Oct–Dec 2017 Season 51, Issue 2 Photo by Bruce Damonte by Photo Photo by Alessandra Mello Alessandra by Photo Photo by Alessandra Mello Alessandra by Photo

SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY

OCT–DEC 2017 SEASON 51, ISSUE 2 PHOTO BY BRUCE DAMONTE BY PHOTO PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO

The Strand Theater, located at Market and 7th in San Francisco, is a dynamic, versatile, and intimate complex, including a 120-seat event and performance space, a 283-seat theater, a welcoming lobby, and a café that’s open during the day.

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EAP full-page template.indd 1 7/17/17 3:09 PM October 2017 Volume 16, No. 2 music dance theater 2017/18 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY

The Hard Nut Paul Heppner Mark Morris Dance Group Publisher Susan Peterson Music by Tchaikovsky (The Nutcracker); Choreography by Mark Morris Colin Fowler, conductor; Members of the Berkeley Symphony Design & Production Director Piedmont East Bay Children’s Choir, Ensemble; Robert Geary, founding artistic director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst First Bay Area Performances in 5 years! Production Artists and Graphic Design Mike Hathaway Sales Director

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

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is winning nonprofit theater, nurtures the art of live theater at the center of our work. Our three-year, fully accredited through dynamic productions, intensive actor training, Master of Fine Arts Program is at the forefront of America’s and ongoing engagement with our community. Under the actor training programs. Meanwhile, our intensive Summer leadership of Artistic Director Carey Perloff and Executive Training Congress attracts students from around the world, Director Peter Pastreich, we embrace our responsibility to and the San Francisco Semester offers a unique study-abroad conserve, renew, and reinvent our rich theatrical traditions opportunity for undergraduates. Other programs include and literatures, while exploring new artistic forms and Studio A.C.T.—our expansive course of theater study for new communities. Founded by William Ball, a pioneer of adults—and the Professional Development Training Program, the regional theater movement, A.C.T. opened its first San which offers actor training for companies seeking to elevate Francisco season in 1967. We have since performed more than their employees’ business performance skills. Our alumni 350 productions to a combined audience of more than seven often grace our mainstage and perform around the Bay million people. Every year we reach more than 250,000 people Area, as well as on stages and screens across the country. through our productions and programs. A.C.T. also brings the benefits of theater-based arts education Rising from the wreckage of the earthquake and fire of 1906 to more than 16,000 Bay Area students and educators and hailed as the “perfect playhouse,” the beautiful, historic each year. Director of Education & Community Programs Geary Theater has been our home since the beginning. When Elizabeth Brodersen oversees both the world-famous Young the 1989 Loma Prieta earthquake ripped the roof apart, San Conservatory (for students ages 8 to 19), and our ACTsmart Franciscans rallied together to raise a record-breaking $30 education programs, including the Student Matinee (SMAT) million to rebuild the theater. The Geary reopened in 1996 with program that has brought thousands of young people to A.C.T. a production of The Tempest directed by Perloff, who took over performances since 1968. We also provide touring Will on in 1992 after the retirement of A.C.T.’s second artistic director, Wheels Shakespeare productions, teaching-artist residencies, gentleman artist Ed Hastings. in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 25-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, A.C.T. plays a leadership and theater made by, for, and about the Bay Area. Her fierce role in securing the future of theater for San Francisco and commitment to audience engagement ushered in a new era the nation. of InterACT events and dramaturgical publications, inviting everyone to explore what goes on behind the scenes.

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

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

415.749.2228 5 by Charles Dickens Adapted by Carey Perloff and Paul Walsh

Music by Karl Lundeberg Choreography by Val Caniparoli

Directed by Domenique Lozano Based on the original direction by Carey Perloff “A SMASH HIT! HOLIDAY TRADITIONS DON’T GET ANY BETTER.” Stark Insider “THE BEST CHRISTMAS CAROL EVER . . . A GUARANTEED GOOD TIME!” Jan Wahl, KCBS

Featuring a lively cast of dozens, gorgeous costumes, and those deliciously spooky ghosts, the Bay Area’s favorite holiday tradition—a sparkling, music-infused production of A Christmas Carol—returns to The Geary. Bring your family, bring your friends, and check your “humbugs” at the door!

