STRAND THEATER ACT-SF.ORG | 415.749.2228 1127 MARKET STREET YOU’RE INVITED

A.C.T.’S 50TH- ANNIVERSARY CELEBRATION MARCH 18, 2017 THE GEARY THEATER 415 GEARY STREET

Hermione Gingold and John McLain at the gala that opened A.C.T.’s 1967–68 Season.

To celebrate 50 years In the evening, join us for a Now, with a lineup of A.C.T.’s of A.C.T., we are inviting reading of Dylan Thomas’s favorite actors, it’s a great way the community into our 1954 radio drama Under Milk to celebrate five decades of historic Geary Theater. Wood, which was directed incredible theater in the heart by Artistic Director William of San Francisco. Take a tour behind the scenes Ball in A.C.T.’s first season in of The Geary, observe a Young San Francisco. This heartfelt All events are free and open to Conservatory class, see a comedy about the inhabitants the public. performance or two by our of a small fishing town in Master of Fine Arts Program Wales was a hit when it was actors, and hear a reading performed at The Geary 50 For more information, from New Strands, our new- years ago. visit act-sf.org/birthday. works program. CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director

IN ASSOCIATION WITH THEATRE CALGARY SHARI WATTLING, Interim Artistic Director COLLEEN A. SMITH, Executive Director

PRESENTS

ADAPTED BY URSULA RANI SARMA BASED ON THE NOVEL BY KHALED HOSSEINI ORIGINAL MUSIC WRITTEN AND PERFORMED BY DAVID COULTER DIRECTED BY CAREY PERLOFF CAST CREATIVE TEAM (IN ORDER OF APPEARANCE) BABI BARZIN AKHAVAN* SCENIC DESIGNER KEN MACDONALD LAILA NADINE MALOUF* COSTUME DESIGNER LINDA CHO FARIBA DENMO IBRAHIM* LIGHTING DESIGNER ROBERT WIERZEL RASHEED HAYSAM KADRI SOUND DESIGNER JAKE RODRIGUEZ MARIAM KATE RIGG* MOVEMENT DIRECTOR STEPHEN BUESCHER ABDUL SHARIF JASON KAPOOR* DRAMATURG MICHAEL PALLER TARIQ POMME KOCH* CASTING DIRECTOR JANET FOSTER, CSA MULLAH FAIZULLAH BARZIN AKHAVAN* CULTURAL CONSULTANT HUMAIRA GHILZAI NANA DENMO IBRAHIM* ASSISTANT DIRECTOR KIMBERLY MOHNE HILL JALIL JASON KAPOOR* SDC OBSERVER LYNDSAY BURCH WAKIL JASON KAPOOR* DIALECT COACH NANCY BENJAMIN INTERROGATOR BARZIN AKHAVAN* FIGHT CONSULTANT JONATHAN RIDER AZIZA NIKITA TEWANI* DOCTOR DENMO IBRAHIM* ZALMAI NEEL NORONHA† ZAMAN BARZIN AKHAVAN* TALIB HAYSAM KADRI THIS PRODUCTION MADE POSSIBLE BY ENSEMBLE RINABETH APOSTOL*, EXECUTIVE PRODUCERS KAISO HILL*, TERRY LAMB* SARAH AND TONY EARLEY MELODY PERERA* KEVIN AND CELESTE FORD JO S. HURLEY JERI LYNN AND JEFFREY W. JOHNSON UNDERSTUDIES JOHN LITTLE AND HEATHER STALLINGS LITTLE BURT AND DEEDEE MCMURTRY FARIBA, LAILA, NANA, DOCTOR RINABETH APOSTOL* KATHLEEN SCUTCHFIELD AARON VERMUT AND ADRIANA LOPEZ VERMUT ABDUL SHARIF, JACK AND SUSY WADSWORTH TARIQ, JALIL, WAKIL KAISO HILL* PRODUCERS MARIAM DENMO IBRAHIM* CLAY FOUNDATION–WEST MARY AND GENE METZ RASHEED JASON KAPOOR* DONALD J. AND TONI RATNER MILLER TALIB POMME KOCH ROBINA RICCITIELLO BABI, MULLAH FAIZULLAH, ASSOCIATE PRODUCERS GAYLE AND STEVE BRUGLER INTERROGATOR, ZAMAN TERRY LAMB* CAROL DOLLINGER VICKI AND DAVID FLEISHHACKER AZIZA MELODY PERERA* MR. RODNEY FERGUSON AND MS. KATHLEEN EGAN ZALMAI SHRE TOMAR† DR. AND MRS. RICHARD E. GEIST DR. ALLAN P. GOLD AND MR. ALAN C. FERRARA BETTY HOENER STAGE MANAGEMENT JON AND BARBARA PHILLIPS JOHN RICCITIELLO STAGE MANAGER ELISA GUTHERTZ* JOHN AND SANDRA THOMPSON ASSISTANT STAGE MANAGER LESLIE M. RADIN* DOUG TILDEN DANI BAE KATHERINE WELCH STAGE MANAGEMENT FELLOW

A Thousand Splendid Suns is the recipient of an Edgerton Foundation New Play Award. The development of this play was made possible by the Priscilla and Keith Geeslin New Strands Fund and the William and Flora Hewlett Foundation Fund for New Works. This project is also supported in part by an award from the National Endowment for the Arts.

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States †Member of the A.C.T. Young Conservatory

415.749.2228 13 ABOUT THE PLAY Strong women dominate the work of award-winning playwright, poet, and screenwriter Ursula Rani Sarma. Throughout her career, the Irish Indian artist has explored complex and resilient female characters in such works as her play The Dark Things, her adaptation of Federico García Lorca’s Yerma, and her upcoming retelling of the biblical story of Salomé.

So it is no surprise that she was drawn to the story of Mariam and Laila, the two women at the center of Khaled Hosseini’s 2007 novel A Thousand Splendid Suns. It is Hosseini’s second of his three novels, the other two being And the Mountains Echoed (2013) and The Kite Runner (2003). Hosseini was inspired to write A Thousand Splendid Suns after visiting Afghanistan and speaking with the strong women who live in a country where their rights are often oppressed.

We spoke with Sarma and Hosseini about their experience working on this adaptation at A.C.T.

Why is A Thousand Splendid Suns particularly suited for the stage? URSULA RANI SARMA: The theater is one of the best mediums to explore complex human relationships like the ones at the center of A Thousand Splendid Suns. Like the novel, it is the relationship between Mariam and Laila—trapped in a violent home, reaching out to each other—that forms the spine of the play. The difference is that on the stage, the characters will take on a three-dimensional existence while an audience bears witness to their extraordinary journey. Also, from a practical perspective, the majority of the conflict unfolds indoors in confined spaces, so many of these scenes make for great theater because they are dramatic, tense, and emotionally engaging.

KHALED HOSSEINI: I think there’s a sense of immediacy in theater, which simply can’t be created elsewhere. On the right night and at the right performance and with the right crowd, the room is permeated with something that’s really tangible—very difficult to describe, but very powerful. There’s a collective experience that you have with an audience in the theater that is difficult to create anywhere else. And by contrast, I think reading a book is a solitary experience. It’s literally a voice in your head helping you to create images for yourself. Everybody can read

PHOTO BY HELEN WARNER HELEN BY PHOTO the same book, but everyone has a different experience. I think people experience different art forms in different ways, and that’s wonderful.

THE UNIVERSE OF What kind of conversations have you had with each other throughout the process? URS: I spoke with Khaled early on in the process, as it was THE HUMAN SPIRIT important to hear his hopes for the adaptation and any specific AN INTERVIEW WITH PLAYWRIGHT elements that he felt should be retained. Right from the URSULA RANI SARMA AND NOVELIST beginning Khaled was very supportive and generous and he encouraged me to follow my instincts and do whatever I felt KHALED HOSSEINI was right. This was hugely liberating and meant that I had the BY SIMON HODGSON AND SHANNON STOCKWELL freedom to get beneath the skin of the novel and to make the

14 ACT-SF.ORG story feel as though it were my own; something that had to self-serving umbrellas. These are individual human beings. I happen for me to breathe life into these characters. think that’s what any art form, be it theater or novels or movies, can do; they can bridge that gap and transport you into the KH: As an author, if you’re allowing your work to be adapted shoes of somebody else. And through that experience, you into another art form by somebody else, you should divorce begin to view the group in a richer way. yourself from the idea that anything you said or wrote is going to appear in the other format. It’s far more interesting to get a OPPOSITE Playwright Ursula Rani Sarma peek into somebody else’s interpretation of your work. I love seeing how Ursula has worked with structure. BELOW Novelist Khaled Hosseini What is this play about? URS: It’s about the immense strength and endurance of women and how they can survive tremendous suffering to keep those they love alive. It is also about how, even in the darkest of times and places, love can grow and sustain the human spirit beyond all pain and hardship. It’s about friendship and loyalty, courage and selflessness, grief and violence.

What the play has to say about love, endurance, and survival is very much worth listening to for a contemporary audience. There is beauty and strength at the heart of A Thousand Splendid Suns, and I feel so proud to be part of its evolution from novel to stage.

Why is this story important to tell today? KH: We’re living in a time when we are inundated, through television and social media and smartphones and everything, with stories from the Middle East, and they all sound the same. They’re all stories about guys that behead people, that kill minorities, and brutality and suffering.

I think a story like A Thousand Splendid Suns can remind people that every person under a veil, every refugee walking across plains—every single one of those people has a universe inside them, a life, an entire history, and a long, long history of things that they wanted, of hopes that they had. I think that’s important to understand: you can’t just categorize people under

Want to know more about A Thousand Splendid Suns? Words on Plays is full of original essays and interviews that give you a behind-the-scenes look at A Thousand Splendid Suns—perfect for reading before the play, during intermission, or when you get home! Proceeds from sales of Words on Plays benefit A.C.T.’s education programs.

AVAILABLE IN THE BOX OFFICE AND LOBBY, AT THE BARS, AND ONLINE AT ACT-SF.ORG/WORDSONPLAYS. PHOTO BY ELENA SEIBERT ELENA BY PHOTO

415.749.2228 15 ABOUT THE PLAY

SHIFTING SANDS INSIDE THE WORLD OF A THOUSAND SPLENDID SUNS BY ELSPETH SWEATMAN

The characters of Mariam, Laila, and Rasheed may have begun their fictional journey in the mind of author Khaled Hosseini, but their personalities are rooted firmly in their native Afghanistan.

