The mystery of Irma Vep

CHARLES LUDLAM JONATHAN MOSCONE

AUG 12–SEP 6 BRUNS AMPHITHEATER, ORINDA 510.548.9666 www.calshakes.org Untitled-25 1 City National Personal Banking ©2015 City National Bank “ CityN my financiallifeintune.” passion and is instrumental in helpingmebringclassical passion andisinstrumental “adventures” ofclassicalmusic.CityNational shares my life oncoursesoIcanfocuscreating andsharingthe people whoIcancountontohelpkeepmyfinancial a different pieceofmusic,adifferent ensemble.Ineed So muchofmylifeisalwaysshifting;adifferent city, music toaudiencesallover theworld.Theyenjoy being a part ofwhatIdoandlove.a part Thatistheessenceofa successful relationship. City National is with apersonalbanker. com/Tuned2SF orcall(866)618-5244tospeak financial lifeintune,visit FindYourWayUp. To learnmore abouthow we canhelpkeepyour Findyour wayup. Conductor, Educator andComposer TilsonMichael Thomas ational helps keep ational helpskeep The way up The way ® for me. CNB MEMBER FDIC SM 7/6/15 4:15 PM Dear Friends,

Of all the deadlines I have missed in getting this letter to our intrepid marketing team, over the many years of writing to you, this is the latest I’ve ever been.

There is a reason: It is unbearable for me to leave this community of audiences. I am spending time with board, staff, and artists to work through my feelings of loss and letting go, but since I don’t see everyone in the audience on a frequent and consistent basis, I am quite thrown off my game in writing something akin to a goodbye letter.

I can’t say goodbye. This theater is in my blood. I will always care for it, and for the culture that we all have created; one that brings so many different people together to experience theater made by so many different people. Putting Shakespeare and the classics in the hands of people who differ in aesthetics and aspirations, and in front of people as diverse, and as committed to this work, is the key to Cal Shakes’ success.

We don’t believe in one way of making theater, or one way of experiencing it. The fantastic joy of living in the Bay Area is that we walk the walk of the best parts of our country’s essential democratic foundation. Everyone has a say in what Shakespeare and the classics can be; more so, what theater can be. And even more, what culture can be.

And that, beyond all else, is my legacy—if I can be so bold to claim one. It’s the torch I pass on to the next Artistic Director. She, or he, will come in and know that we have a culture of deep humanity, where individual voice is championed over prescribed thinking. Shakespeare, the classics, and all theater (I contend) will live, thrive, and grow if we keep it in the hands of the people.

At Cal Shakes, the artists and audiences have always been equal. Our many subscribers have a special place in my heart, because you make our work happen—beyond any one show, beyond the superficial “thumbs up/ thumbs down,” becoming a subscriber means more than liking us. It means you believe in our mission and you are essential to the culture that has been created; the culture we call California Shakespeare Theater.

This isn’t a pitch for more subscribers, because I love the new people who come to see our shows as well. They keep us on our toes and remind us how many more people we can, and need, to reach in order to spread this culture of progressiveness, rigor, diversity, and delight that makes theater worth making, and life worth living.

I am not going to say goodbye, but I will say thank you—from the depth of my heart.

Jonathan 2pub-BBB_CALSHAKES_070315.pdf 1 6/29/15 8:12 PM

August 2015 Volume 24, No. 3

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4 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG STARTS AUG 28 PHOTO BY CHESHIRE ISAACS

A NEW MUSICAL

Amélie, A New Musical

book by Craig Lucas music by Daniel Messé lyrics by Nathan Tysen and Daniel Messé musical direction by Kimberly Grigsby

musical staging and choreographed by Sam Pinkleton SPONSOR directed by Pam MacKinnon Mechanics Bank Wealth Management

DISCOVER THE Frances McDormand in Macbeth, Mary Zimmerman’s Treasure Island, the Pulitzer Prize–winning Disgraced, a fantastical 2 15–16 Pirates of Penzance, and more—your adventure awaits! SEASON TICKET PACKAGES ON SALE NOW Frances McDormand

SEASON SPONSORS Call 510 647-2949 Click berkeleyrep.org

Untitled-8 1 7/27/15 9:13 AM A 56-Year HONOR LoveAffair THE PAST, ENSURE THE FUTURE

WITH CAL SHAKES LEGACY CIRCLE.

MOSCONE PERMANENT ENDOWMENT LEAD DONORS

Ellen & Joffa Dale Legacy Circle Donor Profile: Barclay & Sharon Simpson Call 510.548.9666 or visit www.calshakes.org/tickets

Mary Jo & Bruce Byson LEGACY CIRCLE CHARTER MEMBERS By Philippa Kelly, Resident Dramaturg Mary Jo & Bruce Byson Mary Jo and Bruce Byson believe themselves to be very ordinary people, and their Phil & Chris Chernin concern in approaching this interview was that there might be nothing to say about Debbie Chinn them! High school English teachers from 1958 until 1989, they inherited some stock Ellen & Joffa Dale in the late 1990s that inspired them to give $70,000 each to three performance Peter Fisher organizations, one of which was Cal Shakes at the start of Jonathan Moscone’s tenure. Douglas Hill Xanthe & Jim Hopp Their donation allowed Cal Shakes to reach a major milestone in contributed funding David Ray Johnson that year. The Bysons also have Cal Shakes in a trust, and the company will receive a Mark Jordan percentage of their remaining assets after both of them pass away. Debby & Bruce Lieberman Tina Morgado About their initial gift, I asked, “Did you ever think twice about giving so much away Richard Norris at a relatively early part of your lives?” Bruce replied, “Yes, we did think twice, but we Shelly Osborne knew what our priorities were.” He followed with a part of Shakespeare’s Sonnet 60, James & Nita Roethe Laura & Robert Sehr which he recites every night before sleep: Barclay & Sharon Simpson Like as the waves make towards the pebbl’d shore, Jean Simpson Valerie Sopher So do our minutes hasten to their end; Kate Stechschulte & David Cost, in memory of Each changing place with that which goes before, Margaret Cost In sequent toil all forwards do contend… M.J. Stephens & Bernard Tagholm Janis Turner “No one knows how long he or she will live,” Mary Jo added. “We’re all a part of the Carol Jackson Upshaw rhythm of the universe, the water, the sand, and the pebbled shore. It was a gift in Arthur Weil Jay Yamada itself to take what had come to us and pass it on to the theater where we’ve most Monique Young joyfully celebrated our 56-year love affair.” For more useful glossary terms visit www.calshakes.org/blog

On the following pages Cal Shakes actors, board members, and INTERESTED IN JOINING other colleagues pay tribute to Jonathan Moscone with their THE CIRCLE? CONTACT [email protected] reflections on the effect he’s had on their lives and Cal Shakes. FOR MORE INFORMATION. 6 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG COMING NEXT SAVE THE DATES!

Meet the artists, save money on tickets, and sample local food and drink during the runs of The Mystery Directed by Amanda Dehnert of Irma Vep and King Lear September 16–October 11 WITH Nationally-renowned director Amanda Dehnert, who thrilled Oregon Shakespeare Festival THE MYSTERY EVENTS KING LEAR CAL SHAKES audiences with radically inventive productions of My Fair Lady in 2013 and Into the Woods OF IRMA VEP LEGACY CIRCLE. King Lear last year, will close our season with the much-anticipated , in which an aging ruler Inside Scoop selfishly divides up his kingdom and, in the process, tears his family, and his country, apart. These special events provide an insider’s Joining the ranks of legendary Lears like Laurence Olivier, John Gielgud, Anthony Hopkins, view of an upcoming N/A 8/31 and Ian McKellen, will be the remarkable Obie Award-winning and Tony Award-nominated production, featuring The Elephant Man directors, cast, and Anthony Heald—fresh off his stint in on Broadway—in his Cal Shakes debut. artists up close.

Often called “the Everest” of tragedies because of the scale of emotions to which it soars and Lower-priced descends, King Lear speaks directly today to a society afraid of the complications, conflicts, previews Be part of the process 8/12, 9/16, and needs that come with aging, while reminding audiences of the resiliency of love. by seeing the show 8/13, 8/14 9/17, 9/18 before Opening, at a discounted price.

Call 510.548.9666 or visit www.calshakes.org/tickets Opening Night Mingle with cast, creative team, and 8/15 9/19 critics at a free post- show party.

Meet the Artists BAY RUM: an aromatic liquid used for the hair, or as an aftershave, typically distilled from rum Matinees 8/16, 9/20, Post-show chat with 8/30 10/4 and the leaves of the bayberry. cast & creative team. FLORIDA WATER: a 19th-century commercially-prepared toilet water that blended an array of flo- Open-Captioned ral essential oils in a water-alcohol base. It was widely used to scent bowls of water set out for Performances the spirits of the dead, and as a basis for making an ink-dyed water for fortune-telling bowls. Performances featuring open 8/19 9/23 NICODEMUS: “If I was cleaned up and had a new white collar and smelled of bay rum and captioning for Florida Water you’d think different.” patrons who are deaf or hard-of-hearing. PYRACANTHA is not a snake. It is a large thorny evergreen Eurasian shrub with white flowers and bright red or yellow berries that is a popular ornamental. Also called firethorn. Teen Nights A special pre-show 8/18 9/22 JANE: “He’s taking the path by the pyracanthas.” event for students ages 13–18. LYCANTHROPY: the supernatural transformation of a person into a wolf, as recounted in Complimentary folk tales. 9/22, Tuesday Tastings 8/18, LADY ENID: “Then I sat in that chair and began reading your treatise on Lycanthropy and the Enjoy pre-show 9/29, 8/25, 9/1 Dynasties of Egypt.” samples from local 10/6 purveyors. SYRINX: In Greek mythology, Syrinx was a nymph who was known for her chastity and was a InSight Matinee follower of Artemis, the goddess of virginity. Post-show talk with 8/23 9/27 ALCAZAR: “I believe I can take you to a Syrinx that has never been discovered by the miserable the dramaturg. little jackals who take it into their heads to scratch among the tombs.” Camper Night MABOUKA: Students from our Mabouka, also known as Macouka, is a traditional dance from the Ivory Coast, that prestigious Summer is sometimes carried out during religious ceremonies involving women vigorously shaking Conservatories are 8/21 9/25 invited to come their buttocks. together for pre- “Mabouka. Giza. Ankh! Ankh!” show activities and PEV AMRI: picnicking. For more useful glossary terms visit www.calshakes.org/blog

“Cal Shakes has come light years under Jon and it’s partly because of how he “Cal Shakes has come light years under Jon and it’s partly because of how he For complete descriptions of these and approachesapproaches Shakespeare. Shakespeare. He He genuinely genuinely wants wants to to findfind howhow these centuries-old other events, click calshakes.org/events. storiesstories reverberate reverberate today.” today.”—James —James Carpenter, Carpenter, Cal Cal Shakes Shakes Actor actor (1988-present) (1998-present) encoreartsprograms.com 7 “We know we’re in good hands with First Republic. Th ey take care of our personal accounts and those of the San Francisco Ballet with great service.”

HELGI TOMASSON MARLENE TOMASSON Artistic Director & Principal Choreographer Former Dancer, Wife and Mother San Francisco Ballet

(855) 886-4824 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender

Untitled-6 1 6/22/15 11:29 AM CALIFORNIA SHAKESPEARE THEATER JONATHAN MOSCONE Artistic Director SUSIE FALK MAnAging Director

PRESENTS The mystery of Irma Vep

CHARLES LUDLAM JONATHAN MOSCONE

AUGUST 12–SEPTEMBER 6, 2015 BRUNS MEMORIAL AMPHITHEATER, ORINDA

SCENIC DESIGNER DOUGLAS SCHMIDT COSTUME DESIGNER KATHERINE ROTH LIGHTING DESIGNER ALEX NICHOLS SOUND DESIGNER CLIFF CARUTHERS TEXT/DIALECT COACH DOMENIQUE LOZANO RESIDENT FIGHT DIRECTOR DAVE MAIER STAGE MANAGER LAXMI KUMARAN ASSISTANT DIRECTOR THOMAS CHAPMAN ASSISTANT LIGHTING DESIGNEr HAMILTON GUILLÉN RESIDENT DRAMATURG PHILIPPA KELLY

CAST (in order of appearance) JANE TWISDEN LIAM VINCENT NICODEMUS UNDERWOOD DANNY SCHEIE LADY ENID HILLCREST DANNY SCHEIE LORD EDGAR HILLCREST LIAM VINCENT ALCAZAR DANNY SCHEIE ENSEMBLE LIAM VINCENT AND DANNY SCHEIE

THERE WILL BE ONE 15-MINUTE INTERMISSION.