OPENS DECEMBER 1 A.C.T.’S GEARY THEATER 415 Geary Street

BUY YOUR TICKETS TODAY AT ACT-SF.ORG/CAROL

The 2016 cast of A Christmas Carol. Photo by Kevin Berne. EXPERIENCE A.C.T.’S 17 18 SEASON

PACK AGES START AT $14 A PLAY

THE BAY AREA’S FAVORITE HOLIDAY TRADITION RETURNS THE MYSTERIOUS PINTER CLASSIC AN IRREVERENT ROAD-TRIP COMEDY

THE BIRTHDAY PARTY

THE HIT BROADWAY PLAY A NEW AMERICAN ODYSSEY A WORLD-PREMIERE MUSICAL

HEISEN BERG

ACT-SF.ORG/JOIN | 415.749.2228 | PHOTO BY T. CHARLES ERICKSON T. BY PHOTO

WHAT’S INSIDE The cast of the 2017–18 national tour of Small Mouth Sounds.

ABOUT THE PLAY INSIDE A.C.T.

11 LETTER FROM THE 24 THE STRAND HITS ITS STRIDE EDITOR SIMON HODGSON ARTISTIC DIRECTOR Your Stories, Your Space, Your Theater By Carey Perloff By Taylor Steinbeck ASSOCIATE EDITOR ELSPETH SWEATMAN 14 THE PURSUIT OF HAPPINESS 26 VINTAGE AND VANGUARD An Interview with Playwright Bess Wohl CONTRIBUTORS M.F.A. Actors Mix It Up in a New Season CAREY PERLOFF and Director Rachel Chavkin By Simon Hodgson TAYLOR STEINBECK By Simon Hodgson 28 SILENCE SHATTERED 16 THE MEDITATION MARKET Harold Pinter’s The Birthday Party A Brief History of Mindfulness By Elspeth Sweatman in America VOLUNTEER! A.C.T. volunteers provide an invaluable service By Elspeth Sweatman with their time, enthusiasm, and love of theater. Opportunities include helping out in our performing arts library and ushering in our theaters. act-sf.org/volunteer

DON’T JUST SIT THERE . . .

A CHRISTMAS CAROL PLAYTIME AT THE GEARY THEATER Dec 16, 12:30 PM Get hands-on with theater at this BIKE TO THE THEATER NIGHT interactive preshow workshop. Dec 1, 7 PM At A.C.T.’s free InterACT Ride your bike to A.C.T. and take To learn more and order tickets events, you can mingle with advantage of secure bike parking for InterACT events, cast members, join interactive and low-priced tickets at our preshow visit act-sf.org/interact. workshops with theater artists, mixer, presented in partnership with and meet fellow theatergoers the San Francisco Bicycle Coalition. at hosted celebrations in our lounges. Join us for A Christmas LEFT Carol and InterACT with us! Diana Gonzalez-Morett, M.F.A. class of 2017, in A Christmas Carol (photo by Kevin Berne).

415.749.2228 9 JOIN AMERICAN CONSERVATORY THEATER FOR

Saturday, December 9, 2017 11:30 a.m. MACY’S, UNION SQUARE Holiday Lane, Level 6 Adriana López Vermut, Chair

A FESTIVE DAY OF MEMORY-MAKING FOR THE WHOLE FAMILY featuring holiday arts & crafts, caroling, and special visits from Charles Dickens’s beloved characters, followed by a matinee performance of A Christmas Carol.

PRESENTING HOST

For tickets or more information, visit act-sf.org/dickens or call 415.439.2470.

Above Photo: Carmen Steele and James Carpenter in the 2016 production of A Christmas Carol. Photo by Kevin Berne. FROM THE ARTISTIC DIRECTOR