Approximately the size of Texas, Afghanistan is a land of extreme beauty and extreme geographic diversity, ranging from towering mountains to expansive plains to barren deserts. Winters there are harsh, and summers sweltering. In this dramatic landscape live 32.5 million Afghans, a mixture of religions, languages, and ethnicities. One of the tensions between Rasheed and Laila in the play derives from ethnicity— ferocious response of the Afghan people. When the Soviet she is Tajik (a minority group), while he comes from the troops withdrew in 1989, Afghans were hopeful that life would dominant Pashtun community. Another character’s challenge return to normal. is related to geography: Mariam grows up in Herat, a city in the west of Afghanistan. Forced to move across the country However, many of the militant groups that had fought the to marry Rasheed, she feels provincial and overlooked in the Soviets—known as the Mujahideen—turned against each other. capital city, Kabul. The nation descended into civil war. One group shelled Kabul from the surrounding hills, while others fought for control of Kabul’s location on the Silk Road between Europe and the neighborhoods. “Deadly roadblocks, disappeared neighbors, riches of the East, combined with the country’s abundance of and decaying bodies were woven into the fabric of daily life, natural resources, has made Afghanistan an enticing prospect like going shopping or saying your prayers,” says US-based war for many foreign invaders: Alexander the Great, Genghis correspondent Anand Gopal. The Afghan Civil War (1989–96) Khan, Great Britain, and, most recently, the Soviet Union. In took the lives of 25,000 civilians. It is during this dangerous 1979, the Soviets sent troops into Afghanistan to prop up a period that Ursula Rani Sarma’s adaptation of A Thousand failing socialist government, but they were ill-prepared for the Splendid Suns begins.

A BRIEF TIMELINE OF AFGHAN HISTORY

WHEN THE TALIBAN REFUSES TO GIVE UP OSAMA SOVIET UNION INVADES. THE TALIBAN SEIZES BIN LADEN AFTER SAUDI-BASED THE MUJAHIDEEN FORMS KABUL. THE MUJAHIDEEN AL-QAEDA’S 9/11 ATTACKS, THE US IN OPPOSITION. KEEPS FIGHTING. INVADES AFGHANISTAN. 1979 1989 1996 1999 2001 SOVIET UNION WITHDRAWS. UN PLACES SANCTIONS AFGHAN CIVIL WAR BEGINS. AGAINST THE TALIBAN.

16 ACT-SF.ORG Left: Afghanistan’s capital, Kabul, with its mountain backdrop. UZBEKISTAN TAJIKISTAN CHINA

TURKMENISTAN

KABUL HERAT PESHAWAR IRAN PAKISTAN AFGHANISTAN

KANDAHAR

27% TAJIK 300km 180mi 9% UZBEK 13% OTHER PHOTO BY CHRISTOPHER KILLALEA CHRISTOPHER BY PHOTO 9% HAZARA Into this bloodshed burst a new group that looked like the answer to many Afghans’ prayers for peace: the Taliban. Spreading from the refugee camps in Pakistan in the early 42% PASHTUN 1990s, the Taliban took control of most of Afghanistan by 1996. Many Afghans welcomed it with open arms, seeing in its fierce religious beliefs a solution to the violence that had plagued the country for almost two decades.

The people’s celebrations were short-lived. The Taliban ESTIMATED ETHNIC MAKEUP OF AFGHANISTAN believed that impurity and vice were the root cause of 2004–PRESENT the country’s problems. Through its Department for the CIA WORLD FACTBOOK, 2010 Preservation of Virtue and the Elimination of Vice, the Taliban issued edict after edict banning anything that might entice people to sin. Women were forbidden from working, attending government only controls 258 of the country’s 407 districts. school, and leaving their homes without a male relative to The central government is weak, unemployment is high, and escort them. Even a glimpse of an arm or an ankle could the economy is struggling. As international attention wanes incur brutal punishment. In sports arenas and city squares and troops pull out of the country, will Afghanistan be able to throughout the country, the Taliban beat offenders, amputated stand on its own, or will the country’s decades of war continue? their limbs, and sometimes stoned them to death. This is the political and social world that Mariam and Laila must navigate The Afghan people remain hardworking, resilient, and hopeful. in A Thousand Splendid Suns. Like Laila and Mariam, many are working toward a brighter future and a time when this Central Asian country will be Since US troops drove the Taliban out of power in 2001, life known more for its beauty than its violent past. in Afghanistan has become slightly more stable. Under the new constitution written in 2004, women are granted equal rights. But Afghanistan remains a country under siege. Foreign KHALED HOSSEINI FOUNDATION militant groups such as Islamic State (ISIS) have increased Based in San Jose, the Khaled Hosseini Foundation is their influence in the nation, launching their own attacks and a nonprofit that provides humanitarian assistance for adding to the body count. The Taliban remains a significant the people of Afghanistan. For more information, visit threat in many areas. According to the Pentagon, the Afghan khaledhosseinifoundation.org.

415.749.2228 17 ABOUT THE PLAY PHOTOS BY ELSPETH SWEATMAN BY PHOTOS

Creating a piece of theater is a journey of collaboration, exploration, and serendipity—one that can take years to reach THE ART OF the stage and involve many facets of an arts organization. The idea for adapting Khaled Hosseini’s beloved novel for The Geary began in 2011 when A.C.T. Artistic Director Carey Perloff MAKING ART met Hosseini. She told him of her love for the novel and her THE CREATION OF desire to see this story of female friendship and resilience A THOUSAND SPLENDID SUNS on the stage. With his blessing, A.C.T.’s New Strands—a year- round commissioning and development program dedicated to BY ELSPETH SWEATMAN supporting artists in the creation and completion of new works— commissioned Irish Indian playwright Ursula Rani Sarma to write the adaptation.

18 ACT-SF.ORG When Perloff and Sarma first sat down to discuss the FROM LEFT adaptation, Sarma’s copy of the novel—filled with hundreds of Cast members and M.F.A. Program actors during rehearsal for A Thousand Splendid Suns; M.F.A. Program actors Jennifer Apple color-coded Post-it Notes—inspired a long conversation about (left, class of ’18) and Adrianna Mitchell (class of ’18) in costume. how to distill an epic novel into a satisfying piece of theater. They quickly agreed that the foundation of the play had to be OPPOSITE the complex and unlikely friendship between Mariam and Laila. Movement Director Stephen Buescher works with M.F.A. Program actors Jennifer Apple, Oliver Shirley, and Justin Genna (all class of ’18) in a workshop for A Thousand Splendid Suns. Once Sarma had written a draft of the script, A.C.T. gathered the playwright, actors, and creative team for a series of workshops. Sitting around a table and reading through the script was a cast members improvised physical responses to musical and crucial step in the development of A Thousand Splendid Suns. textual prompts, the creative team discovered that some of From these workshops, Perloff and Sarma were able to pinpoint the more difficult parts of the script could be evoked through where the storytelling could be strengthened. “When you movement and sound. can hear a script brought to life by actors, and when you can converse with them about the characters they are playing, it For A.C.T.—a theater founded on dynamic productions, actor brings an entirely new dimension to the play,” says Sarma. training, and community engagement—the last step in the journey was still to come. Thanks to a grant awarded by the Edgerton Foundation, A.C.T. was able to enjoy extra rehearsal time for Suns, including a November 2016 event attended by “CREATING NEW WORK ALLOWS members of the Bay Area Afghan community, enabling them to observe and respond to short scenes, movement, and music. US TO UNDERSTAND THE This engagement was followed by an extraordinary day in Fremont, during which the actresses in Suns joined a story circle CULTURE OF OUR TIME.” of Afghan women, followed by a large reception sponsored by the Afghan Coalition to share scenes from the play, partake A.C.T. ARTISTIC DIRECTOR CAREY PERLOFF of delicious Afghan food, and talk about the production. The result was an extensive dialogue that not only deepened A.C.T.’s relationship with the Afghan community, but also the creative As the Suns development process widened to include music and team’s understanding of the country’s rich culture. movement, the creative team faced challenges in the specifics of the script. “We had to figure out how to physically evoke “Creating new work allows us to understand the culture of our things that Sarma had written in the script. ‘The city is starving.’ time,” says Perloff. “That’s what’s so interesting about the How do you show that onstage?” says Perloff. Some of those process. It can give you access in a way that nothing else can. solutions came out of workshops, featuring cast members The creation of a new play encourages the exploration of so and actors in the A.C.T. Master of Fine Arts Program, led by many crucial questions about our contemporary experience: movement director Stephen Buescher and composer David what we think, who we are, who we are in dialogue with, and Coulter, who guided the actors through an exploration of the what is happening in the world, whether it’s three blocks away play’s visual and aural world. As both the student actors and in the Tenderloin or halfway around the world.”

415.749.2228 19 AMERICAN CONSERVATORY THEATER INVITES YOU TO CELEBRATE 50 YEARS OF DYNAMIC THEATER A.C.T.’S 50TH- SEASON GALA THURSDAY, APRIL 27, 2017 Market Street between 7th and 8th From The Costume Shop to The Strand and everywhere in between

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BARZIN critically acclaimed West Coast Shakespeare Company); and Cockroach, AKHAVAN* premiere of Our Enemies: Lively Scenes The Motherfu**er with the Hat, (Babi, Mullah of Love and Combat (Golden Thread Shakespeare’s Dog, Robin Hood, and Faizullah, Productions), Claudio in Much Ado Oliver Twist (Alberta Theatre Projects). Interrogator, about Nothing (California Shakespeare Film and television credits include The Zaman) makes his Theater), and Tyra in I Call My Brothers Revenant and Hell on Wheels. Kadri has A.C.T. debut with A (Crowded Fire Theater), for which she received Betty Mitchell, Calgary Critics, Thousand Splendid won a Theatre Bay Area Award for and Dora Mavor Moore awards for his Suns. Credits include the New York Outstanding Female Actor in a Feature work. He is the artistic director of The Theatre Workshop national/international Role in a Play. She has received Shakespeare Company in Calgary and tour of Aftermath, four seasons with the numerous grants for her devised work, program director for Theatre Calgary’s Oregon Shakespeare Festival, and four including support from the National Shakespeare by the Bow. seasons with Lake Tahoe Shakespeare Endowment for the Arts for her solo Festival. He originated the role of Amir in show, Baba, which won a San Francisco JASON the world premiere of The Kite Runner at Bay Area Theatre Critics Circle Award KAPOOR* San Jose Repertory Theatre/Arizona for Best Original Script. She has (Abdul Sharif, Jalil, Theatre Company (San Francisco Bay collaborated with multi-instrumentalist Wakil) was born and Area Theatre Critics Circle Award Carla Kihlstedt and OBIE Award– raised in San Jose. He nomination for Best Principal Actor). winning director Rinde Eckert on was last seen at A.C.T. Other credits include Mary Zimmerman’s Necessary Monsters (Yerba Buena in The Hard Problem, The Arabian Nights at Berkeley Center for the Arts). Favorite credits and in Indian Ink prior Repertory Theatre, Lookingglass Theatre include Bill Irwin’s Scapin (A.C.T.), Intisar to that. He was most recently seen in The Company, and Arena Stage; Lidless and in George Packer’s Betrayed (Aurora Invisible Hand at Marin Theatre Company Inana at the Contemporary American Theatre Company), and Katy in Thomas and in California Shakespeare Theater’s Theater Festival; Pericles at the Guthrie Bradshaw’s The Bereaved (Crowded production of Life Is a Dream. Last spring, Theater and Folger Theatre; Twelfth Fire Theater). Ibrahim is a founding Kapoor reprised his role in the world Night and Romeo and Juliet at Seattle artistic director of Mugwumpin. She premiere of Ideation in the show’s Repertory Theatre; The Poetry of Pizza earned an MFA in Lecoq-based actor- off-Broadway run at 59E59 Theaters. His at Virginia Stage Company; The Persian created physical theater from Naropa other Bay Area credits include several Quarter at Merrimack Repertory Theatre; University and a BFA in acting from staged readings with previously Vestibular Sense at Mixed Blood Theatre; Boston University. mentioned companies as well as San The Invisible Hand at Marin Theatre Francisco Playhouse and Z Space. Kapoor Company; Disgraced at the Cincinnati HAYSAM KADRI received his BA from San Jose State Playhouse in the Park; and productions (Rasheed, Talib) University and his MA from the London with the Colorado Shakespeare Festival, makes his A.C.T. and Academy of Music & Dramatic Art. Seattle Shakespeare Company, and American theater Idaho Repertory Theatre. Film and debut with A POMME KOCH* television credits include Anniversary, Thousand Splendid (Tariq) makes his The Jew of Malta, Law & Order: Criminal Suns. A native of A.C.T. mainstage Intent, and Smash. He earned his MFA Calgary, Kadri has debut after taking from the University of Washington’s worked at many regional theaters across classes with the Professional Actor Training Program. Canada. Selected credits include The Young Conservatory Crucible, A Christmas Carol, Enron, and as a child. New York DENMO To Kill a Mockingbird (Theatre Calgary); credits include a IBRAHIM* Sherlock Holmes and the Case of the workshop of a new musical at The Public (Fariba, Nana, Jersey Lily, The Hound of the Theater, Who’s Your Baghdaddy? Or How Doctor) returns Baskervilles, Twelve Angry Men, Dr. I Started the Iraq War (New York Times to A.C.T. with A Jekyll and Mr. Hyde, and Black Coffee Critics’ Pick), and a rare revival of Jean Thousand Splendid (Vertigo Theatre); Richard III, Macbeth, Anouilh’s Becket, or The Honor of God. Suns. Recent credits Othello, William Shakespeare’s Land of Select regional credits include The include Noor in the the Dead, and The Winter’s Tale (The Invisible Hand at Marin Theatre Company,