The Mystery of Irma Vep–A Penny Dreadful is presented by special arrangement with SAMUEL FRENCH, INC.

EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON SIMPSON, JAY YAMADA

PRODUCERS: NANCY & JERRY FALK, MEYER SOUND, SHELLY OSBORNE & STEVE TIRRELL, MICHELE & JOHN RUSKIN, JULIE SIMPSON

ASSOCIATE PRODUCERS: WAI & GLENDA CHANG, JOHN KEMP & MARY BRUTOCAO, WALTER MOOS & SUSAN MILLER, ALAN SCHNUR & JULIE LANDRES, DEBBIE SEDBERRY & JEFF KLINGMAN, CHARLES & HEIDI TRIAY

PRESENTING SEASON PARTNERS PARTNERS

SEASON PRODUCTION UNDERWRITERS PARTNERS

Support for open captioning provided by the Lafayette Community Foundation.

Cover image: Artwork based on Danny Scheie and Liam Vincent as various characters.

encoreartsprograms.com 9 U.S. Military Veterans Work Cal Shakes Student with Cal Shakes to Create an Discovery Matinees Original Performance By Krista DeNio, Artist Investigator, The Triangle Lab Introduce Local Students to the World of Shakespeare Artist-Investigator, performer, and choreographer Krista DeNio gives us a window into her By Clive Worsley, Artistic Learning Director project working with U.S. Military veterans at the Berkeley Food and Housing Project. This spring, over 1000 elementary, middle, and high Thanks to the generosity of our funders, including the National school students from Alameda and Contra Costa counties to Endowment for the Arts, we are able to provide tickets and Sacramento skipped school to learn about Shakespeare. Yes, transportation, free of charge, to the children who need this access Throughout the Land Home Hero project, which was created During the performance these veterans will lead everyone you read right. We’re talking about our Student Discovery the most. In addition to performance attendance, many schools to bring awareness, understanding, and an artistic outlet to together in a gestural ritual, where everyone will use their Matinees, where teachers take their students on a field trip to also participated in pre- and post-performance workshops and a veterans, we have been studying our hands. Myself, chaplain hands while naming ways we relate to, share with, and hold attend a Shakespeare play at the Bruns—like our first production Q&A with the actors after the show. What is the one question almost Marianna Sempari, and 12 male veterans, who have been up the community. Here, they will witness one another and of the season, Twelfth Night, and the upcoming King Lear. every student wants to know? How the actors manage to memorize homeless at various times in their lives, and are currently housed be witnessed; if we’re lucky we’ll also hear Robert play his all those lines! In-depth classroom residencies with Cal Shakes through Berkeley Food and saxophone, Mr. McGee read his The majority of these students were experiencing live Teaching Artists, who will discuss the play with students in advance, Housing Project, have been poetry, and Joaquin rap his own theater—and Shakespeare—for the very first time, with over 50 are also available upon request. having long discussions on lyrics. But most importantly, this percent coming from Title I schools that offer little-to-no arts the nature of service, realities group of veterans, who come education. Because so many of the students are unfamiliar Most of you reading this program can probably remember the of homelessness, moral injury, from all over the U.S., and have with Shakespeare’s language, Cal Shakes provides teachers first time you went to the theater, or the eye-opening production moving forward, carrying fought in wars spanning from with detailed teaching guides, before the performance, so that urged you to buy your tickets today and will keep you going forward… and with this idea of World War II to Afghanistan, that they can help their students get the most out of what to the theater for years to come. These students depend on you, carrying, the epiphany moment will be seen as the artists they they see on stage. The audience reactions make clear what and your donations to have that experience for themselves. Please arrived: Hands. are, the heroes they are, and the we here at Cal Shakes already know: There is a lasting and give to the Bucket Brigade after the show, and help fund Student humans they are. profound impact that access to art and arts education, at an Discovery Matinees. There are many important lessons taught in Our hands hold so many early age, has on our students. Ted Deasy, who played Feste, the classroom, but sometimes, just like you, these kids need to get things, literally, metaphorically, The Artist-Investigator Program the fool character (a crowd favorite) in Twelfth Night, noticed out and catch a show. “Cal Shakes’ student matinees are simply historically… As those who have investigates how artists can help the young theatergoers’ excitement from the stage: “It was wonderful,” says Peter Mates, a sixth grade teacher at Westlake served our country—carrying bridge differences, heal hearts, remarkable to look out and see these students attentive Middle School in Oakland. “Our 120 sixth graders—more than everything from machinery, to and connect communities. This and engaged,” he said, adding, “They were also very well- half of whom had never had the opportunity to attend live theater paperwork, to weapons, to fallen year, we are focusing on how prepared. It was a pleasure.” before—were clearly mesmerized by the performance.” comrades, to their own children— theater artists can partner with these men have profound social service organizations to Pictured: (Top) Cal Shakes Teaching Artist Jacinta Sutphin relationships with their hands. create art-making experiences leads students in pre-performance activities. with their clientele. If you are (Left) Margo Hall regales students during a Student Discovery Matinee of Twelfth Night. Photos by Jay Yamada. Questions we began to ask were: interested in learning more What do these hands carry? Pictured: Hands of chaplain Marianna Sempari and veterans: Alex “Shorty” about our program please Thorsen, Robert Johnson, and George C. Scott. Photo by Krista DeNio. What have they done? Where have contact Rebecca Novick at they been? Who have they served? [email protected]. If you are a teacher or a parent who would What do they want to carry forward? like to book a Student Discovery Matinee What do they want to release? for your class or your child’s class during The Triangle Lab—Cal Shakes’ community engagement our production of King Lear, please contact The answers to these questions led to the creation of an audience program—invites more people to engage with theater Marilyn Langbehn at 510.809.3290 or interactive performance ritual, which will take place this fall at in different ways. Our programs take performances to [email protected]. First Presbyterian Church in Berkeley. Have you ever seen six to unusual places, support deep artist/community collab- eight pairs of hands—ranging from 38 to 70 years old—moving orations, and celebrate the artist in everyone. Triangle together through a sequence of gestures? It’s beautiful to see Lab programming engaged approximately 4,000 these hands discover the power of their own poetic potential as people in 2014, more than half of whom had no prior “When Jon established the Artistic Learning program, I discovered a way to make a bigger they reach toward each other, touching the shoulder on their left, connection with Cal Shakes. difference in my students’ lives.” —Claire Stoermer, teacher at Fruitvale Elementary School, or landing inside of one another. mother of Disney star, Zendaya 10 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG Cal Shakes Student Discovery Matinees Introduce Local Students to the World of Shakespeare By Clive Worsley, Artistic Learning Director

This spring, over 1000 elementary, middle, and high Thanks to the generosity of our funders, including the National school students from Alameda and Contra Costa counties to Endowment for the Arts, we are able to provide tickets and Sacramento skipped school to learn about Shakespeare. Yes, transportation, free of charge, to the children who need this access you read right. We’re talking about our Student Discovery the most. In addition to performance attendance, many schools Matinees, where teachers take their students on a field trip to also participated in pre- and post-performance workshops and a attend a Shakespeare play at the Bruns—like our first production Q&A with the actors after the show. What is the one question almost of the season, Twelfth Night, and the upcoming King Lear. every student wants to know? How the actors manage to memorize all those lines! In-depth classroom residencies with Cal Shakes The majority of these students were experiencing live Teaching Artists, who will discuss the play with students in advance, theater—and Shakespeare—for the very first time, with over 50 are also available upon request. percent coming from Title I schools that offer little-to-no arts education. Because so many of the students are unfamiliar Most of you reading this program can probably remember the with Shakespeare’s language, Cal Shakes provides teachers first time you went to the theater, or the eye-opening production with detailed teaching guides, before the performance, so that urged you to buy your tickets today and will keep you going that they can help their students get the most out of what to the theater for years to come. These students depend on you, they see on stage. The audience reactions make clear what and your donations to have that experience for themselves. Please we here at Cal Shakes already know: There is a lasting and give to the Bucket Brigade after the show, and help fund Student profound impact that access to art and arts education, at an Discovery Matinees. There are many important lessons taught in early age, has on our students. Ted Deasy, who played Feste, the classroom, but sometimes, just like you, these kids need to get the fool character (a crowd favorite) in Twelfth Night, noticed out and catch a show. “Cal Shakes’ student matinees are simply the young theatergoers’ excitement from the stage: “It was wonderful,” says Peter Mates, a sixth grade teacher at Westlake remarkable to look out and see these students attentive Middle School in Oakland. “Our 120 sixth graders—more than and engaged,” he said, adding, “They were also very well- half of whom had never had the opportunity to attend live theater prepared. It was a pleasure.” before—were clearly mesmerized by the performance.”

Pictured: (Top) Cal Shakes Teaching Artist Jacinta Sutphin leads students in pre-performance activities. (Left) Margo Hall regales students during a Student Discovery Matinee of Twelfth Night. Photos by Jay Yamada.

If you are a teacher or a parent who would like to book a Student Discovery Matinee for your class or your child’s class during our production of King Lear, please contact Marilyn Langbehn at 510.809.3290 or [email protected].

“When Jon established the Artistic Learning program, I discovered a way to make a bigger difference in my students’ lives.” —Claire Stoermer, teacher at Fruitvale Elementary School, mother of Disney star, Zendaya “I Am Not What I Am”

Long before the modern struggle for LGBTQ civil rights, Dressing in drag turns theater offered an escape, a means of performing as the person many actors felt, deep down, that they were. Only gender roles upside in the 20th century did intellectuals start to think of gender down in the theater— itself as a taught performance. In the 1980s, Berkeley professor Judith Butler developed a theory of gender and beyond. performativity, theorizing that both sex and gender were an edifice, constructed by culture. Masculinity and femininity, By Keith Spencer and their associated behaviors and symbols, were not Most of us have, at some point inherent traits; rather, they in our lives, tried on clothes were inventions of culture, and of the opposite gender. For learned ones at that. Hence many of us it happens in a the strange uncomfortable childhood theater experience, feeling I experienced when dressing for a role. For others it trying on a dress at age five: I happens in normal childhood was performing outside of the play, as it did with me; one gender I’d been told I was. day, after kindergarten, when a girl and I swapped clothes This idea of life as a in the playroom for curiosity’s performance, akin to acting, sake. After observing myself is not new: As Jaques mused clad in an ill-fitting, flower- in As You Like It, “All the pattern dress, in her mother’s world’s a stage, and all the full-length mirror, I felt a men and women merely strange taboo sensation wash players. They have their exits over me, as if I had been and their entrances, and one caught with my hand in the man in his time plays many cookie jar. parts.” On the Elizabethan stage of Shakespeare’s era, For actors of any level, women were not allowed to be actors—meaning the first theater offers the opportunity to play as someone other than performances of Shakespeare’s plays in England featured ourselves: for a brief staged moment, we get to experience all-male casts. Imagine the multiple layers of meaning in, what it might feel like to be the Prince of Denmark, or a poor say, Twelfth Night, where a woman (Viola), played by a male flower girl, or, as in The Mystery of Irma Vep, several different characters ranging from a nobleman to an Egyptian princess. For many actors this is a lesson For many actors this is a lesson in empathy, in that we learn to relate with people radically different than ourselves by in empathy, in that we learn stepping into their skin. Yet sometimes, actors discover that to relate with people radically they’re more comfortable in who they become on stage, than different than ourselves by who they are off. stepping into their skin.