Dear Friends,

Silence is a mysterious phenomenon—it seems to compel If silence is a theme of the fall at A.C.T., then so is time: in and frighten us in equal measure. Harold Pinter famously November an absolutely unique piece will arrive at The Geary said, “There are two types of silence. One when no word is called Refuse the Hour, by visual art giant William Kentridge. spoken. The other when perhaps a torrent of language is being This brilliant South African painter, videographer, filmmaker, employed. . . . When true silence falls we are still left with and director has created a new work in collaboration with echo but are nearer nakedness. One way of looking at speech Harvard science historian Peter Galison that explores the is to say that it is a constant stratagem to cover nakedness.” mysterious nature of time in human experience. Starring Imagine the dramatic possibilities of putting a group of Kentridge himself—in collaboration with exceptional dancers characters into a heightened situation in which they must and musicians and surrounded by Kentridge’s astonishing co-exist for a week in the nakedness of silence. This is what visual imagination—Refuse the Hour is a once-in-a-lifetime Bess Wohl does so beautifully in Small Mouth Sounds. She asks event that builds on A.C.T.’s history of presenting astonishing us to watch the incredibly complex, surprising relationships multimedia work, from The Black Rider: The Casting of and mysteries that can develop between people when they the Magic Bullets to last season’s Needles and Opium. For can’t or won’t relate to each other through language. three performances in November, The Geary will be home to a magical confluence of great international artists in an In our hyper-scheduled, digitally aggressive culture, there is astonishing work of music-theater you won’t want to miss. an ever greater longing for silence, stillness, spiritual peace, and moral or emotional clarity. And because that has become Meanwhile, we have wonderful news from our Young harder to come by, we often go to great lengths to find it. Conservatory. In August, we hired Jill MacLean to become The Bay Area is home to several acclaimed retreat centers, A.C.T.’s new Young Conservatory director. Following upon including Spirit Rock in Marin County, where those seeking the acclaimed 29-year tenure of Craig Slaight, MacLean solace and enlightenment can go for weeks or even months arrives at the YC with a major pedigree of her own: she is as they are guided in meditation on a variety of subjects. an educator, director, arts leader, and advocate of young Among the fascinating things about these silent retreats is the people, with an extensive resume that includes distinguished intimacy of spending time with people whose voices you never teaching experience at institutions across the Bay Area. hear. Small Mouth Sounds lets us inside the minds of a group of One of MacLean’s goals is to align the YC more closely with anxious people at one such retreat. Its comedy and heartbreak A.C.T.’s Education & Community Programs so that young come from the extreme situation of needing connection and people of every background and level of interest can find a hope from total strangers in total silence, with no guideposts creative home at A.C.T. She will be working in collaboration about how to behave. This play seems perfectly suited to the with Education & Community Programs Director Elizabeth condition in which we find ourselves in contemporary San Brodersen and Conservatory Director Melissa Smith as she Francisco, and we are delighted to have this opportunity to develops her vision for the Young Conservatory, and we are share the work of one of the most original new voices in the delighted to welcome her to A.C.T. American theater. Welcome to Small Mouth Sounds! It is perhaps not a coincidence that Small Mouth Sounds arrives at A.C.T. on the heels of Hamlet, which ends with the Warmly, dying title character telling his friend Horatio, “The rest is silence.” In Hamlet, Shakespeare reminds us how desperately we wish to be remembered, but how often we have no way of knowing whether the stories we leave behind will stand the test of time. Carey Perloff Artistic Director

11 ONLY @THESTRAND

COLIN QUINN ONE IN EVERY CROWD From the old MTV days to SNL, from Comedy Central and observation and storytelling. So, if you enjoyed his other HBO’s Girls to hit Broadway shows, Colin Quinn is apparently one-man shows, or you are just at a place in your life where refusing to leave the business. With his sly, razor-sharp you’re lost and need intelligent laughs, come see his new wit and unique perspective, Quinn is a master of comedic show: One in Every Crowd. DECEMBER 14–17, 2017

GET YOUR TICKETS TODAY AT ACT-SF.ORG/ATTHESTRAND OR CALL 415.749.2228. CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director IN ASSOCIATION WITH EVA PRICE STACEY MINDICH BETSY BERNSTEIN ARS NOVA CATHERINE ADLER/SEAN HUDOCK BURNT UMBER PRODUCTIONS AMANDA DUBOIS REBECCA GOLD SALLY HORCHOW IRIS SMITH CRAIG BALSAM/KURT DEUTSCH ERIC CORNELL/JENNA SEGAL