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 415.749.2228 21 B:8.625” T:8.375” S:7.375”

The Admission at Theater J, Much Ado NEEL residencies at Center Theatre Group, the about Nothing at Shakespeare Theatre NORONHA† Smithsonian, New York Foundation for Company, A Composer Fit for a King: (Zalmai) returns to the Arts, and Comedy Central Stage. She Wagner & Ludwig II with Marin Alsop the Geary stage is the lead singer/lyricist for the “rock ’n’ and the Baltimore Symphony Orchestra, with A Thousand roll” spoken-word duo Slanty Eyed Mama. Henry V at Folger Theatre, Bengal Tiger Splendid Suns. He She has written and produced three at the Baghdad Zoo at San Francisco made his Geary television shows and many plays. She Playhouse and Round House Theatre, debut as part of trained at The Juilliard School. Bloody Bloody Andrew Jackson at the Indian Ink cast at age eight, and he Studio Theatre, and the National was part of Ah, Wilderness! the NIKITA TEWANI* Playwrights Conference at the Eugene following year. Noronha was introduced (Aziza) is a New O’Neill Theater Center. Television to theater at a summer class at A.C.T., York City–based credits include Blue Bloods and House where he discovered the world of actress and a of Cards. Koch graduated from the playwriting and acting, and has since graduate of NYU University of Michigan. continued to study the facets of acting Tisch School of the with the A.C.T. Young Conservatory. He Arts, where she NADINE is an avid soccer fan, loves reading received her BFA MALOUF* mythical fiction and autobiographies, in drama. She makes her A.C.T. debut (Laila) played the and has a budding interest in geography with A Thousand Splendid Suns, one of title role in the and chess. He is a fifth-grade student at her all-time favorite books. Her recent world premiere of McKinley Elementary School and lives in New York theater credits include The Salomé, written and San Francisco with his parents and little Fall (Nasrin), which premiered off directed by Yaël brother, Dhruv. Broadway at the SoHo Playhouse, Farber, at and A Muslim in the Midst (Priya), Shakespeare Theatre Company in KATE RIGG* which was a finalist at the Thespis Washington, DC (winner of seven Helen (Mariam) is an actor, Theater Festival. Tewani has also earned Hayes Awards in 2016). Off Broadway, comedian, writer, credits in TV shows such as The Affair B:11.125” T:10.875” Malouf most recently appeared in the and spoken-word (Showtime) and Falling Water (USA S:9.875” world premiere of Ultimate Beauty artist. Off Broadway, Network), national commercials, Bible (Page 73), This Is How It Ends she appeared in independent films, and global print ads. (59E59 Theaters), The School for Cygnus (Women’s She is a proud member of Actors’ Equity Scandal (Red Bull Theater), The Who & Project Theater); Association and SAG/AFTRA. The What (LCT3 at Lincoln Center The Jammer and 3 Kinds of Exile Theater), and Exile (Cherry Lane (Atlantic Theater Company); BFE RINABETH Theatre). Malouf was also a part of the (Playwrights Horizons); Dogeaters (The APOSTOL* Les Misérables 25th-anniversary Public Theater); The Vagina Monologues (Ensemble) returns national tour. Other theater credits (Westside Theatre); The Most Fabulous to A.C.T. after The include Scorched (Syracuse Stage) and Story Ever Told (New York Theatre Hard Problem and Macbeth (Royal Academy of Dramatic Workshop); and Happy Lucky Golden Monstress. Recent We care for the city you fell Art). Malouf has developed new work Tofu Panda Dragon Good Time Fun Fun projects include with Sundance Institute’s Theatre Lab, Show (La MaMa Experimental Theatre Dogeaters (Magic The Public Theater, Lincoln Center Club). Regional credits include work at Theatre), Untitled Cambodia Pop Play in love with. Theater, New York Theatre Workshop, Woolly Mammoth Theatre Company, (The Ground Floor at Berkeley and most recently with Simon PlayMakers Repertory Company, Actors Repertory Theatre), and The Four McBurney. On television, Malouf can be Theatre of Louisville, the Mark Taper Immigrants: An American Musical Manga We treat more cardiac patients than any other seen in The Mysteries of Laura and Odd Forum, and New WORLD Theater. Her (TheatreWorks New Works Festival). Mom Out. In film Malouf recently played television credits include The Path, Law She originated principal roles in the hospital in San Francisco. When you call this city the lead role in the short film & Order: Special Victims Unit, Law & world premieres of The Kite Runner Resolutions, and other films include May Order, Law & Order: Criminal Intent, (San Jose Repertory Theatre, Arizona home, you call CPMC your hospital. in the Summer, Shame, and Static Shock Family Guy, One Night Stand Up, Dr. Phil, Theatre Company), The Cable Car Blackout. Malouf received her training Comedy Central, and Showtime’s Hot Nymphomaniac (FOGG Theatre at Syracuse University and the Royal Tamales. Her film credits include Race Is Company), Fire Work (TheatreFIRST), Academy of Dramatic Art, London. the Place, That’s What She Said, and The FIRST (Aluminous Collective), and Naughty Show. Rigg has had artist Imelda: A New Musical (East West

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States †Member of the A.C.T. Young Conservatory cpmc2020.org 22 ACT-SF.ORG

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Job info Approvals Fonts & Images Job 40817 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None Players). Select credits include roles in Company (Candida, Ghosts, Mrs. URSULA RANI SARMA Othello (Marin Theatre Company), Aliens Warren’s Profession, Transcendental (Playwright) is an award-winning with Extraordinary Skills (B Street Wild Oats, The Panel, and Widowers’ writer of Irish Indian descent. She has Theatre), Of Mice and Men (San Jose Houses). Other Bay Area theaters Lamb written plays for the Abbey Theatre, Repertory Theatre), Avenue Q (San Jose has worked with include Marin Theatre the Dublin National Theatre, A.C.T., Stage Company), and Red Company, New Conservatory Theatre Ambassador Theatre Group, the (TheatreWorks), and collaborations with Center, Geoffrey Chaucer & Company, Traverse Theatre, Paines Plough, and the Playwrights Foundation, Crowded Fire Pirandello Project, TheatreWorks, San BBC, amongst many other companies. Theater, NYU Skirball Center for the Jose Stage Company, and The San Recent productions include Joanne Performing Arts, and The Groundlings Francisco Mime Troupe. (Clean Break/Soho Theatre), Débris (Los Angeles), among others. She will (Théâtre La Licorne), The Ripple Effect next appear in peerless (Marin Theatre MELODY (Ambassador Theatre Group/London Company). Apostol is a company PERERA* Cultural Olympiad), Yerma (West member of PlayGround and Ferocious (Ensemble) makes Yorkshire Playhouse), Riot (A.C.T. Young Lotus and a member of SAG-AFTRA. her A.C.T. debut Conservatory/Theatre Royal Bath), The with A Thousand Dark Things (Traverse Theatre), and KAISO HILL* Splendid Suns. Her Birdsong (Abbey Theatre, Dublin). (Ensemble) was credits include work Sarma has been writer in residence born and raised in with Contra Costa for Paines Plough, the Eugene O’Neill Berkeley, and he fell Civic Theatre (the Extraordinary Girl in Theater Center, and the Royal National in love with acting American Idiot), the San Francisco Theatre, among other companies. She while part of the Fringe Festival (Susie Geiger in It Came is currently developing plays for the A.C.T. Young from Fukushima), Kaiser Permanente’s Abbey Theatre, Dublin; the Traverse Conservatory. Educational Theatre Program (Trina in Theatre; and Djinn Theatre Company. For He last worked with A.C.T. as part Peace Signs; Dani in The Best Me), and screen, her work includes Raw, Red Rock, of Indian Ink on the Geary stage and PCPA Theaterfest (Alcyone, Hunger, and Anywhere But Here, and Judge Dee. She On the T-Train with A.C.T.’s Stage Coach. Therapist in Metamorphoses; Troll and is currently adapting the book Henry’s Most recently, he played Cassio in understudy for Amy in Little Women; Demons for BBC 1 and writing an original California Shakespeare Theater’s understudy for Wendy in Peter Pan; drama entitled Guardian for Channel 4. touring production of Othello. He also Kitty and understudy for Lydia Bennett understudied for Bradley in Death in Pride and Prejudice). Perera studied at KHALED HOSSEINI (Author) was of the Author at Geffen Playhouse in Pacific Conservatory Theatre and Diablo born in Kabul, Afghanistan, in 1965. In Los Angeles. Valley College. 1976, his family relocated to Paris. They were ready to return to Kabul in 1980, TERRY LAMB* SHRE TOMAR† but by then the Soviet invasion was (Ensemble) has (Understudy) makes underway, so the Hosseini family moved performed recently his A.C.T. debut with to San Jose, California. Hosseini went on at Golden Thread A Thousand to become a doctor, practicing medicine Productions in its Splendid Suns. He as an internist between 1996 and 2004. productions of many has studied acting He is the author of three award-winning stories of the Middle with the A.C.T. and internationally best-selling novels: East (The Most Young Conservatory The Kite Runner (2003), A Thousand Dangerous Highway in the World, Urge and many other teachers, including Splendid Suns (2007), and And the for Going, Language Rooms, Deep Cut, Tanya Chisholm, Oscar Curioso, Adrian Mountains Echoed (2013). In 2006, and Night Over Erzinga). He has also R’Mante, Geno Segers, Tyler Steelman, Hosseini was named a Goodwill Envoy appeared in Frank & Frederick’s and Matt Timmons. In addition to acting, to the United Nations Refugee Agency. Abracadabra and Assorted Domestic Tomar enjoys hip-hop dance, basketball, After a trip to Afghanistan in this Emergencies, and has credits at Magic flute, and making movies. He is an position, he was inspired to establish Theatre (Fred’s Diner), Central Works orange belt in martial arts and was on The Khaled Hosseini Foundation, a Theater Company (Penelope’s Odyssey the principal’s honor roll in the 2015–16 nonprofit that provides humanitarian and Bird in the Hand), Shotgun Players school year. assistance to the people of Afghanistan. (Bulrusher), TheatreFIRST (Nathan the Wise, A Map of the World, and The Colour of Justice), and Aurora Theatre

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States †Member of the A.C.T. Young Conservatory 24 ACT-SF.ORG In a complex market, there is no substitute 3001 PACIFIC AVE | $22,000,000 for experience.