“Jon is all about action. Front-footed action. And that is something that leaves a footprint in a community—a tattoo on the rhythm of living.” —Catherine Castellanos, Cal Shakes actor (2001 —present) After observing myself clad to play eight characters, both male and female—went on to in an ill-fitting, flower-pattern become his best-known and most-produced. While previous plays of Ludlam’s were well-known within the gay theater dress,... I felt a strange taboo scene, Irma Vep was unequivocally a mainstream success. sensation wash over me. Though privately ambivalent, Ludlam himself seemed pleased at the success of Irma Vep, and the success of the Ridiculous actor, pretends to be a man, Cesario, in the context of the story. Theatrical Company. He once explained his theatrical style as One can see how a queer actor—struggling with conflicting such: identities that were not acceptable in Elizabethan society— might find respite in such a role. “I think the distinction between gay theater and what I do, which some people call ‘queer theater,’ is that gay theater is Recently, the headlines have been full of stories surrounding really a political movement to show that gay people can be the idea of gender as an artifice, not an inborn trait, with admirable, responsible members of the community... I don’t different sexualities being even more accepted in progressive do that.” communities like the Bay Area. This has led to major progress in civil rights, such as this summer’s Supreme Court ruling Reading between the lines, Ludlam’s point seems to be not legalizing gay marriage nationwide. However, before identities that he is apolitical, but that he depicts queer identities in like gay, transgender, gender fluid, and gender variance a way that normalizes them. Playing off queer themes were well on their way to becoming socially for laughs rather than politics attests to the way accepted, drag performance was used—and that queer art was on its way to becoming more still is—as a means of questioning gender and conventional, even in the 1980s. sexuality conventions, and satirizing the rigidity If then the theater doors were wedged open just of gender roles. Why is it exactly that we find far enough for Ludlam’s queer theater to become drag so funny? Perhaps it’s because the way mainstream, it is telling how much we’ve progressed we are taught to perform and adhere to since. Queer characters of all stripes grace gender roles is so uncompromising that it television and movie screens, so much so can be a relief to recognize it as a farce, a that seeing a gay or trans character on the constructed world at which we can play. screen no longer causes a to-do. Ludlam, Or maybe it’s because deep down we no doubt, would approve. know the whole premise of gender is absurd.

Charles Ludlam, playwright of The Mystery of Irma Vep and a gay man himself, certainly saw Keith Spencer is a the potential of theater to freelance writer enact alternative identities. and graduate Supposedly, one of his student, currently pursuing college professors told him a PhD in Literature at the he was “too effeminate” University of California, to make it as an actor. Santa Cruz. Formerly He did so anyway, and publications manager shortly after college began for Cal Shakes, he has a career as a playwright, written about gender, class, and sexuality for Jacobin, director, and actor, founding Dissent, and PopFront. He will the Ridiculous Theatrical be giving four pre-show Grove Company in the West Village. Talks in mid-August prior to The Ludlam’s 1984 play The Mystery of Irma Vep, where he Mystery of Irma Vep—which will talk more about gender requires two male actors performativity and comedy. The Ridiculously Fabulous Story of Charles Ludlam

By Resident Dramaturg Philippa Kelly “Most gay theater either apologizes or

pleads for mercy. What I do is not gay Photo of Charles Ludlam backstage at the Ridiculous Theatrical Company in theater—it’s something much worse. I don’t 1984 by Peter Hujar. © 1987 The Peter Hujar Archive LLC; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco ask to be tolerated. I don’t mind being days in the theater, Ludlam would attempt to play a part in the intolerable.” —Charles Ludlam, 1986 very worst way possible, or to write a play that was completely Charles Ludlam, playwright, director, and actor, was born in 1943 incomprehensible. in New York to a middle-class family. Twice a week his mother would take him to the movies, and he grew up in love with Theatre of the Ridiculous, as this style became known, was Charles Laughton and Marie Dressler (“role models”, he observed far from simply ridiculous, however. It sought to find new later, “in case I gain a lot of weight”). As a teenager in the 1950s relationships with classical theater and stagecraft. It had a special he was inspired by the unique experimental Living Theatre on connection to the Theatre of the Absurd that had emerged in the 14th Street in New York, which was the first theater to introduce 1950s post-war era. “We have passed beyond the absurd: our the work of Bertolt Brecht, Jean Cocteau, T.S. Eliot, and Gertrude position is absolutely preposterous,” said author Ronald Tavel Stein to the American Stage. During his life (sadly abbreviated by in 1965, the year that Ludlam joined John Vaccaro’s Play-House AIDS) Ludlam would write more than 29 plays and garner many of the Ridiculous. Theatre of the Absurd (which includes Pinter, awards and honors, some of them posthumously. Ionesco, and Beckett) abandoned conventional dramatic form to portray the futility of human struggle in a senseless world. Its Ludlam attended New York’s Hofstra University, where he earned bleak and “absurd” mirth highlighted life’s pointlessness and a degree in dramatic literature. He soon learned, however, to be pain. Theatre of the Ridiculous took an important step beyond this skeptical of the pairing of scholarship and creativity: “When I first kind of theater. It found new means—via wit, parody, vaudeville, started, I was corrupted by being overly educated. You learn too farce, melodrama, and satire—to create what Ludlam called a many things, then you get confused,” he said in an interview with “reckless immediacy,” making lightning-quick transformations Don Shewey in Shewey’s 1986 book, Caught in the Act: New York that blurred the boundaries between theatrical forms. Actors Face to Face. Ludlam particularly disliked Method acting, which aspires to a complete emotional identification with the part In 1967 Ludlam fell out with Vaccaro and left his company to (think Marlon Brando and Dustin Hoffman), and he developed a form the Ridiculous Theatrical Company. He would go on to banter with realism that he called “ridiculous” acting. In his early write 29 plays for his rolling band of fanatically unconventional

14 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG actors. He had an intimate acquaintance with the Greeks, Molière, Shakespeare, and 18th- and 19th-century poetry, novels, and plays, and sought to find new relationships with them. He became a master of the quick-change—switching from one genre to another, giving them brilliant makeovers in his high-wire humorous balancing act.

By 1978, having made a uniquely ‘ridiculous’ home for himself in the American theater, Ludlam also found a home for his company at One Sheridan Square in New York’s West Village. This theater gave Ludlam the rare opportunity to rehearse in the very same space in which he and his company acted, making his use of the quick change increasingly daring and accomplished.

In The Mystery of Irma Vep, written in 1984, three years before the playwright’s death, Ludlam pulled in literary quotes and allusions from such greats as Ibsen, Strindberg, Brontë, Dickens, Shakespeare, and Du Maurier. In this two-person play (which had a specific legal clause demanding male actors play on “high

“Theatre of the Ridiculous” was far from simply ridiculous, however. It sought to find new relationships with classical theater and stagecraft. Illustration based on a photo of Charles Ludlam in Camille. camp” conventions), Ludlam co-starred with his partner Everett By the time Ludlam wrote The Mystery of Irma Vep in 1984, Quinton. The play makes a riotous zigzag between iconic sources, the AIDS epidemic had hit the gay community in full force. riffing on Ludlam’s erudition as well as his addiction to Hollywood Ludlam chose the Penny Dreadful in order to tell a story about movies, with the two actors playing eight roles between them. unexplainable, sudden, and horrific deaths. And within this structure, he explored death, fear, hope, companionship, and Irma Vep deploys the “ridiculous” to re-focus things held in low love—thereby giving the form new meaning and relevance. social esteem—the Penny Dreadful, for example, a horror genre printed on very cheap paper in the 19th century and sold for How do we decide what is a work of art, when this play is built a penny a piece—as well as a reformulation of literary genres on the foundations of so many works that have already been traditionally viewed with seriousness and high regard. Ludlam anointed as “great”? All art, in a sense, is the reassembling of gave them what he liked to think of as “new meaning” and “new extant information to create something new: something that has worth,” by changing their context. And, as Third Rail actor/director been, as yet, invisible, something that holds surprise, ambiguity, Philip Cuomo notes, Ludlam was also inspired by the deep fears strangeness, intrigue. In Irma Vep, you’ll see Ludlam’s inherited, that underscored the world in which he lived. and deeply treasured, world of iconic art in a realm “made strange”—side-splittingly hilarious, but strange.

“When we embarked on renovating the Bruns, Jon led us on a journey that created an homage to the experience of theater—a joyful place where art, people, and the landscape encounter each other.” —Debbie Chinn, former Cal Shakes Managing Director