PRESENTS

BY BESS WOHL DIRECTED BY RACHEL CHAVKIN

CAST CREATIVE TEAM JAN CONNOR BARRETT SCENIC DESIGNER LAURA JELLINEK NED BEN BECKLEY COSTUME DESIGNER TILLY GRIMES RODNEY EDWARD CHIN-LYN LIGHTING DESIGNER MIKE INWOOD TEACHER ORVILLE MENDOZA SOUND DESIGNER STOWE NELSON ALICIA BRENNA PALUGHI PROPS DESIGNER NOAH MEASE JOAN SOCORRO SANTIAGO VIDEO DESIGNER ANDREW SCHNEIDER JUDY CHERENE SNOW ASSOCIATE DIRECTOR LAUREN Z. ADLEMAN UNDERSTUDY SAFIYA FREDERICKS PRODUCTION STAGE MANAGER JAMES STEELE UNDERSTUDY JOMAR TAGATAC ASSISTANT STAGE MANAGER MEGAN MCCLINTOCK STAGE MANAGEMENT FELLOW BRI OWENS

THIS PRODUCTION MADE POSSIBLE BY PRODUCERS: LINDA JO FITZ | RODMAN AND ANN MARYMOR | KATHLEEN SCUTCHFIELD ASSOCIATE PRODUCERS: VICKI AND DAVID FLEISHHACKER | PAUL AND JULIE SEIPP

MANAGEMENT PRODUCTION MANAGER J. MICHAEL STAFFORD GENERAL MANAGEMENT MAXIMUM ENTERTAINMENT CASTING DIRECTOR HENRY RUSSELL BERGSTEIN, CSA

AN ARS NOVA PRODUCTION

ORIGINALLY DEVELOPED AND WORLD PREMIERE BY ARS NOVA JASON EAGAN, FOUNDING ARTISTIC DIRECTOR | RENEE BLINKHOLT, MANAGING DIRECTOR

THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMBERS OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES

415.749.2228 13 ABOUT THE PLAY

Small Mouth Sounds started life at a silent retreat, though playwright Bess Wohl didn’t know that at the time. She only showed up at the retreat to spend time with a friend. “I didn’t THE PURSUIT even realize that we were going to be in silence,” she says. But the experience triggered her storytelling instincts. By the end of the first day, the playwright was secretly making notes. OF HAPPINESS After workshopping the play at Ars Nova, a New York–based incubator of new work, Wohl was paired with Rachel Chavkin, a AN INTERVIEW WITH PLAYWRIGHT young director with an eye for innovative productions. The pair hit it off, working together to develop Small Mouth Sounds into BESS WOHL AND DIRECTOR RACHEL CHAVKIN an off-Broadway hit. As the production’s national tour arrives BY SIMON HODGSON on the West Coast, we caught up with Wohl and Chavkin.

How did the storytelling of Small Mouth Sounds go from secret notes to a fully staged production?

Bess Wohl: I first tried a draft with lots of “cheating” in the form of dialogue. Then one with absolutely no speech. After erring too far in both directions, I found a middle path that felt right. Then I workshopped the play three times with actors and a director.

Rachel Chavkin: Once we had a cast, it became about doing scenes again and again in rehearsal. For the first production of this play, Bess was out of town a lot because her television show [ABC’s Broad Squad] had been picked up. The actors and I would make two or three different versions of a scene and then Bess would come in and we would run it and then she and I would talk. Bess has done some directing, she’s done a lot of acting, she’s multidisciplinary. So she and I can have great conversations around this character’s skewing a little this way or that way. What’s so crazy is that the entire meaning of a scene can feel radically different depending on what direction a character is looking when she puts her bag down.

BW: Seeing a play embodied in space for the first time is always revelatory, but in this case it was especially important, since there’s no way to do a reading of the piece. As we moved from rehearsals into production, it was fascinating to see how audiences searched for clues about the story. I began to think of the play as a mystery, with the audience as the detectives trying to uncover who these characters are.

LEFT Rachel Chavkin OPPOSITE Bess Wohl PHOTO BY CHAD BATKA

14 ACT-SF.ORG play, a colleague noted that every time an audience goes to a play, they’re expected to sit and be quiet—essentially they’re on a “silent retreat.” My hope is that the play creates PHOTO BY BEN ARONS a sense of community among the people who go see it, and that beyond having passively witnessed something, they’ve participated in an active experience together.

RC: Small Mouth Sounds raises a deep question about the pursuit of happiness and whether we should be happy. Those questions are really at the heart of California, which is such a pioneer in mindfulness.