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SFA047 – SF Act v3.indd 1 12/27/2016 10:59:38 AM EAP full-page template.indd 1 12/27/16 11:42 AM DAVID COULTER (Composer) Canadian playwright). They have done is an English-born multidisciplinary more than 100 productions together. artist, musician, composer, director, Some of those productions written by and educator based in the Bay Area. Panych and designed by MacDonald Since the 1980s, he has directed include Vigil (also seen at A.C.T., starring shows, produced records, and played Olympia Dukakis), The Shoplifters his musical saw and other assorted (Arena Stage/Theatre Calgary), The weird and less-weird instruments in Dishwashers, Girl in the Goldfish Bowl, studios, theaters, and stages and on Sextet, Lawrence & Holloman, and recordings around the world with the Earshot (Tarragon Theatre). MacDonald likes of The Pogues, Tom Waits and has designed seven versions of Panych’s Robert Wilson, Kronos Quartet, Laurie Vigil from Vancouver to Toronto, Anderson, Yoko Ono, Hal Willner, and Victoria, Ottawa, San Francisco, and Gorillaz. Coulter curates and directs Los Angeles (the Mark Taper Forum). numerous multi-artist events. Credits His opera credits include Susannah include Monkey: Journey to the West and The Threepenny Opera (Vancouver (Gorillaz and Chen Shi-Zheng), Double Opera Association), as well as Verdi’s Fantasy Live, Rain Dogs Revisited, Macbeth and Rossini’s The Barber Discreet + Oblique: The Music of Brian of Seville (Pacific Opera Victoria Eno, Twisted Christmas, In Dreams: and Opéra de Québec). Immediately David Lynch Revisited, Improbable’s The following this production at A.C.T., Eldership Project, and An Anatomy Act. MacDonald returns to the Shaw Festival He is currently touring as co-creator to design The Madness of George III. of Lullaby Movement, an international song cycle. His most recent project, LINDA CHO (Costume Designer) Jim Jarmusch Revisited, premiered at has many Broadway credits, including Philharmonie de Paris in December the upcoming musical Anastasia, A 2016. He was associate musical Gentleman’s Guide to Love and Murder director and multi-instrumentalist on (Tony Award for Best Costume Design The Black Rider: The Casting of the in a Musical, Outer Critics Circle Magic Bullets at A.C.T in 2004. He Award nomination), and The Velocity is a visiting lecturer at Goldsmiths, of Autumn. Off Broadway, she has University of London. He has played designed The Merchant of Venice the didgeridoo at the invitation of for Theatre for a New Audience and Her Majesty Queen Elizabeth II on other shows at Manhattan Theatre a number of official occasions. Club, Second Stage Theatre, The Public Theater, Classic Stage KEN MACDONALD (Scenic Company, Drama Department, The Designer) has most recently designed Acting Company, and Atlantic Theater Our Town, Engaged, Sweet Charity, Company. Regionally, her designs and Arms and the Man for the Shaw have been seen at LA Opera, La Jolla Festival in Niagara-on-the-Lake. Other Playhouse, Arena Stage, The Old selected credits for the Shaw Festival Globe, the Guthrie Theater, Goodman Four floors (14 seasons) include A Little Night Music, Theatre, Chicago Shakespeare Theater, of fabulous fabrics Design for Living, My Fair Lady, The Shakespeare Theatre Company, Admirable Crichton, Hotel Peccadillo, the Oregon Shakespeare Festival, since 1952. and The Coronation Voyage. His design the Williamstown Theatre Festival, for The Overcoat (Vancouver Playhouse Goodspeed Musicals, Opera Theatre Theatre Company/Canadian Stage) won of Saint Louis, and an upcoming him an award for design for both the production of the Ring Cycle at Seattle film and the stage version. The show Opera. Internationally, Cho has designed toured for many years from London to costumes at the Royal Shakespeare Melbourne to Norway to A.C.T. He works Company in England and the Stratford most often in tandem with his partner Festival in Canada. She received her of 36 years, Morris Panych (two-time MFA from Yale School of Drama. Governor General’s Award–winning

26 ACT-SF.ORG PRESENTS THEATER TOURS FOR 2017 IMMERSE YOURSELF IN THEATER AT THE PACIFIC PLAYWRIGHTS FESTIVAL COSTA MESA’S PACIFIC PLAYWRIGHTS FESTIVAL APRIL 21–24

EXPERIENCE THE EXCITEMENT OF HAMILTON ON BROADWAY THE BRIGHT LIGHTS OF BROADWAY IN NEW YORK CITY JULY 11–17

EXPLORE ASHLAND AND THE OREGON SHAKESPEARE FESTIVAL THE CHARMING OREGON SHAKESPEARE FESTIVAL JULY 19–24

RELISH THE LEGACY OF EUROPEAN DRAMA IN DUBLIN AND LONDON NEW COMBO TOUR THE BEST OF BRITISH AND IRISH THEATER OCTOBER 3–12

ALL THEATER TOURS ARE LED BY A.C.T. ARTISTIC STAFF AND INCLUDE:

• Tickets to world-class productions • Lunches and cocktail hours • Luxury accommodations • Complimentary breakfast each morning in our hotel • Discussions with guest artists led by A.C.T. staff • Sightseeing excursions and/or walking tours • Welcome and farewell dinners • Travel companions who love theater

For more information, visit act-sf.org/theatertours or contact Helen Rigby at 415.439.2469 or [email protected]. ROBERT WIERZEL (Lighting STEPHEN BUESCHER (Movement Designer) has designed several Director) designed movement for productions at A.C.T., including The Monstress, The Orphan of Zhao, Let Realistic Joneses; Ah, Wilderness!; There Be Love, Stuck Elevator, and TOP Indian Ink; Napoli!; Armistead Maupin’s Underneath the Lintel at A.C.T.; A Tales of the City; The Tosca Project; Midsummer Night’s Dream and Private BILLING ’Tis Pity She’s a Whore; Rock ’n’ Roll; Lives at Long Wharf Theatre; and A AT THE MORTIMER Travesties; and Happy End. Wierzel Christmas Carol at Trinity Repertory has designed productions with Company. Buescher is the head of Come before or after your opera companies in New York, Paris, movement in the A.C.T. Master of Fine A.C.T. show and enjoy Tokyo, Norway, Toronto, Boston, Arts Program. For the M.F.A. Program, hand crafted cocktails and Seattle, San Diego, Houston, Dallas, he has directed The Taming of the delicious bites! Virginia, Florida, Atlanta, Chicago, Shrew, Romeo and Juliet, Black Orpheus: and Washington, DC, as well as 27 Una Historia de Amor, and The House seasons with The Glimmerglass Festival. of Bernarda Alba (which traveled Show your Broadway productions include Lady to the Moscow Art Theatre). He has Show ticket and receive a Day at Emerson’s Bar & Grill, starring taught physical theater at Yale School complimentary Audra McDonald; the musical Fela! of Drama, Brown University/Trinity (Tony Award nomination); and David Repertory Company, and New York CHEF’S Copperfield’s Broadway debut, Dreams University. He has performed nationally APPETIZER and Nightmares. Other New York City and internationally with Dell’Arte credits include productions at the New International School of Physical Theatre, with the purchase York Shakespeare Festival/The Public and locally with A.C.T., Shotgun Players, of one beverage. Theater, Signature Theatre Company, Scott Wells & Dancers, and Deborah Roundabout Theatre Company, Slater Dance Theater. Buescher is a Playwrights Horizons, Lincoln Center graduate of Dell’Arte International Theater, and Brooklyn Academy of and California Institute of the Arts. Music. Wierzel’s extensive dance work includes 31 years with the Bill T. Jones/ HUMAIRA GHILZAI (Cultural Arnie Zane Dance Company. In addition, Consultant) brings cultural literacy to Wierzel has designed at many major film and theater productions to create at Hotel Adagio regional theater companies across the an authentic portrayal of Afghan people, 550 Geary Street, SF 94102 country. Upcoming projects include their customs, and their language for 415-775-5000 Dinner at Eight (Minnesota Opera) and an enriched audience experience. Her hoteladagiosf.com The Summer King (Pittsburgh Opera). stage credits include The Kite Runner; Blood and Gifts; Love in Afghanistan; ONE BLOCK FROM THE GEARY THEATER JAKE RODRIGUEZ (Sound The Prepared Table: A Feast of Foods, Designer) is a sound designer and Live Performance, and Stories from Iraq, composer based out of the San Afghanistan and the F.O.B.; Slow Falling Francisco Bay Area and works at regional Bird; Zealot; Boy Play; and Heartland. theaters around the United States. Film credits include A Merry Friggin’ Recent credits include The Christians at Christmas and Whiskey Tango Foxtrot. Playwrights Horizons and the Mark Taper Forum; Monstress at A.C.T.; Girlfriend MICHAEL PALLER (Dramaturg) at the Kirk Douglas Theatre; Mr. Burns, joined A.C.T. as resident dramaturg and a post-electric play at A.C.T. and the director of humanities in August 2005, Guthrie Theater; Thieves at the El Portal and since then he has dramaturged Theatre; X’s and O’s (A Football Love more than 50 productions and Story) at Berkeley Repertory Theatre and workshops. He began his professional Center Stage in Baltimore; Superheroes career as literary manager at Center at the Cutting Ball Theater; The Christians Repertory Theatre (Cleveland), then and brownsville song (b-side for tray) worked as a play reader and script at Actors Theatre of Louisville; and consultant for Manhattan Theatre Emotional Creature at Signature Theatre Club, and has since been a dramaturg Company. Rodriguez is the recipient for George Street Playhouse, the of a 2004 Princess Grace Award. Berkshire Theatre Festival, Barrington