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Untitled-32 1 5/5/15 3:01 PM WHO’S WHO premiere, Aurora Theatre), Terrence in T.I.C. by Jonathan has directed the world premiere of Peter Sinn Nachtrieb (world premiere, Z Space), John Steinbeck’s The Pastures of Heaven and Harold in Dead Mother; Or Shirley Not by Octavio Solis, The Life and Adventures of ACTING COMPANY All in Vain by David Greenspan (A Traveling Nicholas Nickleby, Candida, Twelfth Night, DANNY SCHEIE Jewish Theater/Thick Description, BATCC Happy Days, Much Ado About Nothing, The (Nicodemus Underwood, award for Best Actor). His work has been seen Tempest, and The Seagull. He brought writers Lady Enid Hillcrest, Off-Broadway with the Civilians and regionally such as Zora Neale Hurston and Amy Freed, Alcazar, ensemble) he has appeared in productions at the Alliance, along with a broad array of writers of the canon Previous Cal Shakes the Huntington, Portland Center Stage, Arizona of world theatrical literature, under the direction roles over 11 seasons Theatre Company, Pasadena Playhouse, and of many of our country’s most inventive and include: Bottom (A Shakespeare Santa Cruz. Locally, Liam has passionate directors. He is the first recipient of Midsummer Night’s also been seen at the American Conservatory the Zelda Fichandler Award, given by the Stage Dream), Dogberry Theater, TheatreWorks, Magic Theatre, Center Directors and Choreographers Foundation for (Much Ado About REP, San Jose Rep, SF Playhouse, Marin Theatre “transforming the American theatre through his Nothing), Feste (Twelfth Night), Mercutio Company, Shotgun Players, San Francisco unique and creative work.” His regional credits (Romeo and Juliet), Launcelot Gobbo (The Shakespeare Festival, and with Joe Goode include Intersection for the Arts, the Huntington Merchant of Venice), Gremio (The Taming of Performance Group, Word for Word, and Campo Theatre, Alley Theatre, Milwaukee Repertory the Shrew), Player King (Hamlet), Dr. Caius Santo. He is a graduate of Boston University. Theater, Goodspeed Musicals, Dallas Theater (The Merry Wives of Windsor), Harlequin Center, San Jose Repertory Theatre, Intiman (The Triumph of Love), Lord Foppington (Amy CREATIVE TEAM Theatre, and Magic Theatre, among others. Freed’s Restoration Comedy), the Duchess of Jonathan has served on panels for the National CHARLES LUDLAM Berwick (Lady Windermere’s Fan), and multiple Endowment for the Arts and the Massachusetts (Playwright) roles in Nicholas Nickleby, Pericles, and An Arts Council. He serves as a board member Charles Ludlam, playwright, director, and actor, Ideal Husband. Last season he played Puck of Theatre Communications Group and just was born in 1943 in New York, and studied in A Midsummer Night’s Dream and Dromio completed the National Arts Strategies’ Chief theater at Hofstra University. As a rebuke to the of Syracuse and Dromio of Ephesus in The Executive Program. In August, he will assume seriousness of method acting, Ludlam joined Comedy of Errors for which he won the first Bay the position of Chief of Civic Engagement for John Vaccaro’s Play-House of the Ridiculous, Area Theater Award for Leading Actor. He also Yerba Buena Center for the Arts and looks and, after a falling-out, formed his Ridiculous won the Bay Area Critics Circle Award for Next forward to coming to the Bruns every summer Theatrical Company in 1967. Ludlam sustained Fall at San Jose Rep. He is the former Artistic and enjoying this magnificent theater. an ever-varied troupe of bohemian players Director of Shakespeare Santa Cruz, where he through the next two decades, writing 29 plays, acted and directed for 13 seasons. Since then DOUGLAS SCHMIDT in which he starred in and directed as well. he has acted at Berkeley Rep, Arena Stage, Yale (Scenic Designer) He won fellowships from the Guggenheim, Rep, Trinity Rep, Asolo Rep, the Folger, South Mr. Schmidt’s work has been seen extensively on Rockefeller, and Ford Foundations, and grants Coast Rep, Pasadena Playhouse, Actors Theater and off Broadway, in regional theaters, American from the National Endowment for the Arts and of Louisville, Two River, TheatreWorks, Marin, and international opera houses, arenas, theme the New York State Council on the Arts. The and Intersection for the Arts. He has received parks, and on television and film in well over original production of The Mystery of Irma Vep, Bay Area Critics Circle awards for his work at 200 productions in the last 40 years. In 1972 Ludlam’s most famous play, featured Ludlam Aurora, Magic, Theater Rhinoceros, and as he designed the original New York production of himself and his lover Everett Quinton. In 1991, Nero in Amy Freed’s You, Nero. He has a BA in Grease, which went on to play a record-breaking four years after Ludlam’s death from AIDS, Irma theater and drama from Indiana University and a 3,388 performances. Tony Award-nominated Vep would be the most produced play in the PhD from Cal in dramatic arts. He joined Actor’s for the recent Broadway productions of 42nd United States. Equity playing Damis in Tartuffe at the Los Street and Into the Woods, he is well known for Angeles Theater Center. his musical designs. Experienced in designing JONATHAN productions of scale and spectacle as well as LIAM VINCENT MOSCONE intimate plays and events, he has designed (Director, Artistic (Jane Twisden, Lord productions as diverse as George Lucas’ Super Director) Edgar Hillcrest, Live Adventure, a huge arena spectacular for Jonathan Moscone is ensemble) Ringling Brothers in Japan, and Porgy and Bess in his 16th and final Liam Vincent is thrilled on the Great Stage at Radio City Music Hall. season as Artistic to be marking his Sweet Mr. Schmidt has also worked with many of the Director of California 16th production at great opera companies including De Nederlandse Shakespeare Theater, Cal Shakes with Irma Opera, Amsterdam, the New York City Opera, where he is proud of Vep, having made his the Los Angeles Music Center Opera, and the the many achievements this organization has debut in 2002 playing Metropolitan Opera in New York. Recently made during his tenure, building the company’s Francis Flute in A Midsummer Night’s Dream, he collaborated with Jonathan Moscone on a Artistic Learning program and developing ways directed by Jonathan Moscone. Last summer, production of Vanya, Sonia, Masha and Spike to connect Cal Shakes with more communities Liam appeared at Cal Shakes in A Raisin in at Houston’s Alley Theatre. This year he was throughout our diverse Bay Area. At Cal Shakes, the Sun as Karl Lindner, in The Comedy of honored with the United States Institute for he most recently directed Shaw’s Pygmalion Errors as the Duke of Ephesus and Balthasar, Theatre Technology Award for Distinguished and Richard Montoya’s American Night: The and in A Midsummer Night’s Dream as Peter Achievement in Scene Design and the Robert Ballad of Juan José. His other credits include Quince. Past Cal Shakes productions include: L.B. Tobin Award for Sustained Excellence in Tribes at Berkeley Rep, and the world premiere The Taming of the Shrew, Candida, Titus Theatrical Design. USITT has also recently of Ghost Light, which he co-created and Andronicus, Twelfth Night, Romeo and published a monograph of his career and developed with playwright Tony Taccone for Juliet, Private Lives, King Lear, Richard III, designs. Oregon Shakespeare Festival and Berkeley Rep. The Merry Wives of Windsor, and Henry IV. In addition, he directed Bruce Norris’ Clybourne Liam has had the privilege of living and acting KATHERINE ROTH Park for American Conservatory Theater (where in the Bay Area for over 20 years. Favorite (Costume Designer) he is an adjunct professor). For Cal Shakes, roles include, Ed in Five Flights by Adam Bock Previously at Cal Shakes: Blithe Spirit, As You (world premiere, Encore Theatre), Lord Alfred All the Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union Douglas in Salomania by Mark Jackson (world of Professional Actors and Stage Managers in the United States.

encoreartsprograms.com 17 WHO’S WHO Gross Indecency for Kansas City Repertory directing work has been recognized with a Goldie Theatre; Troilus and Cressida for Oregon Award for outstanding local artist, among other Shakespeare Festival; Ubu Roi and Pelleas & awards. Ms. Novick has held a number of arts Like It, The Importance of Being Earnest, Melisande for the Cutting Ball Theater; Bug and management and consulting positions including Julius Caesar, The Seagull, and Romeo and Dead Man’s Cell Phone for SF Playhouse; The serving as interim arts program officer for the Juliet. Recent work includes Neil LaBute’s Happy Ones for Magic Theatre; The Loudest San Francisco Foundation, project coordinator filmSome Velvet Morning, Broadway and Man on Earth, The Clean House, and Memphis for the Wallace Foundation Cultural Participation touring productions of Twyla Tharp’s Come Fly for TheatreWorks; and Lasso of Truth, Circle Initiative in the Bay Area, and director of with Me, and Timon of Athens at the Public. Mirror Transformation, and 9 Circles for Marin development and strategic initiatives for Theatre Williamstown Theatre Festival: Blithe Spirit, A Theatre. Mr. Caruthers is also co-curator and Bay Area. She regularly writes and speaks Nervous Smile, Sugar Syndrome. NY: Dark technical director of the San Francisco Tape on issues relating to the arts sector; recent Matter, Where We’re Born (Rattlestick); Sore Music Festival and has performed his electronic publications include contributions to 20under40, Throats (Theatre for a New Audience); The music compositions internationally. the GIA Reader, Counting New Beans, and Argument (Vineyard Theatre); Abigail/1702, Theatre Bay Area Magazine. Ms. Novick has a F2MA, and Steady Rain (New York Stage and LAXMI KUMARAN BA from the University of Michigan in drama and Film); Arabian Night, Sakharam Binder, M. (Stage Manager) anthropology. ​ Ibrahim and the Flowers of the Koran (Play Ms. Kumaran is enjoying her fifth season at Company); Happy Days (Cherry Lane); Trestle Cal Shakes where she has stage managed CLIVE WORSLEY at Pope Lick Creek (NYTW); Hard Feelings, Twelfth Night, Pygmalion, A Raisin in the (Director of Artistic Learning) The Chemistry of Change (Women’s Project); Sun, A Winter’s Tale, Lady Windermere’s Fan, Clive Worsley assumed the reins of Artistic Model Apartment (Primary Stages); Lorca American Night, Hamlet, Spunk, Candida, and Learning, Cal Shakes’ education program, Project (INTAR); and They Still Mambo in Titus Andronicus. In the Bay Area, Ms. Kumaran in August of 2013, and has been one of Cal Havana (Bat Theater Company). Regional: Asolo has also stage managed for San Jose Rep and Shakes’ premier Teaching Artists since 2002. He Theatre, Intiman Theatre, Old Globe, Mark Center REP. Before moving to the Bay Area, Ms. was instrumental in developing some of the first Taper Forum, Dallas Theater Center, George Kumaran stage managed in Chicago for a variety integrated arts public school residency programs, Street Playhouse, Huntington Theatre, La Jolla of theaters, including the Goodman Theatre and is the moderator of Cal Shakes’ popular Playhouse, Yale, Center Stage, South Coast Rep, and the Court Theatre. Some of the directors Student Discovery Matinee program. Clive is Magic Theatre, and Westport Playhouse. with whom she has had the pleasure of working familiar to all age groups at our popular Summer with include Patricia McGregor, Liesl Tommy, Shakespeare Conservatories as both a Master ALEX NICHOLS Joel Sass, Jonathan Moscone, Rick Lombardo, Class Instructor and Director. From 2008–2013, (Lighting Designer) Christopher Liam Moore, Timothy Near, Amy Mr. Worsley also served as Artistic Director of California Shakespeare Theater: Lighting for Glazer, Richard Seer, John McCluggage, Kirsten Town Hall Theatre in Lafayette, where he brought King Lear, As You Like It, Nicholas Nickleby, Brandt, Barbara Damashek, Michael Butler, about both artistic and fiscal success. As an The Winter’s Tale; Scenery and Lighting for Robert Falls, Mary Zimmerman, David Ira award-winning actor he has appeared on many Arms and the Man. Broadway: Wishful Drinking Goldstein, JoAnne Akalaitis, Robert Woodruff, Bay Area stages including Cal Shakes, Berkeley (Production Design); Hugh Jackman, Back On Karin Coonrod, Gary Griffin, and David Cromer. Rep, TheatreWorks, Marin Theatre Company, Broadway (Video); Nice Work If You Can Get Ms. Kumaran has taught stage management Magic Theatre, Center REP, Shotgun, and others. It (Video). Off-Broadway: In Masks Outrageous classes at UC Santa Cruz, San José State, Mr. Worsley brings to the company a holistic and Austere, Los Big Names, Horizon, Bridge Northern Illinois, DePaul, and Northwestern. She philosophy and longstanding passion for arts and Tunnel, Taking Over, Through the Night, currently teaches at the University of California, education. He believes strongly in the power of In the Wake. Regional: Scenic, lighting and/or Berkeley. theater to educate and enrich people regardless projection designs for American Conservatory of age or background and looks forward to Theater, Mark Taper Forum, Berkeley Repertory CAL SHAKES STAFF building upon the great success of the Artistic Theatre, Arena Stage, Huntington Theatre Learning programs.​ Company, La Jolla Playhouse, and Seattle SUSIE FALK (Managing Director) Repertory Theatre. Dance: Resident designer for PHILIPPA KELLY Ms. Falk came to Cal Shakes as marketing Pennsylvania Ballet, Hartford Ballet, American (Resident Dramaturg) director in 2004, and was appointed managing Repertory Ballet; lighting supervisor for American Dr. Kelly’s work has been supported by many director in 2009, overseeing the company’s Ballet Theatre; resident designer for Margaret foundations and organizations, most recently administration and operations. She previously Jenkins Dance Company. Scenic, lighting and/ the Literary Managers and Dramaturgs of the worked at Berkeley Rep, American Conservatory or projection designs for San Francisco Ballet, Americas (2014-15 Bly grant for Innovation Theater, Seattle Rep, and Berkshire Theatre Boston Ballet, Joffrey Ballet, Alvin Ailey and in Dramaturgy—co-awardee with Lydia Garcia Festival. She served for seven years on the board Hubbard Street, Hong Kong Ballet, Singapore of the Oregon Shakespeare Festival). She (four as vice president) of Theatre Bay Area, the Dance Theatre, and ODC/SF, among others. has also been awarded fellowships by the local service organization for theater companies Music: LIFE: A Journey Through Time, (Philip Fulbright, Rockefeller, and Walter and Eliza and theater workers. She is a graduate of Glass and Frans Lanting), Visual Music (Kronos Hall Foundations, and the Commonwealth Vassar College and completed coursework in Quartet), Paul Dresher Ensemble, Bill Frisell, and Awards. She publishes widely, from books on organizational psychology at JFK University. Rinde Eckert. Shakespeare (her latest being The King and I) She lives in Berkeley with her husband, lighting to papers on dramaturgy and topics of cultural designer York Kennedy, and their daughter Pippa. CLIFF CARUTHERS engagement. Her most recent discussions of (Sound Designer) REBECCA NOVICK dramaturgy can be found in the Cambridge Cliff Caruthers is a Bay Area-based sound Journal of Postcolonial Inquiry, Spring 2014, (Associate Artistic Director/Triangle Lab designer and composer whose work has been and, with Laura Hope, in the Literary Managers Director) heard from coast to coast and points between. and Dramaturgs of the Americas Special Ms. Novick was the founder of Crowded Fire Highlights include Life Is a Dream, American Topics issue, 2014. Besides her work for Cal Theater Company and served as its artistic Night, The Tempest, and The Seagull for Shakes, Dr. Kelly has also served as production director for 10 years, growing the company Cal Shakes; Elektra, The Homecoming, The dramaturg for the Oregon Shakespeare Festival from an all-volunteer group to one of San Caucasian Chalk Circle, and Race for A.C.T.; and Word for Word Theater Company, and, Francisco’s most respected small theaters. She Crime and Punishment and TRAGEDY: a from 2015, the Napa Shakespeare Festival has developed and directed new plays for many tragedy for Berkeley Rep; Julius Caesar for The (dramaturgy and enrichment). In the 2013– theaters in the Bay Area and elsewhere. Her Acting Company; Happy Days for the Guthrie; 2014 academic year she practiced and taught

18 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG dramaturgy at the University of California, Berkeley. She also teaches regularly for the Osher Lifelong Learning Institute in Berkeley. For most of the summer she can be found here music dance theater at Cal Shakes, where she is a regular pre-show 2015/16 Grove Talk speaker. She is married to composer Cal Perform ances SEASON Paul Dresher and mother to Cole.​ UNIVERSITY OF CALIFORNIA, BERKELEY

DAVE MAIER (Resident Fight Director) Mr. Maier is an award-winning fight director who has been in residence at Cal Shakes since Mariinsky Ballet 2006. Cal Shakes credits include A Raisin in the Sun, Hamlet, Spunk, Titus Andronicus, Macbeth, Romeo and Juliet, King Lear, and Orchestra Richard III, A Midsummer Night’s Dream, and As You Like It, among others. His recent credits Cinderella include One Man Two Guvnors (Berkeley Rep); Music: Prokofiev Tosca and Showboat (SF Opera); Mirandolina Choreography: Alexei Ratmansky (Center Rep). His work has been seen on many Bay Area stages including A.C.T., San Jose Rep, SF Playhouse, Shakespeare Santa Cruz, One of the most revered Magic Theatre, Aurora Theatre, and Shotgun companies in classical Players. He is a Full Instructor of Theatrical dance presents one of the Combat with Dueling Arts International and a most celebrated works founding member of Dueling Arts San Francisco. in its repertoire. He is currently teaching combat-related classes at Berkeley Rep School of Theatre and Saint Mary’s College of California.

PRODUCERS ELLEN & JOFFA DALE (Executive Producers) Long-time subscribers and donors, Ellen and Joffa Dale live in Orinda. Ellen is serving her second stint on Cal Shakes’ Board of Directors; she was also on the board in 1991 when the Bruns Amphitheater first opened. While Ellen and Joffa thoroughly enjoy picnics and performances at the Bruns, the primary focus of their donations is Artistic Learning. They believe that the lives of children reached by Cal Shakes’ education programs are enormously enriched and that these children are the artists and audiences of the future. Ellen and Joffa also helped establish the Moscone Permanent Endowment and are charter members of the Cal Shakes Legacy Circle.

NANCY & JERRY FALK (Producers) If given the opportunity, Managing Director Susie Falk would say: “When I was a child, my parents made me listen to Broadway cast albums, schlepped me to plays, and enrolled me in children’s theater (including Cal Shakes) until I became addicted.” Nancy and Jerry plead guilty, without apology. They think that Susie is their greatest contribution to Cal Shakes, although they are pleased to be financial Oct 1–4 supporters as well. Nancy performed for many ZELLERBACH HALL years with the Oakland Symphony Chorus. Jerry sings Sondheim in the car and shower, and performs less witty material of his own devising in California and other appellate courtrooms. They hope that their fellow audience members will foster a love for the performing arts among calperformances.org Season their families, and that they will also be Sponsor: motivated—perhaps with a generous deposit 510.642.9988 in the silver buckets after the show—to help introduce live theater to new generations.

encoreartsprograms.com 19 Untitled-3 1 6/4/15 8:51 AM WHO’S WHO

SHELLY OSBORNE & STEVE TIRRELL Fillmore, Yoshi’s, Berkeley Rep, and Freight & CHEVRON (Producers) Salvage Coffeehouse. Celine Dion, Metallica, (Production Partner) Shelly Osborne and Steve Tirrell are long-time and countless other artists use Meyer Sound’s Chevron is one of the world’s leading integrated subscribers and donors. Shelly spent many years equipment on tour. Meyer Sound’s main office energy companies, with subsidiaries that conduct teaching and using literature in a performance and manufacturing facility are located in business worldwide. The company is involved setting as students learned tolerance, Berkeley, California, with additional satellite in virtually every facet of the energy industry. cooperation, and understanding of characters, offices located around the world. Chevron explores for, produces, and transports and themselves. In 2014, they donated to crude oil and natural gas; refines, markets, and the Artistic Learning fund within the Moscone SAN FRANCISCO MAGAZINE distributes transportation fuels and lubricants; Permanent Endowment, and became active (Presenting Partner) manufactures and sells petrochemical products; members of the Cal Shakes Legacy Circle. Shelly San Francisco magazine is proud to celebrate generates power and produces geothermal joined the Cal Shakes Board of Directors this 40+ years of award-winning coverage of the Bay energy; provides energy efficiency solutions; year, where she continues to focus on education Area lifestyle—from food, fashion, and culture and develops the energy resources of the future, through Artistic Learning programming: school to politics, trends, and trendsetters. Through its including biofuels. Chevron is based in San residencies, after-school residencies, providing history, San Francisco has been honored with Ramon, California, and is a proud supporter for students to attend matinee performances, and more than 50 awards for editorial and design of Cal Shakes. More information about Chevron professional development for teachers. Shelly excellence. Here in March 2015, it won the is available at www.chevron.com. and Steve were long-time residents of Lafayette most coveted award in the magazine industry, and now live in Rossmoor. the ASME (American Society of Magazine MCROSKEY MATTRESS COMPANY Editors) for best single-topic issue with the (Production Partner) MICHELE & JOHN RUSKIN June 2014 “Oakland” issue. The magazine has Since 1899, McRoskey Mattress Company has (Producers) won an ASME award before, when it received focused on the well-being of their customers Michele and John are long-time subscribers and the General Excellence award in 2010. These by providing a good night’s sleep night after supporters of Cal Shakes, and John has served recognitions substantiate San Francisco’s night! At its two retail showrooms—Palo Alto on the Cal Shakes board since 2008. Both passion and commitment to publish the Bay and San Francisco—McRoskey customers enjoy come from theatrical families. Michele’s father Area’s best magazine, as well as one of the the experience of selecting the perfect comfort co-founded the Centaur Theatre in Montreal and nation’s best. because they know McRoskey builds their beds is on the board of the National School of Theatre locally in San Francisco! Using only the finest in Canada. John’s father produced theater on CITY NATIONAL BANK materials, their skillfully constructed mattresses Broadway and at the Jones Beach Theatre. (Season Partner) and box springs provide the best of benefits of With theater in their blood, Michele and John Founded in California more than 60 years ago, a good bed: enduring comfort, cool sleep, and passionately believe theater and the arts play a City National Bank supports organizations that supple support. Stop by a showroom today. key role in creating more connected, aware, and contribute to the economic and cultural vitality And call McRoskey to schedule a factory tour. caring individuals and societies, and must be of the communities it serves. City National has Discover the secrets of a well-made bed! nurtured, promoted, and never lost. grown to nearly $33 billion in assets, providing www.McRoskey.com. banking, investment, and trust services through OUR CORPORATE PARTNERS 75 offices, including 16 full-service regional AFFILIATIONS centers in the San Francisco Bay Area, Southern BART California, Nevada, New York City, Nashville, (Presenting Partner) and Atlanta. Together with its investment For more than 40 years, BART has served as affiliates, the company oversees nearly $62 one of the Bay Area’s primary transit systems, billion in client investment assets, and has been transporting roughly 430,000 passengers to listed by Barron’s as one of the nation’s top and from 45 stations every weekday. BART is a This Theater operates under an agreement wealth management firms for the past 14 years. proud sponsor of Cal Shakes—one of its favorite between the League of Resident Theatres City National Bank provides entrepreneurs, BARTable destinations—and admires the great and Actors’ Equity Association, the Union of professionals, their businesses, and their families performances that Cal Shakes brings to the Bay Professional Actors and Stage Managers in the with complete financial solutions on The way Area. BART encourages attendees to improve United States. The Directors and Choreographers up®. the environment and take public transit to the are members of the Stage Directors and theater. BART... and you’re there. Choreographers Society, an independent national PEET’S COFFEE labor union. The scenic, costume, and lighting (Season Partner) MEYER SOUND LABORATORIES designers are represented by United Scenic Peet’s Coffee is proud to be the exclusive coffee (Presenting Partner) Artists, Local USA-829 of the IATSE. California sponsor of California Shakespeare Theater and Family-owned and operated since 1979, Shakespeare Theater is an Equal Opportunity salutes Cal Shakes on another wonderful season Meyer Sound Laboratories, Inc. designs and Employer. of reimagining the classics and bringing new manufactures high-quality, self-powered sound works to the stage. In 1966, Alfred Peet opened reinforcement loudspeakers, digital audio his first store on Vine and Walnut in Berkeley. systems, active acoustic systems, and sound His style of coffee was unlike anything Americans measurement tools for the professional audio had tasted before—small batch roasting, fresh industry. Founded by John and Helen Meyer, beans, superior quality, and a dark roast that the company has grown to become a leading produced a coffee that was rich and complex. worldwide supplier of systems for theaters, Peet’s remains committed to the same quality arenas, stadiums, theme parks, convention standards today including locally roasting in the centers, houses of worship, and touring concert first LEED® Gold certified roastery in the nation. sound-rental operations. Meyer Sound systems are installed in many of the great venues of the world, including the Berlin Philharmonie and Estonia’s Nokia Concert Hall; and in several well-loved Bay Area venues, such as the

encoreartsprograms.com 21 THANKS TO OUR DONORS INDIVIDUALS These contributors made gifts between June 1, 2014 and May 31, 2015. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at the Benefactor level to our 2015 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Renée Gholikely at 510.899.4834 or [email protected] so that we may correct our records.