28 ACT-SF.ORG Stage Company, Long Wharf Theatre, KIMBERLY MOHNE HILL and, most recently, Arcadia at SCU. Roundabout Theatre Company, and (Assistant Director) received her Hill’s recent dialect-coaching credits others. He dramaturged the Russian MFA in acting from A.C.T. Currently include Outside Mullingar, Triangle, premiere of Tennessee Williams’s Small an associate professor of acting at and Sweeney Todd for TheatreWorks; Craft Warnings at the Sovremennik Santa Clara University, Hill continues to The House That Will Not Stand at Theater in Moscow. Paller is the author direct and coach dialects throughout Berkeley Repertory Theatre; and The of Gentlemen Callers: Tennessee the Bay Area. Recent directing credits Elephant Man at City Lights, among Williams, Homosexuality, and Mid- include When the Rain Stops Falling others. Additionally, she has published Twentieth Century Drama (Palgrave and The Other Place at Dragon three books for young actors on the Macmillan), Williams in an Hour (Smith Productions Theatre Company, Venus subject of dialects: Monologues in & Kraus), and A Five-Act Play: Fifty in Fur at San Jose Stage Company, In Dialect for Young Actors, Vol. I & II and Years of A.C.T. (Chronicle Books). He the Next Room (or the vibrator play) Scenes in Dialect for Young Actors. has also written theater and book at City Lights Theater Company, reviews for the Washington Post, Village Voice, Newsday, and Mirabella magazine. He recently adapted the music dance theater 2016/17 text for the San Francisco Symphony’s SEASON multimedia presentation of Peer Gynt. Cal Perform ances UNIVERSITY OF CALIFORNIA, BERKELEY Before his arrival at A.C.T., he taught at Columbia University and the State University of New York at Purchase. Kidd Pivot and Electric Company Theatre JANET FOSTER, CSA (Casting Betroffenheit Director) joined A.C.T. as the casting A collaboration between two of director in the 2011-12 season. On Canada’s most renowned and Broadway she cast The Light in the imaginative companies, choreographer Crystal Pite’s Kidd Pivot and playwright/ Piazza (Artios Award nomination), performer Jonathon Young’s Electric Lennon, Ma Rainey’s Black Bottom, and Company Theatre, Betroffenheit is a gripping and emotionally visceral Taking Sides (co-cast). Off-Broadway exploration of psychological trauma. credits include Lucy, Brundibar, True Love, Endpapers, The Dying Gaul, The “Rare and staggering” —The Globe and Mail, Toronto Maiden’s Prayer, The Trojan Women: A Love Story, Floyd Collins, The March 10–11 Monogamist, A Cheever Evening, Later ZELLERBACH HALL Life, and many more at Playwrights Horizons. Regionally, she has worked at Intiman Theatre, Seattle Repertory Theatre, California Shakespeare Theater, William Shakespeare’s Berkeley Repertory Theatre, Dallas Twelfth Night Theater Center, Yale Repertory Theatre, Created by Filter Theatre in Association with the Royal Shakespeare Company Goodman Theatre, Steppenwolf Theatre Sean Holmes, director Company, The Old Globe, Center Stage in Baltimore, Westport Country Britain’s acclaimed Filter Theatre, “a company blessed with wit, Playhouse, and the American Repertory style, and a touch of magic” Theater. Film, television, and radio (The Daily Telegraph, London) presents Shakespeare’s credits include Cosby (CBS), Tracey masterwork of romance, Takes On New York (HBO), Lewis Black’s satire, and mistaken identity. The Deal, Advice from a Caterpillar, The “Puts the fun back into Twelfth Day That Lehman Died (BBC World Night and allows us to become participants in a feast of misrule” Service and Blackhawk Productions; —The Guardian Peabody, SONY, and Wincott awards), and “T” Is for Tom (Tom Stoppard March 22–26 radio plays, WNYC and WQXR). ZELLERBACH PLAYHOUSE

calperformances.org

415.749.2228 29 ELISA GUTHERTZ* (Stage Ensler’s The Good Body, among others. LESLIE M. RADIN* (Assistant Stage Manager) most recently worked on She has also stage-managed The Manager) returns to A.C.T. after working King Charles III and Chester Bailey at Mystery of Irma Vep; Suddenly, Last on A Christmas Carol for the last four A.C.T. Her numerous other productions Summer; Rhinoceros; Big Love; Civil seasons and Napoli! in the 2013–14 for A.C.T. include The Realistic Joneses, Sex; Collected Stories; and Cloud season. She has worked at Aurora Monstress, Love and Information, Tectonics at Berkeley Repertory Theatre Company, Berkeley Repertory Testament, Major Barbara, Underneath Theatre. Other productions include Theatre, California Shakespeare Theater, the Lintel, Arcadia, The Normal Heart, The Good Body at the Booth Theatre Center REPertory Company, and Santa The Scottsboro Boys, Endgame and on Broadway, Big Love at Brooklyn Cruz Shakespeare. She has traveled Play, Scorched, Clybourne Park, The Academy of Music, and The Vagina with Berkeley Rep productions to the Caucasian Chalk Circle, November, Monologues at the Alcazar Theatre. Hong Kong Arts Festival and The New Boleros for the Disenchanted, The Victory Theater in New York. Radin is Rainmaker, A Number, and Eve also the production coordinator for the Aurora Theatre Company. Her favorite past productions include Aubergine, Wittenberg, In the Next Room (or the vibrator play), Passing Strange, and The Lieutenant of Inishmore.

SARAH AND TONY EARLEY (Executive Producers) were executive producers for A.C.T.’s The Last Five Years, Major Barbara, and Mr. Burns, a post-electric play. Sarah is the founder and chair of the Belle Isle Conservancy. Belle Isle is the nation’s largest island park and sits on 982 acres in the Detroit River. She also serves on the boards of the City Parks Alliance and the San Francisco Botanical Garden. Sarah has a keen interest in education and has served on the board of Saint Mary’s College, Notre Dame, as well as the board of the University of Detroit Jesuit High School. She is a partner in Cornerstone Schools, an inner-city school network in Detroit that excels in providing quality education for grades K–8. Sarah has a BA from Saint Mary’s College, an MBA from San Diego State University, and an associate’s degree in landscape design from Oakland Community College. Tony has been CEO of PG&E since 2011. Prior to that, he was CEO of DTE Energy in Michigan. He is on the boards of the Exploratorium and United Way Bay Area. He has also been an active advocate of educational issues as a board member ISCHIKO of Cornerstone Schools and the College 2130 FILLMORE STREET, CA 94115 of Engineering Advisory Council at the 415 563 1717 University of Notre Dame. Tony holds ISCHIKO.COM a BS in physics, an MS in engineering,

ALSO AVAILABLE IN: and a JD, all from Notre Dame. OSKA, MILL VALLEY/HEALDSBURG

30 ACT-SF.ORG THE EDGERTON FOUNDATION about supporting A.C.T. as an executive NEW PLAYS PROGRAM producer as well as in the long term (Executive Producer) is directed by through legacy giving. She often joins Brad and Louise Edgerton. It was the staff in the V.I.P. Lounge, chatting piloted in 2006 with Center Theatre with donors about the Prospero Society Group in Los Angeles when it offered and her love of theater. She is also an two musicals in development an ardent patron of the San Francisco extended rehearsal period for the entire Symphony and San Francisco Opera. creative team, including the playwrights. She is a member of the advisory board The Edgertons launched the program for Women Philanthropists for the nationally in 2007, and to date, it has University of Kansas and the University supported 297 plays at more than 50 of Kansas Endowment Association, different art theaters across the country. and a volunteer at Lima Center (a The Edgerton Foundation received daytime shelter for the homeless) the 2011 Theatre Communications and the SF-Marin Food Bank. Group National Funder Award. JERI LYNN AND JEFFREY W. CELESTE AND KEVIN FORD JOHNSON (Executive Producers) (Executive Producers) moved to have been supporters of the arts in the the Bay Area in 1978 and purchased Bay Area for many years and executive A.C.T. season tickets to support two producers of several A.C.T. productions. classmates from the University of Notre Jeri has been an A.C.T. season ticket Dame who were enrolled in the A.C.T. holder since 1974 and credits a M.F.A. Program. The Fords have not performance of Cyrano she saw at missed a production at A.C.T. since. A.C.T. as a tourist and the City’s other Celeste is the CEO and founder of Stellar arts venues as her prime motivation Solutions, an aerospace engineering for relocating to San Francisco in her services business, and Kevin is the twenties. She was very involved in CFO. Stellar Solutions just celebrated education in Marin County, volunteering its 21st anniversary and has received in the schools, serving on the school numerous accolades, including the board, and finally working as the chief prestigious Fortune magazine Great business official for the Reed Union Proud to Place to Work Award. The company’s School District (Tiburon/Belvedere/ engineers work on a variety of satellite Corte Madera), retiring in 2003. Jeri projects, including the science mission has been a member of the Board of Support to Mars, commercial communication Trustees of A.C.T. and has served as satellites, and defense and intelligence a chair of its Education & Community A.C.T. satellites. Celeste and Kevin have three Programs Committee since 2010. For grown children who join them at A.C.T. over 30 years, Jeffrey practiced law productions whenever they are available. (specializing in real estate) in San Celeste, who was an engineer by day Francisco and thereafter has been and actress by night in college, currently involved in real estate development Personal attention and investment. They have four adult serves on the A.C.T. Board of Trustees. thoughtful litigation children and two grandchildren. final resolution JO S. HURLEY (Executive

Producer) is a member of the A.C.T. JOHN LITTLE AND HEATHER Our goal is to preserve our LAW FAMILY Board of Trustees. She has been a STALLINGS LITTLE (Executive client’s dignity and humanity. subscriber since 1970 and a donor Producers) recently produced The since 1975. Also at A.C.T., Hurley is Last Five Years, Indian Ink, Venus in the chair of the Prospero Society; a Fur, and Endgame and Play at A.C.T. FA M I LYLAW G R OUP, P. C . member of the Board of Trustees’ Heather is a CPA-turned-writer who Education & Community Programs worked in investment banking and as 575 Market Street, Suite 4000 Committee, Development Committee, the chief financial officer of a company San Francisco, CA 94105 and the Committee on Trustees and that manages the affairs of professional 415.834.1120 Governance; and a trustee host to an athletes. A frequent adventure traveler, www.sflg.com M.F.A. Program actor. She is passionate she writes travel stories as well as