$25,000 and above Sondra & Milton Schlesinger◊ $1,000-$2,499 Kim & Max Krummel Anonymous in memory of Juniper Alan Schnur & Julie Landres Anonymous Jennifer Kuenster & George Miers Marley Allen Debbie Sedberry & Jeff Klingman Keren and Robert Abra Gerald N. Kurtz Ellen & Joffa Dale◊ Teresa & Patrick Sullivan Frank & Loren Acuña Adair & William Langston Maureen & Calvin Knight◊ Charles & Heidi Triay William Anderson Shelly & Blake Larkin* Craig & Kathy Moody◊ Buddy & Jodi Warner◊ Pat Angell Gina & David Larue Michael & Virginia Ross Ann & Peter Appert Richard & Eileen Love $2,500-$4,999 Elena Maslova & Eugene Levine Jean Simpson◊ Marianne & Tom Aude Anonymous Jill Matichak Sharon Simpson◊ Megan Barton & Brian Huse in Ann & Clifford Adams honor of Sharon & Barclay Elaine & John McClintic Jay Yamada◊ Claire & Kendall Allphin Simpson Marie McGlynn & Ravi Hundal $10,000–$24,999 Eugene & Neil Barth Joyce & Charles Batts John McGuirk* Charlie & Casey McKibben Anonymous (2) Stephanie & David Beach in honor Laura & Paul Bennett of Amanda Starr Mrs. George R. Moscone Simon Baker L. Karin & Bob Benning Daphne & Richard Bertero Germaine Brown* Patricia & David Munro James N. Cost Foundation◊ Jeff Bharkhda Lee Neely & Chelle Clements Henry & Vera Eberle Pamela & Christopher Cain Nina & David Bond Steven & Karin Chase Carol & Richard Nitz* Nancy & Jerry Falk◊ Michael & Phyllis Cedars◊ Alice Collins & Len Weiler Deborah O’Grady & John Adams Erin Jaeb & Kevin Kelly Phil & Chris Chernin◊ Craig Congdon* Candance & Dick Olsen Helen & John Meyer Debbie Chinn in honor of Susie Falk Deborah Cullinan & Kevin Cunz Eleanor Parker Nicola Miner & Robert Mailer & Megan Barton Jan Deming & Jeff Goodby Nancy & Gene Parker Anderson Ron & Gayle Conway Ellen Dietschy & Alan Cunningham Dr. & Mrs. Irving Pike Nancy Olson◊ Paul Covey and Ardice Hartry in honor of Philippa Kelly Pauline Proffett & Matthew Fabela Shelly Osborne & Steve Tirrell Donald Engle & Karen Beernink Richard & Tamara Dishnica Paul A. Renard & John A. Blytt Michele & John Ruskin in memory Bob Epstein & Amy Roth◊ Maureen Dixon Velma & Hugh Richmond of Phyllis & Leonard Ruskin Susie Falk & York Kennedy Thalia Dorwick Lesah & Jeffrey Ross Barbara Sahm & Steven Winkel◊ Elise & Tully Friedman Margaret Doty Claire Roth Julie Simpson◊ Harvey & Gail Glasser◊ Lisa & Joseph Downes Rob & Eileen Ruby Philanthropic Frank & Carey Starn Werner Goertz Linda Drucker & Lawrence Prozan Fund of the Jewish Community George & Kathleen Wolf◊ Patrick W. Golden & Susan Barbara Duff in memory of George Foundation of the East Bay Overhauser◊ Duff Tiffany Schauer $5,000-$9,999 David & Diane Goldsmith◊ Hillary Dumas Barbara & Jerry Schauffler Anonymous (7) Mimi & Peter Haas Fund Lori & Gary Durbin Martha G. Schimbor Valerie Barth & Peter Wiley Randall & Beverly Hawks Rachael & Thomas Eberle◊ William & Nathalie Schmicker Darryl Carbonaro & Jonathan Craig & Margaret Isaacs◊ Mimi & Jeff Felson Joanne & Robert Schultz in honor of Moscone Teke Kelley in honor of Jonathan Sally & Michael Fitzhugh the Bay Area Ghostbusters Wai & Glenda Chang Moscone Dale & Jerry Fleming Laura & Robert Sehr◊ Mary Curran & John Quigley John Kemp & Mary Brutocao Jessica & James Fleming Jo Schuman Silver Joe Di Prisco & Patti James◊ Arline Klatte & Jon Ennis Vincent Fogle & Emily Sparks Gary Sloan & Barbara Komas Rena & Spencer Fulweiler Lisa & Scott Kovalik Stanlee Gatti Robert St. John & M. Melanie Ken Hitz Bill & Carol Leimbach Kathleen & Karl Geier Searle Barbara E. Jones in memory of Debby & Bruce Lieberman◊ Carol & Richard Gilpin Steven Sterns & Barry Klezmer William E. Jones Mary Prchal Robert Gleeson Tony Taccone & Morgan Forsey Noralee & Tom Rockwell Anne Marie & Tom Taylor Nancy Kaible & David Anderson◊ Charles & Katherine Greenberg Miriam & Stanley Schiffman Stephenie & Dan Teichman Jackie Wallace Klein & Michael Garrett Gruener & Amy Slater Judy & John Sears◊ Mr. & Mrs. Richard Thieriot Klein Tish & Steve Harwood Mary Jo & Arthur Shartsis Remy & Joanna Hathaway Nancy Thomas & Thomas Riley Ashley & Antonio Lucio◊ Maureen Shea & Allen Ergo Joyce Hawkins & John W. Sweitzer James Topic & Terry Powell Walter H. Moos & Susan M. Miller◊ Alexandra & Peter Starr Paul Hennessey & Susan Dague Carol Jackson Upshaw◊ Richard Norris & David Madsen Virginia & Thomas Steuber Elizabeth & Thomas G. Henry Jeff Wagner Cindy Padnos & Jim Redmond Christine & Curtis Swanson Xanthe & James Hopp Jennifer & Perry Wallerstein Berniece & Charles Patterson Janet Tam Mark Horowitz Anne & Paul Wattis Janet & Norman Pease in memory Rich & Barbara Thompson Cynthia & Mark Jordan Dana Welsh of Barclay Simpson Michelle Titus Timothy Kahn & Anne Adams Karen Wickre Peter & Delanie Read◊ Muriel Fitzgerald Wilson◊ Elizabeth Karplus Megan Williams Jim & Nita Roethe◊ Beverly & Loring Wyllie Martin L. Kaufman John & Bobbie Wilson Patti & Rusty Rueff◊ Michael H. Zischke & Nadin Bruce Kerns & Candis Cousins Kristina Wolf Monica Salusky & John Sutherland◊ Sponamore Marshall Kido Midge & Peter Zischke in memory of Barclay Simpson Sheryl & Anthony Klein Yvonne & Angelo Sangiacomo Jean & Jack Knox

22 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG EncoreProvenSuccessWimKeesSummer Fall2015.pdf 1 7/2/2015 3:10:43 PM

$750–$999 Anonymous • Robin Azevedo • Marian Catedral- King • Magnus & Jennifer Du Borg◊ • Marilyn & Les Duman • Bill & Lynn Evans • Nancy H. Francis • Kerry Francis & John Jimerson • Matthew Goudeau◊ in honor of Jonathan Moscone • Janie & Jeff Green proven • Susan & Charles Hanson◊ • Dan Henkle & Steve Kawa◊ • Bill & Joey Judge • Connie & John Linneman financial expertise • Kheay Loke & Martha McGrady • Jacquelyn McCormick & Michael Salkin◊ • Ellen Richard • Alex with a successful & Tinka Ross* • David A. Shapiro, MD & Sharon L. Wheatley • Cathleen Sheehan & Kenneth Sumner Bay Area perspective • Jennifer Traub & Paul Epstein • Martha Truett & David White • Meredith & Jeffrey Watts Your business deserves financial C solutions that only an exceptional $500-$749 Anonymous (5) • Beth & Phil Acomb • Stephanie & N. M local lender can deliver.

Thomas Ahlberg • Jose & Carol Alonso • Gil Anda • Y Barbara Aumer-Vail & Steve Vail • Richard & Sandy Bails Let us show you the difference • Elizabeth Balderston • Frank Belizzi • Marc & Cristina CM Bensadoun • Sara Benson • Liz & Richard Bordow • Jean a great banker can make for & John Brennan • Cindy & Robert Brittain • Carl Brown MY your bottom line. & Pilar Zuniga • Andy & Doree Burstein • Erin Bydalek & Patrick Bengtsson • Jo Alice & Wayne Canterbury • CY Patrick & Jacqueline Carew • Eric & Carmen Castain CMY • Tom Chapman & Phil Shaw • Katherine & Henry

Chesbrough • Michael & Sandra Cleland • Josh & Janet K Cohen • Kenneth B. Cohen • Marty Collins • Mr. & Mrs. Jack Corgas • Jane & Thomas Coulter • Theresa Cullen • Wim-Kees Dennis DeDomenico & Sandra Brod • Frank & Margaret van Hout full serervice banking | trusted advocates Dietrich • Eric Dittmar & Gayle Tupper • Corinne & SVP / Relationship Banker Michael Doyle • Karin Eames • Sharon & Leif Erickson • NMLS# 554805 Nancy & Phil Estes • Stephen Evans & Kathleen Correia • Sharon & Eric Ewen • Mary & Ben Feinberg • Claudia 925.944.0180, ext. 217 Fenelon & Mark Schoenrock • Kristin Ferrucci-Fuller & Walnut Creek | 925.944.0180 Scott Fuller • Karin Fetherston • Scott & Joan Fife • 590 Ygnacio Valley Rd., Suite 101 Gita & Louis C. Fisher • Peter Fisher • Debra & Dudley Fournier in honor of Sylvia Stone • Maribel & Jack Fraser ScottValleyBank.com • Charla Gabert & David Frane • Marilyn & Paul Gardner • Judith & Alexander Glass • Sarah Gopher-Stevens & Bill Stevens • Laura Gorjance • Kathy & David Graeven • William & Shand Green • Kristi & Arthur Haigh • Harriet Hamlin & James Finefrock • William Hathaway • Ben & Sarah Holzemer • Lina Jane Howard-Cygan & Herbert The arts come alive at College Prep! Cygan • Leslie & George Hume • Mike Huston & Marcia Cho • Julie C. Jaeger • Mary Anna & Martin H. Jansen, M.D. • Ken & Judith Johnson • Karin & Patrick Johnston • Dr. Michelle Louise Kalina in memory of Michael A. Kalina • Joseph Lee • Mr. Fred Levin & Ms. Nancy Livingston • Susan & Donald Lewis • Aleeza Lipkin • Randall & Rebecca Litteneker • Kate & Thomas F. Loughran • Jean & Lindsay MacDermid • Carolyn Mahoney • Alan Markle • Tomi & Scott Matthews • Marsha Maytum & William Leddy • Eugene McCabe • Nion T. McEvoy • Paul & Ellen McKaskle • Kimberly & Jerry Medlin • D. G. Mitchell • Susan Morris • Linda & Chris Moscone • Brian & Jennifer Mosel • Marilyn & David Nasatir • Joseph Navarro & Billie Jones • Marie & Jim O’Brient • William Ostrander & Janice L. Johnson • Sharon & Bill Owens • Elizabeth & Artur Pasquinelli • Dorothy & John Peers • Carey Perloff & Anthony Giles • Mary C. Powelson • Kathleen Quenneville • Pam Rafanelli • Joyce S. Ratner • Douglas Regalia • Rachel Rendel • Karen & Jeffery Richardson • David & Carla Riemer • Ajay Robinson • Joan Roebuck • Sean Rositano • Jirayr Roubinian • Elizabeth J. Sandefur • CollegePrep Diana Sanson & Ben Compton • Julie & Andrew Sauter • Patti & Paul Sax • Ted & Susie Schaefer • Joyce & A private high school for grades 9-12 Kenneth Scheidig • Mary & Thomas Schmitz • Linda Schwartz • Marcus Segal • Lucille & John Serwa • Heidi Our approach to learning requires collaboration, patience, Shale & Earl Cohen • Ali Shamsi & Andrea Leszek • and creativity—all within a kind and joyful community. James Shankland & Leslie Landau • Vicki & Lee Siegel • Neil Sitzman • Martha & Bill Slavin • Betsy Smith • Carrie • Average academic class size of 14 & Jason Smith • Valerie Sopher • Stephanie & Robert • More than $2 million given annually in need-based financial aid Sorenson • David Starke • Gail & Rick Stephens • A. Justin Sterling • Maryann & Douglas Straub • Todd & Kim • 82% of faculty with advanced degrees Strumwasser • Ragesh Tangri & Daralyn Durie • Leslie • 100% of graduates attend 4-year colleges and universities Thieriot • Catherine & Ned Topham◊ • Beth Townsend & Mark Wagoner • Mark & Rosie Traylor • Jamie & Gerry Be inspired. Refine your thinking. Express yourself. Valle • William Van Dyk & Margaret Sullivan • Beth Ann & Michael Ward • Kelvin & Rosalind Wate • Marcia & John The College Preparatory School Waterbury • Corinne & David Whittall • Arlene & Victor Willits • Ann K. Willoughby • Cheryl & Steve Wilske • 6100 Broadway Oakland CA 94618 Viviana Wolinsky • Barbara & Craig Woolmington-Smith • 510.652.4364 • college-prep.org Linda & Warren Zittel •

encoreartsprograms.com 23 CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT We are grateful for the generous investment of the following foundations, corporations, and government agencies, which support our 2015 artistic and educational programs. Multiyear grants are designated with a double asterisk (**).

PRESENTING PARTNERS $100,000 and above Aurora Theatre Company Ratna Ling Retreat Center BART Bay Area Discovery Museum San Francisco Wine Group The William and Flora Hewlett Berkeley Art Museum and Pacific San Francisco 49ers Foundation Foundation** Film Archive San Francisco Ballet The James Irvine Foundation** Bison Brewing Company San Francisco Giants Dean & Margaret Lesher Blue Waters Kayaking SF Camera Works Foundation** California Jazz Conservatory Shotgun Players The Andrew W. Mellon Foundation** California Academy of Sciences Smuin Ballet Meyer Sound Captain Vineyards Testarossa Winery Caterpillar Foundation TWANDA Foundation $25,000–$49,999 Cesar UC Botanical Garden City National Bank Chabot Space & Science Center Wells Fargo Foundation National Endowment for the Arts/ Claremont Hotel & Spa Arts Midwest: Shakespeare For a Classic Catering TASTING PARTNERS New Generation The Dailey Method Crofter’s Organic The Thomas J. Long Foundation The Dock at Linden Street La Tourangelle Otter Cove Foundation Duckhorn Wine Company Marlo’s Bakeshop SEASON PARTNERS San Francisco Magazine Edible Schoolyard Kitchen Pop Mama POP! The Shubert Foundation Elizabeth Spencer Winery R&B Cellars Sound Associates Exploratorium Upper Crust Pies Four Seasons Hotel San francisco Urbano Cellars Francis Ford Coppola Winery $10,000-$24,999 Freight & Salvage Coffeehouse MATCHING GIFTS Blueprint Studios The French Laundry Chevron Galileo Learning Chevron Dale Family Fund Ann & Gordon Getty Foundation Bank of America Sidney E. Frank Foundation Golden State Warriors Bank of the West Walter & Elise Haas Fund Google California Healthcare Foundation Clarence E. Heller Charitable Gundlach Bundschu Winery Caterpillar Foundation Foundation Hog Island Oyster Co Charles Schwab John Muir Health Incredible Adventures Clorox Company KBLX Independent Charities of America Gartner Co Lafayette Park Hotel & Spa Inn at the Market Google MCJ Amelior Foundation Judd’s Hill John Wiley & Sons, Inc. McRoskey Mattress Company Kala Art Institute Sidley Austin The Gordon and Betty Moore Kaur Photography Visa Foundation Kiwanis Club of Moraga Valley SEASON PRODUCTION United Airlines Ladera Vineyards ORGANIZATIONS PROVIDING PARTNERS Lafayette Community Foundation DONOR-ADVISED FUNDS Bank of America Charitable Gift $5,000–$9,999 Lake Tahoe Shakespeare Festival Fund Archer Norris Lamborn Family Vineyards East Bay Community Foundation Blue Star Theatre/ Theatre Lynmar Estates Fidelity Charitable Gift Fund Communications Group & MetLife Meadowood Napa Valley Foundation Source Dodge & Cox Mechanics Bank Jewish Community Federation East Bay Community Foundation Morrison’s Manufacturing Retail Renaissance Charitable Foundation North Highland Worldwide Jewelers The San Francisco Foundation Consulting Muscardini Cellars Schwab Charitable Fund The Bernard Osher Foundation My English Tea Party Peet’s Coffee & Tea Oliveto Cafe & Restaurant PwC The Olympic Club The Ida and William Rosenthal Outside Lands Music & Arts Festival Foundation The Oyster Girls Paco’s Collars Up to $4,999 Peju Family Winery Philharmonia Baroque Orchestra American Conservatory Theater Plumpjack Squaw Valley Inn Asian Art Museum Prima Ristorante

24 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG CONGRATULATIONS JONATHAN ON 15 INCREDIBLE YEARS AT CAL SHAKES!

—FROM YOUR SOON-TO-BE SAN FRANCISCO NEIGHBORS

v

2015 PULITZER PRIZE WINNER FOR DRAMA BETWEEN RIVERSIDE and CRAZY BETWEEN RIVERSIDE AND CRAZY BY STEPHEN ADLY GUIRGIS DIRECTED BY IRENE LEWIS

“WWWW”

NEW YORK TIMES, TIME OUT NEW YORK, NEW YORK DAILY NEWS

“A GENUINE ORIGINAL THAT DESERVES TO BE SEEN BY ANYONE HUNGRY FOR A SMART, EXUBERANTLY FUNNY URBAN DRAMEDY”

NEWSDAY BEGINS SEP 2 AT A.C.T.’S GEARY THEATER

ACT-SF.ORG | 415.749.2228

Untitled-14 1 7/6/15 12:48 PM BOARD OF DIRECTORS

EXECUTIVE COMMITTEE Jean Simpson MISSION PRESIDENT Susie Falk With Shakespeare's depth of humanity VICE PRESIDENT* AND MANAGING DIRECTOR as our touchstone, we build character Jonathan Moscone and community through authentic, VICE PRESIDENT* AND inclusive, and joyful theater experiences. ARTISTIC DIRECTOR Marshall Kido VICE PRESIDENT Kate Stechschulte VICE PRESIDENT Ellen Dale SECRETARY Jay Yamada TREASURER Buddy Warner IMMEDIATE PAST PRESIDENT

*ex-officio

DIRECTORS Barbara Bennett Jeff Bharkhda Michael Cedars Phil Chernin Mike Cleland IN MEMORY Joshua Cohen Maureen Knight The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late Blake Larkin son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis, NY, on December 14, 1942. He came to California with his family at the age Craig Moody of seven, and attended Pleasant Hill High School, where he played football and Nancy Olson took the North Coast Championship in Greco-Roman wrestling. At the Air Force Shelly Osborne Academy, he became the AAU wrestling champion. He earned a Master’s Degree Jim Roethe in Mechanical Engineering from Ohio State University. George rode Brahma bulls John Ruskin and saddle broncs, and loved to ride horses through the Siesta Valley where Sharon Simpson the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile Frank Starn accident just before he was due to ship out for service in Vietnam. California Betsy Streeter Shakespeare Theater honors the memory of Lt. George H. Bruns III. Mark Toney Mark Traylor

ABOUT THE BRUNS AMPHITHEATER Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks to serve the public with a community facility while preserving the watershed with minimal disruption to the pastoral surroundings. This land may be open to the public for performances and private events, but remains restricted private property at all other times.

PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA). FYI IMPORTANT INFORMATION FOR OUR PATRONS CONTACT US ACCESSIBILITY Box Office: 510.548.9666 or [email protected] Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm) our free shuttle.” Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710 Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes. Website: www.calshakes.org We can also book seats, adjacent to yours, for up to three companions. Social Media: Facebook.com/calshakes Twitter.com/calshakes (Make sure to request this seating at time of purchase.) Pinterest.com/calshakes Instagram.com/calshakestheater Assistive Listening Devices: Available at no charge from the blanket kiosk on Group Sales (10+): 510.809.3290 a first-come, first-served basis. General: 510.548.3422 or [email protected] Open-captioned Performances: Cal Shakes is proud to provide open Program Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 captioning for patrons who are deaf or hard-of-hearing during the four main x105 or [email protected] stage shows over our regular season. Open captioning utilizes an unobtrusive Facilities Rental: 510.548.3422 x123 screen at the front of the theater to display dialogue spoken during a Costume Rental: 510.548.3422 x111 performance. No special equipment is required by patrons; one can simply glance at the screen to read the text while watching the action on stage. TICKETS AND SEATING Ticket Exchange & Replacement: Subscribers and Flex Subscribers may AMPHITHEATER ETIQUETTE exchange tickets at no cost up to 24 hours in advance of the time and date Be respectful: Part of Cal Shakes’ mission is to inspire and cultivate diverse of their scheduled performance; single ticket holders may do so for a $10 and inclusive theater experiences. We reserve the right to ask patrons to leave. fee. If you lose or misplace your tickets, the Box Office can arrange for Arrive on time: Latecomers will be seated at an appropriate interval at the replacements at no extra charge. House Manager’s discretion. Discounts: For information on discounted tickets for military, age 30 and Silence all electronic devices before the performance begins. younger, and student/senior rush, visit calshakes.org/discounts. Recording: Do not take photos of the performance. The use of any type of 20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance camera, video or audio recorder in the amphitheater is strictly prohibited. this season, making it easier for more people to enjoy theater. Simply call the Such devices may be confiscated at the House Manager’s discretion. Box Office between noon and 2pm the day of the show and ask to purchase Keep the aisles clear during the performance. “20 for $20” tickets. (Subject to availability.) Observe all signage including directional signage on the grounds. It is posted Terrace Seating: Chairs are pre-placed in all sections. If you’re seated in our for your safety. Terrace or Terrace Preferred sections, you have the options of bringing your Smoking is restricted to area designated: Look for the bench and ashtray own chair. If you choose to bring your own, it must be a low-backed beach on the plaza across from the café. Electronic cigarettes are allowed in the chair with a seat no more than six inches off the ground and a backrest no groves, plaza, and anywhere on the grounds with the exception of the taller than shoulder height. Amphitheater. Be scentsitive: Perfumes or scented lotions may cause discomfort to other BRUNS AMPHITHEATER patrons and may attract yellow jackets. Please keep use to a minimum. 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing Picnicking: You’re welcome to enjoy food and beverages during the address) performance, but please be courteous to others. Unwrap all items before the Hours: Box office and grounds open two hours before performance time. performance begins or at intermission so as not to disturb your fellow patrons. Come prepared for the outdoors: Blankets are available to the right of the main Amphitheater entrance for a suggested $2 donation; please dress ENVIRONMENTAL STEWARDSHIP warmly for cold nights and bring sunscreen and a hat for matinees. To keep Recycling: Please use the labeled recycling bins to discard glass, aluminum, yellow jackets at bay, keep food covered whenever possible and promptly plastic, and paper; a portion of the proceeds from the value of our recycled dispose of trash and recyclables. We’ve also found fabric softener dryer materials is donated to area schools. sheets work well to repel yellow jackets. Solar: Cal Shakes is one of the largest solar-powered outdoor professional Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift- theaters in the country. The 144 260-watt panels and four 9000-watt equipped shuttle service between the Orinda BART station and the Theater inverters of our Turn Key 37.4 kilowatt DC solar electric system are designed beginning 2 hours prior to and at the end of each performance. The shuttle to supply up to 98% of the power needs to the Bruns Amphitheater. runs approximately every 20 minutes; the final shuttle leaves the Orinda Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon BART station approximately 20 minutes before curtain. Orinda BART pickup Simpson Center’s living roof boasts native, drought-resistant plants. is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza. SHARON SIMPSON CENTER AMENITIES EVACUATION PLAN Café by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two hours before the performance and at intermission. Catering is available for STAG E groups (10+) and special events; call 925.939.9224. EXIT Bar: In addition to beer and wine at the café, we are now serving hand- crafted cocktails at our new bar located next to the café. THE SHARON SIMPSON EXIT CENTER Restrooms: Located to the left of the café. (Additional restrooms are located EXIT

in the Upper Grove.) P First Aid: For assistance, please go to the House Management Office, EXIT located inside to the left of the restrooms. Emergency Phone: Since we ask all patrons to silence cell phones EXIT ROUTE during performances, you may leave the House Office phone number PRIMARY AREA OF REFUGE EETNG AE FOR A (925.254.2395) as your contact number during a performance. AUDENE EBERS SECONDARY AREA OF REFUGE UPPER GROVE FIRE HYDRANTS

encoreartsprograms.com 27 2015 COMPANY Jonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR

2015 ARTISTIC COMPANY Carla Pantoja, Patrick Russell, Dan SCENIC ART Renée Gholikely, DONOR RELATIONS Amir Abdullah, ACTOR Saski, Anna Schneiderman, Michael Letty Samonte, SCENIC CHARGE ARTIST MANAGER Chris Akerlind, LIGHTING DESIGNER Shipley, Anna Smith, Jonathan Spector, Sophia Fong, Zoe Gopnik-McManus, Kjerstine Anderson, ACTOR Lauren Spencer, Teddy Spencer, Anya Kazimierski, Bill Plumb, SCENIC MARKETING & COMMUNICATIONS Arwen Anderson, ACTOR Jacinta Sutphin, Cat Thompson, Trish ARTISTS Janet Magleby, DIRECTOR OF MARKETING & Nina Ball, SCENIC DESIGNER Tillman, Maryssa Wanlass, Wendy COMMUNICATIONS Carlos Barrera, ACTOR Wisely, Elena Wright, Kat Zdan ELECTRICS Marilyn Langbehn, MARKETING & PR El Beh, ACTOR Lauren Wright, MASTER ELECTRICIAN MANAGER Aldo Billingslea, ACTOR ARTISTIC Kelly Kunaniac, ASSISTANT MASTER Whitney Spaner, PUBLICATIONS MANAGER Andrew Boyce, SCENIC DESIGNER Rebecca Novick, ASSOCIATE ARTISTIC ELECTRICIAN Penny Leyton, GRAPHIC DESIGNER/ Burke Brown, LIGHTING DESIGNER DIRECTOR Jennifer Estremera, Tianyi Hao, Melissa WEBMASTER Alison Carey, DRAMATURG Clea Shapiro, ARTISTIC ASSOCIATE Ramirez, Katie Valtcheva FOLLOWSPOTS Renée Gholikely, CORPORATE PARTNER Cliff Caruthers, SOUND DESIGNER Philippa Kelly, RESIDENT DRAMATURG Hamilton Guillén, Kyle Cameron, Berta RELATIONS COORDINATOR Catherine Castellanos, ACTOR Pibernat-Trias, SHOW ELECTRICIANS/ Dan Clegg, ACTOR TRIANGLE LAB CARPENTERS PATRON SERVICES Tristan Cunningham, ACTOR Rebecca Novick, TRIANGLE LAB DIRECTOR Sarina Renteria, Sara Sparks, BOARD Pam Webster, PATRON SERVICES Ted Deasy, ACTOR Lisa Evans, COMMUNITY PARTICIPATION PROGRAMMERS MANAGER Amanda Dehnert, DIRECTOR COORDINATOR Ashleigh Edelsohn, J Jha, Isabel SOUND Julie Eccles, ACTOR Leonard, Nan Noonan, Rhoda Brendan Aanes, SOUND ENGINEER Sonia Fernandez, DRAMATURG ARTISTIC LEARNING Slanger, Sheila Yee, PATRON SERVICES Dan Axe, SOUND BOARD MIXER Loretta Greco, DIRECTOR Clive Worsley, DIRECTOR OF ARTISTIC ASSOCIATES Charlie Trombadore, A2 Margo Hall, ACTOR LEARNING Sarah Nina Hayon, ACTOR Beverly Sotelo, ARTISTIC LEARNING COSTUMES & WARDROBE BOX OFFICE PROGRAMS MANAGER Derik Cowan, BOX OFFICE MANAGER Anthony Heald, ACTOR Naomi Arnst, COSTUME DIRECTOR Whitney Grace Krause, ARTISTIC Kelvyn Mitchell, ASSISTANT BOX OFFICE Kaiso Hill, ACTOR Jessa Dunlap, RENTALS MANAGER/ LEARNING COORDINATOR MANAGER Deirdre Rose Holland, STAGE MANAGER CRAFTSPERSON Josh Horvath, SOUND DESIGNER Brett Jones, CONSERVATORY Karina Chavarin, Morgen Warner, Kimberlee Hicks, LEAD BOX OFFICE COORDINATOR ASSOCIATE Alex Jaeger, COSTUME DESIGNER COSTUME DESIGN ASSISTANTS Stephanie Anne Foster, CONSERVATORY Brian Esparza, J Jha, Rena Lourie, Rafael Jordan, ACTOR Kitty Wilson, CUTTER/DRAPER COORDINATOR Jasmine Malone, BOX OFFICE ASSOCIATES Jason Kapoor, ACTOR Tasa Gleason, FIRST HAND/TAILOR’S Jacinta Sutphin, ASSISTANT Philippa Kelly, RESIDENT DRAMATURG ASSISTANT FRONT OF HOUSE Laxmi Kumaran, STAGE MANAGER CONSERVATORY COORDINATOR Linda Ely, Nelly Flores, Milena Geary, Sofie Miller, ASSISTANT CONSERVATORY Michael Ross, Rei Jackler, HOUSE Domenique Lozano, ACTOR STITCHERS COORDINATOR MANAGERS Rami Margron, ACTOR Marcy Frank, SPECIAL PROJECTS Cheryle Honerlah, CONSERVATORY Molly Conway, ASSISTANT HOUSE Dave Maier, RESIDENT FIGHT DIRECTOR Rena Simon-Igra, Kyo Yohena, COSTUME TECHNICAL COORDINATOR MANAGER Julian López-Morillas, ACTOR SHOP ASSOCIATE Sarawat Aimimthan, Heidi Hayame, Jonathan Moscone, DIRECTOR Suzanne Ryan, COSTUME VOLUNTEERS DIVERSITY & INCLUSION Belgica Rodriquez, Karla Barahona, Christopher Liam Moore, DIRECTOR Leandra Watson, WARDROBE LEAD Meg Neville, COSTUME DESIGNER Carmen Morgan, DIVERSITY & INCLUSION Natalie Barshow, Megan Finley, Ashley Skyler Larkin, HOUSE ASSOCIATES CONSULTANT Alex Nichols, LIGHTING DESIGNER Grambow, DRESSER Jamie Buschbaum, Jamila Cobham, 2015 PROFESSIONAL IMMERSION Rebecca Novick, DIRECTOR Jessica Carter, WIG/MAKEUP DESIGNER Derik Cowan, Susie Falk, Joyce PROGRAM Dan Ostling, SET DESIGNER Katherine Bettini, WIG/MAKEUP Fleming, Whitney Grace Krause, Amelia Furlong, B.D. Schwarz, ARTISTIC Andre Pluess, SOUND DESIGNER ASSOCIATE Lisa Anne Porter, ACTOR Marilyn Langbehn, Jonathan Moscone, Julia Acquistapace, Mary Isabel Cruz, Adrian Roberts, ACTOR Rebecca Novick, Clea Shapiro, Tirzah PROPERTIES Adron Duell, Michelle Hair, Tricia Charles Shaw Robinson, ACTOR Tyler, Pam Webster, TASK FORCE Sarah Spero, PROPERTIES MASTER Hakenwerth, JJ Hersh, Madeleine Stacy Ross, ACTOR Kirsten Royston, PROPERTIES ARTISAN Kelley, Maya Kozarsky, Sophie Nelson, Katherine Roth, COSTUME DESIGNER PRODUCTION Brittany White, WEAPONS MANAGER Sam Phillips, Elena Wasserman, Megan Sada, STAGE MANAGER Tirzah Tyler, DIRECTOR OF PRODUCTION & ARTISTIC LEARNING Sean San José, ACTOR FACILITIES OPERATIONS Tianyi Hao, CASTING Danny Scheie, ACTOR Jamila Cobham, ASSOCIATE PRODUCTION Jamie Buschbaum, SENIOR OPERATIONS Daniel Brooks, SCENIC CONSTRUCTION Douglas Schmidt, SCENIC DESIGNER MANAGER MANAGER Eliot Bacon, SOUND DESIGN Erika Chong Shuch, MOVEMENT Sarawat Aimimthan, Cordelia Miller, Brittany White, FACILITIES MANAGER Jenny Hiyama, SCENIC PAINTING CONSULTANT PRODUCTION COORDINATORS Erin Gibb, Brian Giguere, Noah Kramer, Isabel Leonard, PROPERTIES Lynne Soffer, VOICE AND TEXT COACH Charlie Trombadore, Paul White, Natalie Barshow, Emily Graily, Taelen Deborah Sussel, VOICE AND TEXT COACH STAGE MANAGEMENT FACILITIES TECHNICIANS Robertson, COSTUME DESIGN Karen Szpaller, STAGE MANAGER Deirdre Rose Holland, Laxmi Kumaran, Beatrice Hall, Nikki Harrigan, Porscha Rena Simon-Igra, Kyo Yohena, COSTUME Melissa Torchia, COSTUME DESIGNER Megan Sada, Karen Szpaller, Chris Owens, Reva Owens, SHUTTLE DRIVERS SHOP Jomar Tagatac, ACTOR Waters, STAGE MANAGERS Katie Bettini, WIGS & MAKEUP FINANCE AND ADMINISTRATION Liam Vincent, ACTOR Cheryle Honerlah, Christina Larson, Ingrid Civet, Jason Cohen, Laura Cordelia Miller, PRODUCTION ASSISTANTS Noralee Rockwell, DIRECTOR OF FINANCE Danek, Annette Koehn, STAGE TEACHING ARTISTS Joyce Fleming, DIRECTOR OF HUMAN MANAGEMENT Molly Aaronson-Gelb, Heidi Abbott, SCENIC RESOURCES Andy Alabran, Jason Bayoni, Ron Chris Hammer, TECHNICAL DIRECTOR Brian Luce, EXECUTIVE ASSISTANT/OFFICE Campbell, Elizabeth Carter, Michael Colin Suemnicht, ASSISTANT TECHNICAL MANAGER Cavanaugh, Scott Coopwood, Kelsey DIRECTOR Melissa Dimon, ACCOUNTING ASSISTANT Jake Ewonus, MASTER CARPENTER Dickman, Amber Flame, Stephanie DEVELOPMENT Foster, Britney Frazier, Gary Grossman, Harrison Chan, Jennifer Costley, John PRODUCTION PROGRAM Megan Barton, DIRECTOR OF Susan-Jane Harrison, Dave Maier, Wolfe, CARPENTERS Volume 24, No. 3 DEVELOPMENT Joshua Marx, Rebecca Kemper, De’Leon Hegler, SCENIC CARPENTRY Janet Magleby, EXECUTIVE EDITOR Andrew Page, GRANTS MANAGER FELLOW Whitney Spaner, EDITOR-IN-CHIEF Zoe Westbrook, INTERIM SPECIAL EVENTS Sampson Krause-Suemnicht, TECH DOG Penny Leyton, ART DIRECTOR MANAGER All listings current as of July 1, 2015.

28 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG WF 072815 nestegg fp.pdf

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Untitled-8 1 7/28/15 3:09 PM “I was a really shy kid but in Cal Shakes Conservatories I learned that I could participate with these other kids in this weird, wonderful world of Shakespeare. And I was able to keep going because Cal Shakes offered financial assistance to my family. Cal Shakes shaped who I am today and what I do. I am grateful to you, Jon.” —Zendaya, Cal Shakes Conservatory student (2005-2006) turned star and producer of the Disney Channel’s K.C. Undercover

“Jon’s clearly been an inspiration to the board and it was his compelling vision that gained our support for his Artistic Learning program which is now a thriving source of learning for thousands of Bay Area kids.” —Ellen Dale, long-time Cal Shakes supporter and current board member

“Under Jonathan’s vision we have (and I mean this literally and figuratively) torn down walls and pushed the boundaries of theater to make our work accessible to more people.” —Susie Falk, Cal Shakes Managing Director

“He made choices and gave artists full permission to test boundaries, to be honest about the material. I love this—it’s what theater is supposed to do!” —Margo Hall, Cal Shakes actor (2012-present)

30 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG JOY. That is the word that most comes to mind when we think of the legacy Jonathan Moscone will leave behind at Cal Shakes. He made it his job every day to bring the joy of performance to everyone—whether that be in classrooms, community centers, or right here at the Bruns.

Through his focus on Cal Shakes’ Artistic Learning program he brought the stage to schools—where students who may never have before seen or read a play, let alone discovered their own artistic voice, could feel free to set aside limits to discover uniquely creative skills that empower them academically and socially.

With the creation of the Triangle Lab, Cal Shakes’ community engagement program, Jonathan began to think outside the traditional theater space, making art more accessible to more people and celebrating the artist in everyone—specifically with the All the Bay’s a Stage tour and the Artist- Investigator program.

Throughout his tenure, he made strides to include more diverse works, casts, and crews, believing that the theater should be an accurate representation of the world around us and include and reflect all people, so that more voices and stories can be heard.

As we turn the page to Cal Shakes’ new chapter we will miss Jonathan’s boundless energy and fearless direction, but will always keep close his inclusive ideals and joyful spirit. For that, and so much more, we say, “thanks, and thanks, and ever thanks.”

encoreartsprograms.com 31 W Proud to celebrate Cal Shakes la Y “ Our goal is to preserve our client’s dignity and humanity.” il M Personal attention

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