415.749.2228 31 fiction. She is the author of Click City AARON VERMUT AND ADRIANA (the novel and fiction serial seen in LOPEZ VERMUT (Executive the San Francisco Chronicle) and the Producers) most recently supported The novel False Alarm. Her short fiction Hard Problem, The Unfortunates, Satchmo has appeared in ZYZZYVA. Heather at the Waldorf, Love and Information, and joined the A.C.T. Board of Trustees The Orphan of Zhao at A.C.T. Adriana has in 2011. John previously served on served as an A.C.T. trustee since 2013 the Asian Art Museum Board of and is the co-chair of the Education & Trustees. He is an entrepreneur and Community Programs Committee. She inventor and enjoys adventure travel, is the owner and president of Pica Pica skiing, tennis, and photography. Arepa Kitchen, a Venezuelan restaurant in the Mission District. She previously BURT AND DEEDEE MCMURTRY worked in marketing for a remittances (Executive Producers) have startup and later as a research analyst produced numerous A.C.T. shows, for RedShift Ventures, a Virginia-based including Satchmo at the Waldorf, venture capital firm. She is a graduate A Little Night Music, 1776, Arcadia, of the University of Pennsylvania. Aaron INTENSIVE ACTOR Maple and Vine, Armistead Maupin’s is the current CEO and former president TRAINING FOR AGES 19+ Tales of the City, Vigil, Rock ’n’ Roll, of Prosper Marketplace. Previously, he and Happy End. Deedee is a member of was a founder and managing partner for the A.C.T. Emeritus Advisory Board and Merlin Securities and principal at New former co-chair of the Producers Circle. Enterprise Associates. He has an MBA Take your skills to the next level She is on the Art Review Committee from the University of Pennsylvania with 2- and 5-week programs! for Lucile Packard Children’s Hospital, Wharton School. He serves on the Now in its 48th year, the STC as well as the Arts Advisory Board and boards of the Exploratorium and Big attracts a distinguished and the Director’s Advisory Board for the Brothers Big Sisters of the Bay Area. diverse group of students from Iris & B. Gerald Cantor Center for Visual around the world. Arts, both at Stanford University. She JACK AND SUSY WADSWORTH Celebrated alumni include is also on the Advisory Committee (Executive Producers) live in San Teri Hatcher, Camryn Manheim, for Eastside College Preparatory Francisco. Jack is an advisory director and Omar Metwally. School. An electrical engineer by at Morgan Stanley, honorary chairman training and a retired venture capitalist, of Morgan Stanley Asia, and sits on Burt is a past chair of the Stanford numerous boards. He started Morgan 5-WEEK INTENSIVE University Board of Trustees and a Stanley’s technology investment banking June 12–July 14 former trustee of Rice University and practice and venture capital business, the Carnegie Institution for Science. leading the Apple IPO. He later became 2-WEEK chairman of Morgan Stanley Asia. Jack SHAKESPEARE INTENSIVE KATHLEEN SCUTCHFIELD recently developed Ceyuan Ventures. July 17–28 (Executive Producer) attended Sarah Susy sits on the board of Massachusetts Lawrence College and Yale University Museum of Contemporary Art and on and earned her degree in fine arts. the International Committee of The She cofounded Until There’s a Cure in Renaissance Society at the University 1993 and served as president for its of Chicago. In Hong Kong, she worked first five years; she currently holds the at International Institute of Education, position of secretary/treasurer of the Summerbridge, and the Asian Cultural board. She is a trustee emeritus of San Council. In Brooklyn, she was a high Francisco Ballet and was a national school teacher, volunteered in the committee member of the Whitney mayor’s office, and worked at the Museum of American Art. She has also League of Women Voters, in addition served on the planning commission of to raising three children. Jack and Susy her hometown, Woodside. Scutchfield lead the W. L. S. Spencer Foundation, LEARN MORE AT was a commissioning sponsor of which focuses on public school and ACT-SF.ORG/STC Armistead Maupin’s Tales of the City museum education programs that and The Tosca Project at A.C.T. encourage crosscultural understanding. They have eight grandchildren.

32 ACT-SF.ORG THEATRE CALGARY is one of Canada’s largest and longest- running professional theatre companies. Performing in a magnificent 750-seat theatre in downtown Calgary, the company is one of the country’s leading presenters of national, international, contemporary, and classic works. Recently, with a renewed commitment to the development of new work through FUSE: The Enbridge New Play Development Program, the company has become a vital force in launching original, large-scale works into the modern repertoire. Theatre Calgary is also host to one of the city’s most anticipated holiday events. At 30 years, A Christmas Carol is the longest-running holiday theatre production in Canada. Theatre Calgary also presents Shakespeare by the Bow, a unique program providing professional training and mentorship to recent post-secondary graduates, showcasing their talents in an outdoor, summer Shakespeare production.

THEATRE CALGARY STAFF Shari Wattling, Interim Artistic Director

Colleen A. Smith, Executive Director

Lesley MacMillan, Producer

Kristen Dion, Director of Finance & Administration

Christopher Loach, Director of Communications

Lisa Mackay, Director of Marketing & Audience Development

Trish Matheson, Director of Development

Susan McNair Reid, Company Manager

Amelia Marie Newbert, Production & Operations Manager

Adam Schrader, Technical Director

Chris Stockton, Senior Manager of Learning Your mom could use our TLC. & Engagement Our jewel of an assisted living and memory care

ADDITIONAL CREDITS community offers your parents larger apartments, Andrew Griffin, Assistant expert staff, fantastic food, programs, and events in Lighting Designer a family-like environment where all are welcome. For

SPECIAL THANKS your personal visit, call Candiece at 415.345.5072 Leo Abrahams, Shawn Biggs, Ralph or email [email protected]. Carney, Simon Fisher Turner, Jean-Jacques Palix, Seb Rochford, Jake Rodriguez 2180 Post Street, San Francisco, CA 94115 rgplaza.org Founded by Jewish Family and Children’s Services and Mount Zion Health Fund RCFE# 385600125

415.749.2228 33

CLIENT RGP PUB Encore REF NO RGP745-01bg - Lillian TLC AD TYPE 2/3 page vertical, 4C SPECS 4.75” x 9.875” ISSUE February MAT’LS DUE 12.15.16 VERSION 3 AGENCY RESIN CONTACT Tim Paschke – 415 987 4274 PHOTO YAMADA BY JAY PHOTO BY KEVIN BERNE

FEB 7–11 THE A.C.T. YOUNG CONSERVATORY PRESENTS THE LIFE TO COME by Timothy Mason Directed by Domenique Lozano

As World War I engulfs Europe, eight young students’ lives—their aspirations, ambitions, first loves, first betrayals—begin to reflect the war’s darker drama.The Life to Come is a co-commission with A.C.T. and His Majesty’s Theatre, Aberdeen, Scotland.

The Rueff at A.C.T.’s Strand Theater

APR 18–22 Develop innovative strategies for your classroom. A COPRODUCTION WITH THE A.C.T. YOUNG CONSERVATORY Embrace your inner artist. Experience the thrill of AND MASTER OF FINE ARTS PROGRAM performance. Earn academic credit. Come to Back to the Source, A.C.T.’s immersive professional development TOMORROW program for teachers and teaching artists. Two One-Act Plays Taught by A.C.T. professional artists and leading arts by Horton Foote educators, this comprehensive course integrates voice, Directed by Craig Slaight movement, text, and performance to generate creative The A.C.T. Young Conservatory collaborates with the approaches applicable to all subject areas. Master of Fine Arts Program to bring us two short plays by Academy Award–winning writer Horton Foote: Scholarship Application Deadline: March 27 The Actor recalls Foote’s own struggles to start a theater Final Application Deadline: April 3 career, while Blind Date is a comic delight about adults overcomplicating young people’s lives. The Rueff at A.C.T.’s Strand Theater ENROLL NOW!

TO ORDER TICKETS, CALL 415.749.2228 ACT-SF.ORG/BACKTOTHESOURCE OR VISIT ACT-SF.ORG/CSVSHOWS. JULY 30–AUGUST 5 INSIDE A.C.T.

MAKING HISTORY HOW MICHAEL PALLER TOLD THE STORY OF A.C.T.’S FIRST 50 YEARS

BY SIMON HODGSON GANSLEN STUDIOS BY PHOTO

When A.C.T. started planning its 50th-anniversary season, the company’s management team, led by Artistic Director Carey Perloff, commissioned a book to celebrate A.C.T.’s half century. FROM TOP There was only one choice as author: A.C.T. Resident Dramaturg A.C.T. founder William Ball (far right) in the early days of the company; A.C.T.’s production of The Taming of Michael Paller. “I think of myself as a synthesizer,” he says. “I like the Shrew (1976). pulling information from various disciplines and making a whole. It’s really gratifying to see how one thing illuminates another.” director, and ending in the Loma Prieta Earthquake of 1989.” The result is A Five-Act Play: 50 Years of A.C.T., which will be Since then, he says, there’s been a sense of rebirth—with the published by Chronicle Books on April 27. renovation of The Geary Theater in the 1990s and the creation of the three-year Master of Fine Arts Program—and regeneration, For the last two-and-a-half years, Paller’s office has been a most recently with the opening of The Strand Theater in 2015. bibliophile’s haven, packed to the rafters with old playbills, shelves of red-leather binders, filing cabinets crammed with The most fun Paller had was finding forgotten facets of the photographs, and piles of printer’s galleys. To research the company’s early days, such as a class designed specifically for company’s history, the dramaturg has spent months unearthing A.C.T. company members called Rapid Rate of Utterance. “Ball forgotten documents: theatrical reviews from old Bay Area liked his Shakespeare plays to move along briskly,” says Paller. newspapers, sepia-tinted financial records, dramaturgical packs “The class was taught by actor Ken Ruta, who was so adept that from touring shows, a 1979 chronicle of A.C.T.’s tour of the Soviet it became known as the Ruta Rate of Utterance.” Watch the Union. He has mined the basement archives beneath The Geary DVD of The Taming of the Shrew (the production was taped in and interviewed more than 50 former members of the A.C.T. 1976 for PBS’s Theater of America), and you can see the results staff and acting company. of Ruta’s training. “Even today it’s still exhilarating,” says Paller. “By the time the production reached television, the company had Organized approximately by decade, A Five-Act Play is a done it at The Geary for a couple of years. The actors were so historical retrospective. “The first period, from 1967 to 1979, was well trained, physically and vocally, that they could do anything.” an era of triumph, culminating in the Regional Theater Tony Award in 1979.” By contrast, says Paller, “The ’80s were largely To reserve your copy of A Five-Act Play: 50 Years of A.C.T., a disaster, with financial troubles, William Ball leaving as artistic visit act-sf.org/fiveactplay.

415.749.2228 35 INSIDE A.C.T. PHOTO BY MONICA SILVA MONICA BY PHOTO

reawakens, she finds that her new friend has disappeared, and everyone else denies ever having seen the older woman. Is ODD TIMES there some kind of conspiracy? Or has Iris gone mad? THE A.C.T. MASTER OF FINE ARTS Through twists and turns of train tracks and plot, The Lady Vanishes—performed by A.C.T. Master of Fine Arts Program PROGRAM PRESENTS THE LADY VANISHES actors and adapted by Morris Panych and Brenda Robins from BY SHANNON STOCKWELL Ethel Lina White’s 1936 novel The Wheel Spins—is sure to keep you on the edge of your seat. British socialite Iris Carr is traveling by train across Europe in 1936, where war is brewing and strangers are eyeing Audiences may be more familiar with Alfred Hitchcock’s 1938 each other with distrust. Iris wakes up in a train car after film adaptation ofThe Wheel Spins, also called The Lady fainting (heatstroke, she claims, although it might very well Vanishes (Robins and Panych decided they liked Hitchcock’s be a hangover); she wants nothing more than to be left title better than White’s). Robins, who loves old movies, was alone, but she is stuck with Mrs. Froy, a governess and a hell initially inspired by the setting. “When I watched Hitchcock’s of a chatterbox. Iris eventually dozes off again. When she film, I thought, ‘Oh, it would be fantastic to see a train

36 ACT-SF.ORG LEFT Left to right: Basil Radford, Margaret Lockwood, and Linden Travers in Alfred Hitchcock’s 1938 filmThe Lady Vanishes.

FOR STUDENT ACTORS, THE LADY VANISHES IS A DELIGHTFULLY CHALLENGING PIECE OF THEATER.

As far as protagonists go, Iris Carr is a fascinating one. Although she ultimately saves the day, she’s very flawed and complex—a sort of antihero. “She’s spoiled and she doesn’t onstage,’” says Robins, an Ontario-based theater artist. “I felt care for others’ company,” laughs Robins. “And that’s evident that it would be compelling to translate to the theater all of the in the book as well. But we kept away from rounding out her atmospheric elements that Hitchcock’s films are so famous for.” rough edges. I appreciate her armor.” Robins hunted down the source material, found White’s novel, and started the process of adaptation. For student actors, The Lady Vanishes is a delightfully challenging piece of theater. “Choreographically, it’s very After she took a first pass at the script, she partnered with her ambitious,” says Panych, commenting on the fact that the longtime friend Morris Panych, a prolific theater artist based setting moves from train compartment to train compartment in Canada who has written more than 30 plays and directed through carefully coordinated set transitions. The opportunity 90 across Canada. He is the recipient of more than 50 awards for genre acting is also going to enable the student actors to for his work. He last collaborated with A.C.T. in 2009 when practice their acting chops. “Because it’s a thriller,” Panych he directed his play Vigil. And before that, he staged his and says, “the actors have to play their cards close to their chests. Wendy Gorling’s 2005 adaptation of The Overcoat, based on They have to be very subtle and contained in their performances.” the nineteenth-century short story by Nikolai Gogol. With The Lady Vanishes, A.C.T. audiences will be treated to a Together, Morris and Robins worked from her initial adaptation deliciously fun Hitchcockian thriller with striking relevance to to make The Wheel Spins work for the stage. “Morris and I the world today. After all, as the characters say throughout have been friends for 40 years,” says Robins. “He’s a wonderful The Lady Vanishes, “These are odd times.” Odd times, indeed. writer. It’s a great opportunity to work with someone who shares the same aesthetic.”

“We’re looking for something off-base and weird,” Panych says of that aesthetic, especially for The Lady Vanishes. “We want there to be the sense that something else is going on, THE LADY VANISHES that things are not right.” The setting and the time period of the story adds to that feeling of unease. “We’ve all been on ADAPTED BY MORRIS PANYCH AND BRENDA ROBINS trains, or at least we know what trains look like from film and BASED ON THE NOVEL television, so it feels like a comfortable place for the audience, THE WHEEL SPINS, BY ETHEL LINA WHITE a place that they recognize,” Robins explains. “And then that’s DIRECTED BY MORRIS PANYCH shattered when officials barge into the compartments asking for passports.” FEBRUARY 22–25 THE RUEFF AT A.C.T.’S STRAND THEATER “The Lady Vanishes takes place on the cusp of World War 1127 MARKET STREET, SAN FRANCISCO II,” adds Panych. “At that time, there was a lot going on in

Europe that wasn’t being paid attention to. Today, we know the TO ORDER TICKETS, VISIT catastrophe that awaits.” Robins says, “All of these people on ACT-SF.ORG/CSVSHOWS OR CALL 415.749.2228. the train are getting glimpses that something’s up, and Iris Carr finds herself smack in the middle of it all.”

415.749.2228 37 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 December 1, 2015, to December 1, 2016, 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

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

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 December 1, 2015, to December 1, 2016, 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 Jennifer S. Lindsay PLAYWRIGHTS Mr. and Mrs. John P. Levin ($6,000–$11,999) Drs. Michael and Jane Marmor ($4,000–$5,999) Melanie and Peter Maier - Christine and Stan Mattison Paul Angelo Anonymous John Brockway Huntington Mr. and Mrs. Robert McGrath Valerie Barth and Peter Booth Wiley Ray and Jackie Apple Foundation Milton Mosk and Thomas Foutch* Kathleen Bennett and Tom Malloy Mr. and Mrs. Gerson Bakar Mr. Daniel Murphy The New Ark Fund Kenneth Berryman David V. Beery and Norman Abramson Barbara O’Connor James C. Hormel and Michael P. Nguyen Dr. Barbara L. Bessey Roger and Helen Bohl LeRoy Ortopan Terry and Jan Opdendyk Linda Joanne Brown Ms. Donna Bohling and Denise Orwin Norman and Janet Pease Gayle and Steve Brugler Mr. Douglas Kalish Peter Pastreich and Jamie Whittington Elsa and Neil Pering Drs. Devron Char and Christopher and Debora Booth* Mr. and Mrs. William Pitcher Ms. Carey Perloff and Mr. Anthony Giles Valerie Charlton-Char Ben and Noel Bouck Joseph E. Ratner Marjorie Perloff Mr. and Mrs. David Crane Mr. Benjamin Bratt and Talisa Soto Jeff and Karen Richardson* Ms. Saga Perry and Mr. Frederick Perry James and Julia Davidson Leslie and Buzz Burlock Gary and Joyce Rifkind Jon and Barbara Phillips Richard Davis-Lowell and Bill Lowell Madeline and Myrkle Deaton Gary Rubenstein and Nancy Matthews Merrill Randol Sherwin Joan Dea Richard DeNatale and Craig Latker Lori Schryer John Riccitiello Carol Dollinger Anne and Gerald Down Thomas Schumacher David and Carla Riemer Mr. Joseph W. Donner, III Emerald Gate Charitable Trust Dr. F. Stanley Seifried Rick and Anne Riley Barb and Gary Erickson Philip and Judy Erdberg The Somekh Family Foundation Dr. James Robinson and Mr. Rodney Ferguson and Jacqueline and Christian Erdman* Mr. Richard Spaete Ms. Kathy Kohrman Ms. Kathleen Egan Nancy and Jerry Falk Patrick S. Thompson Matt and Yvonne Rogers Vicki and David Fleishhacker Sue and Ed Fish* Pasha and Laney Thornton Susan Roos Myrna and Tom Frankel Dr. and Mrs. Fred N. Fritsch* The Tournesol Project Paul and Julie Seipp Mr. and Mrs. Thomas A. Gallagher Mrs. Susan Fuller Joy and Ellis Wallenberg, Rick and Cindy Simons Dr. and Mrs. Richard E. Geist Sameer Gandhi and Monica Lopez Milton Meyer Foundation Mr. Laurence L. Spitters Arnie and Shelly Glassberg Marilee K. Gardner Barbara and Chris Westover Emmett and Marion Stanton Dr. Allan P. Gold and Mr. Alan C. Ferrara Jason Goldman Mr. and Mrs. Bruce White Vera and Harold Stein Marcia and John Goldman Barbara Grasseschi and Tony Crabb Dr. and Mrs. Andrew Wiesenthal Dr. Martin and Elizabeth Terplan* Marcia and Geoffrey Green Mark and Renee Greenstein* Mr. and Mrs. Roger Wu John and Sandra Thompson Betty Hoener Mr. and Mrs. Henry Paul Hensley* The Arthur and Charlotte Katherine Welch Alan and Cricket Jones Bannus & Cecily Hudson Zitrin Foundation Minott and Ashley Wessinger Mr. Joel Krauska and Ms. Patricia Fox Becky and Lorin Kaplan & Family Beverly and Loring Wyllie Linda Kurtz* Joseph D. Keegan, Ph.D. Jennifer Langan Amanda and John Kirkwood Marcia and Jim Levy Paola and Richard Kulp

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

415.749.2228 39 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 December 1, 2015, to December 1, 2016, 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 Ms. Pamela Barnes Adlinna Liang Sally Woolsey ($1,200–$1,999) Robert H. Beadle* Ms. Elise S. Liddle Marilyn and Irvin Yalom Anonymous (2) Michele Bear Ms. Carol H. Lokke Elysa Yanowitz* Kat and Dave Anderson* Mr. Daniel R. Bedford Mr. and Mrs. William Manheim Jacqueline Young Ms. Kay Auciello* Mr. Ari Benbasat Mr. and Mrs. Kenneth Marks Mr. and Mrs. Philip Zimbardo Mr. David N. Barnard Mr. and Mrs. Paul Berg Dennis and Karen May Dorothy and Ervin Behrin Richard and Katherine Berman* Robert McCleskey CONTRIBUTOR LEVEL Mr. Thomas Benet Stuart and Helen Bessler Karin and Gregory McClune* NEXT STAGE CREW Lauren Berman Mr. John Blankenship and Mr. and Mrs. Jason McDonell ($500–$749) Mr. Nicholas Brathwaite Ms. Linda Carter Mark and Gene McGranahan Dr. Seth D. Ammerman* Stan and Stephanie Casper Mr. Noel Blos Karen and John McGuinn David and Michele Benjamin* Ms. Donna Crabb and Mr. Gustav Laub Jeff and Cecil Bodington Dr. Margaret R. McLean* Mr. Igor R. Blake* Gregory Davis Jaime Caban and Rob Mitchell Mr. and Mrs. Casey McManemin Mrs. Katie Budge* Ira and Jerry Dearing* Zoe Catalano Jeffrey and Elizabeth Minick Ms. Cecily Cassel* William Dewey Ms. Linda R. Clem Thomas and Lydia Moran Ms. Buffy Cereske* Ms. Kathleen Dumas Martha Conte John and Betsy Munz Craig E. Claussen* Mr. Timothy C. Duran Ms. Shirley Cookston Dorotea C. Nathan Mr. Edward Conger* Leif and Sharon Erickson Ms. Karen T. Crommie Adam Neeley Fine Art Jewelry SF LLC Lisa Conte* Ms. Susan Free Mr. Copley E. Crosby Nancy and Bill Newmeyer Kristen and Charles Correll* Kathleen and Paul Goldman James Cuthbertson Ms. Nancy F. Noe Mr. Gregory Curatolo* Ms. Margaret J. Grover Yogen and Peggy Dalal Alicia Nogales and Greg Little Alan Entine* Mr. David C. Hale Niccolo De Masi Ms. Joanna Officier and Mr. Ralph Tiegel Dr. Marcus Feldman and Kathy Hart* Ms. Roberta Denning Mr. Lester Olmstead-Rose* Mrs. S. Shirley Feldman* Mr. John F. Heil Richard and Sheryl Donaldson Pamela Orloff Andrew Ferguson and Kay Wu* Dr. and Mrs. Richard W. Horrigan Ms. Joanne Dunn Mr. James O’Toole Karen and Stuart Gansky* Edward L. Howes, MD Marilynne Elverson Barbara Paschke and Bill and Nancy Grove* Alex Ingersoll and Martin Tannenbaum Ms. Susan English and Michael Kalkstein David Volpendesta Ms. Marlyne L. Hadley* Louise Karr M. Daniel and Carla Flamm Mr. David J. Pasta Mr. Mark Hall* Jeffrey and Loretta Kaskey Darla and Patrick Flanagan Ms. Danielle Rebischung Adrienne Hirt and Jeffrey Rodman* George and Janet King Mrs. Dorothy A. Flanagan Maryalice Reinmuller Jeff and Sue Mulvihill* Tori and David Kistler Mr. Gregory Fung Sheryl and Jim Reuben Richard and Donna Perkins* Eileen Landauer and Mark Michael Mr. John Garfinkle Mr. Philip Rich Jillian C. Robinson* Thomas and Barbara Lasinski Frederick and Leslie Gaylord Marguerite Romanello Meline and Jirayr Roubinian* Harriet Lawrie Matthew G. Gloss Maureen and Paul Roskoph Mr. Robert Scheid and Mr. Todd Charles* Julia Lobel Marlys T. Green Ms. Mary Ellen Rossi Jill Stanfield* Ms. Evelyn Lockton Prerna Gupta Patti and Rusty Rueff Kay Sternberger* Mr. and Mrs. Robert W. Logan Kelly and Mike Halper Paul Sack The Toland-Yeh Family* Jeff and Susanne Lyons Julia Hardin Hansen Mrs. H. Harrison Sadler Mr. and Mrs. Ron Vitt* Mr. E. Craig Moody Mr. Thomas Harkins Sonja Schmid Ms. Rosemary Welde* Joseph C. Najpaver and Deana Logan Mr. Kim Harris and Bennet Marks Mr. Paul Schmidt Christy Wise and Bob Axelrod* Cindy Nicola* William Heavlin Dr. and Mrs. Stephen M. Schoen Ms. Nicole Zayac* Ms. Susan O’Brien Mr. and Mrs. R. S. Heinrichs Mr. James J. Scillian Mark Zielazinski* Robert and Marcia Popper The Brian and Patricia A. Herman Fund Mr. Jim Sciuto Sandi and Mark Randall at Community Foundation Santa Mr. Jon Shantz Barbara and Saul Rockman* Cruz County Ms. Patricia Sims Peter and Janice Scattini* Leni and Doug Herst Raven Sisco David Schnur Dr. James and Suzette Hessler Christina Sonas Jason Seifer and Brian Ayer Mr. and Mrs. Donald M. Hill Mr. Herbert Steierman Dr. Gary Stein and Jana Stein James and Helen Hobbs Jeffrey Stern, M.D. Ms. Jacqueline Stewart Leslie and George Hume Mr. and Mrs. Monroe Strickberger Ian E. Stockdale and Ruth Leibig* Richard and Cheryl Jacobs Mr. Jason Surles Dr. and Mrs. G. Cook Story Dr. and Mrs. John E. Jansheski Roselyne C. Swig Mr. Jay Streets Ms. Carolyn Jayne Marilyn E. Taghon Mrs. Helena Wasp Troy Allan and Rebecca Jergesen Joe Tally and Dan Strauss Larry Vales Mr. and Mrs. Norman L. Johnson Marvin Tanigawa Melissa and Jonathan Weinberg Mrs. Zeeva Kardos Maggie Thompson Mr. Dennis Kaump Ms. Mary Topliff SUSTAINERS Jascha Kaykas-Wolff Ms. Leslie Tyler ($750–$1,199) Ms. Josephine Kennedy Leon Van Steen Michael Kim Mr. and Mrs. Ronald G. VandenBerghe Anonymous (5) Mr. and Mrs. Kevin Klotter Marsha Veit Susan Adamson and George Westfall Michael Kossman Mr. Douglass J. Warner Ms. Patricia Wilde Anderson Ms. Hamila Kownacki Mr. William R. Weir Mr. Paul Anderson Hal and Leslie Kruth Mr. Richard West Dr. and Mrs. Douglas Anderson Mrs. Judith T. Leahy Mr. Robert Weston Dick Barker Mrs. Gary Letson Tim M. Whalen Mr. William Barnard Barry and Ellen Levine Mr. David S. Winkler

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

**Deceased Providing a Legacy for A.C.T.

GIFTS DESIGNATED TO Mr. and Mrs. Russell Fudge Burt and Deedee McMurtry GIFTS RECEIVED BY AMERICAN CONSERVATORY Marilee K. Gardner Dr. Mary S. and F. Eugene Metz AMERICAN CONSERVATORY THEATER Michele Garside J. Sanford Miller and THEATER Anonymous (8) Dr. Allan P. Gold and Vinie Zhang Miller The Estate of Barbara Beard Anthony J. Alfidi Mr. Alan C. Ferrara Milton Mosk and Tom Foutch The Estate of John Bissinger Judith and David Anderson Arnold and Nina Goldschlager Bill** and Pennie Needham The Estate of Ronald Casassa Kay Auciello Carol Goodman and Anthony Gane Walter A. Nelson-Rees and The Estate of Rosemary Cozzo Ms. Nancy Axelrod JeNeal Granieri and James Coran The Estate of Nancy Croley M. L. Baird, in memory of Alfred F. McDonnell Michael Peter Nguyen The Estate of Leonie Darwin Travis and Marion Baird William Gregory Dante Noto The Estate of Mary Jane Detwiler Therese L. Baker-Degler James Haire and Timothy Cole Sheldeen Osborne The Estate of Olga Diora Ms. Teveia Rose Barnes and Richard and Lois Halliday Elsa and Neil Pering The Estate of Mortimer Fleishhacker Mr. Alan Sankin Terilyn Hanko Marcia and Robert Popper The Estate of Mary Gamburg Eugene Barcone Mr. Richard H. Harding Kellie Yvonne Raines The Estate of Phillip E. Goddard Robert H. Beadle Kent Harvey Anne and Bertram Raphael The Estate of Mrs. Lester G. Hamilton Susan B. Beer Betty Hoener 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 Ms. 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. Elliot 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 41 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 during the December 1, 2015, to December 1, 2016, period.

Beverly and Loring Wyllie in Honor of Janet Cluff Ms. Jamie Ney in Memory of Ann Adams Lucie and Jerry Weissman in Honor of Prisca Geeslin Michael Kim in Memory of Youngmee Baik Robert and Riki Intner in Honor of Ruth Keith Romana D. Bracco in Memory of John Bracco Helen Hilton Raiser in Honor of Nancy Livingston and Fred Levin Mr. David J. Pasta in Memory of Gloria Guth Lisa Fung in Honor of Anna Neumann-Loreck Susan Stevenson in Memory of Meribeth Meacham Anonymous in Honor of Abby Pañares Gregory Davis in Memory of Orlando, Florida Priscilla and Keith Geeslin in Honor of Luz Perez and Amber Jo Manuel Ms. Carey Perloff and Mr. Anthony Giles in Memory of Liz Perle Michele Bear in Honor of Craig Slaight Richard and Victoria Larson in Memory of Dennis Powers Lisa Conte in Honor of Craig Slaight Anonymous in Memory of Eva Ramos Mr. and Mrs. Casey McManemin in Honor of Maria Spears Joshua and Diane Brett in Memory of Evelyn Ramos Ms. Libby Tracy in Honor of Maria and Jeff Spears Martin and Geri Brownstein in Memory of Eva Ramos Dick Hunter and Katherine Trontell in Honor of Kathy Trontell Mr. and Mrs. Richard Fowler in Memory of Eva Ramos Ms. Eve Niquette in Honor of Kay Yun Richard Grosboll in Memory of Eva Ramos Ms. Peggy Kivel in Memory of Eva Ramos Cherie Sorokin in Memory of Eva Ramos Daniel Weinstein in Memory of Eva Ramos Ms. Elizabeth Greenberg in Memory of Eva Ramos and Virginia Ingham Ms. Joy Eaton in Memory of Todd Wees

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 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 Grants for the Arts/San The Edgerton Foundation The Kimball Foundation Laird Norton Family Edna M. Reichmuth Francisco Hotel Tax Fund 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 The Virginia B. Toulmin Foundation Foundation The Valentine Foundation Wallis Foundation The Zellerbach Family Foundation 42 ACT-SF.ORG Theatre Forward Current Funders List as of October 2016

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* Dorsey & Whitney Foundation Bruce R. and Tracey Ewing*▴ †Includes in-kind support ▴ Bank of America* Bloomberg Epiq Systems* Jessica Farr* ▴Educating through Theatre Support James S. & Lynne Turley*▴ Cisco Systems, Inc.* Karen A. & Kevin W. Kennedy Mason & Kim Granger*▴ The Schloss Family The Estée Lauder Foundation Brian J. Harkins*▴ Theatre Forward supporters are former Foundation▴ Companies Inc. Lisa Orberg▴ Gregory S. Hurst*▴ supporters of National Corporate Theatre Fund and Impact Creativity. ▴ Howard and Janet Kagan▴ Wells Fargo* EY* Presidio* For a complete list of funders, visit Alan & Jennifer Freedman*▴ Thomas C. Quick* Joseph F. Kirk*▴ theatreforward.org. BENEFACTORS Frank & Bonnie Orlowski*▴ RBC Wealth Management▴ John R. Mathena*▴ ($25,000-$49,999) Marsh & McLennan Daniel A. Simkowitz*▴ Jonathan Maurer and Buford Alexander and Companies, Inc. S&P Global Gretchen Shugart*▴ Pamela Farr*▴ National Endowment for TD Charitable Foundation▴ Dina Merrill & Ted Hartley* BNY Mellon the Arts▴ Isabelle Winkles*▴ Newmark Holdings* Steven & Joy Bunson*▴ Pfizer, Inc. Sills Cummis & Gross P.C.* Citi Southwest Airlines▴† SUPPORTERS John Thomopoulos*▴ DeWitt Stern* Theatermania/Gretchen ($2,500‑$9,999) Evelyn Mack Truitt* Goldman, Sachs & Co. Shugart*▴ Mitchell J. Auslander*▴ Leslie C. & Regina Quick MetLife George S. Smith, Jr.*▴ Sue Ann Collins Charitable Trust Morgan Stanley UBS Disney/ABC Television Group* Willkie Farr & Gallagher LLP* Paula A. Dominick*▴ Dorfman and Kaish Family Foundation, Inc.▴ 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 Anthropologie Moleskine Blackbird Vineyards Piedmont Piano Company Chateau St. Jean Premium Port Wines, Inc. Chris and Holly Hollenbeck Recchiuti Confections Clift Hotel Vera Bradley 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 State Farm Companies Visa International Community Partnership The Gap Lockheed Martin Corporation Foundation John Wiley and Sons, Inc.

415.749.2228 43 A.C.T. STAFF

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

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

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

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

PETER PASTREICH (Executive six years as managing director of the Mississippi River Director) 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 45 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 the Grants for the Arts/San Francisco Performances begin promptly, and late ticket exchange privileges. Packages are Hotel Tax Fund. 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.

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