What’s your own experience of mindfulness, wellness, and silent retreats?

RC: It’s my existential nightmare. [Laughs] Bess has done a number of meditation retreats. I have not. I sometimes think I’ll try yoga, because I know it’d be good in terms of flexibility. But it’s not where I live. I do think I’m quite present most of the time; I’m a long-distance runner, which is very meditative.

BW: I have benefited a great deal from my study of “MY HOPE IS THAT THE PLAY CREATES A SENSE mindfulness, which has been intertwined with the making of OF COMMUNITY AMONG THE PEOPLE WHO GO this play. Though I was a novice when I started writing this, and in many ways still am, through the play I’ve come into SEE IT, AND THAT BEYOND HAVING PASSIVELY contact with people and teachers who have transformed me and my relationship to spirituality. A mindfulness teacher told WITNESSED SOMETHING, THEY’VE PARTICIPATED me about the Tibetan idea that the success of a work of art IN AN ACTIVE EXPERIENCE TOGETHER.” should be measured by the degree to which the process of making it changed the artist. I love that way of thinking of —BESS WOHL art-making, and am always seeking to be a different person when I’m done with a play than I was when I began it.

Why do you think Small Mouth Sounds resonates with audiences?

RC: It’s the humor. Bess’s work is so beautiful, but it’s also rooted in the absolute pain and mortification of being human. Each of the characters is living inside that while being sort of a fool. There’s something about the horror show of the moment that we’re in, mingled with the extreme Want to know more about Small Mouth Sounds? vulnerability of living our very short and very tiny lives. Words on Plays is full of original essays and interviews that give you a behind-the-scenes look. BW: The epigraph at the beginning of the script is the Proceeds from sales of Words on Plays benefit first of Buddhism’s Four Noble Truths: “Life is suffering.” A.C.T.’s education programs. While that might sound like a daunting way to begin a play, there’s something freeing and universal in coming together, acknowledging that obvious fact, and letting it unite us. Within Available at the box office and lobby, at the bars, and that suffering, of course, there’s tons of humor, joy, and act-sf.org/wordsonplays nobility in continuing the struggle. When I began work on this

415.749.2228 15 ABOUT THE PLAY THE MEDITATION A BRIEF HISTORY OF MINDFULNESS IN AMERICA MARKET BY ELSPETH SWEATMAN

Mindfulness is seemingly everywhere: touted by celebrities, After World War II, the position of mindfulness changed your boss, your best friend, online, at the gym, and in your dramatically in the United States. Many colleges and local bookstore. Like the characters in Small Mouth Sounds, universities established religious studies departments, many of us are searching for ways to disconnect from our educating each new generation about Buddhism. The US increasingly busy lives and reconnect with ourselves. But government relaxed many of the immigration laws, opening mindfulness in America today seems a contradiction in terms; new channels of communication and outreach between it is not only a means to help us relax and recharge, but also America and Asia. Increasing political and military involvement a business powerhouse, raking in an estimated $4.2 billion a in Asian affairs kept media attention on Asian culture. And year. This juxtaposition of relaxation and commerce, however, young adults, disillusioned by the Korean and Vietnam wars, has only appeared in the last 50 years. turned to Asian culture for solace and guidance.

Mindfulness first arrived in America in the 1840s, as Buddhist Among these young adults were the Beats, a literary Asian immigrants poured into California in search of gold, counterculture movement. Writer Jack Kerouac was and East Coast academics became enamored of the religion particularly taken with mindfulness. The protagonist of his and the esoteric man at its center, the Buddha. For these novel The Dharma Bums (1958) meditates and even secludes academics, mindfulness was just another aspect of Buddhism himself in the wilderness for a summer to reconnect with to be studied, not practiced in its own right. However, as the himself and the world around him. Soon, Kerouac’s book was nineteenth century gave way to the twentieth, increasingly joined on bookstore shelves by nonfiction works recounting stringent laws brought Asian–US immigration to a standstill the experiences of Westerners who had traveled to Asia to and rising ethnic tensions curtailed interest in Buddhism. train with leading Buddhist monks.

16 ACT-SF.ORG A BRIEF HISTORY OF MINDFULNESS IN AMERICA BY ELSPETH SWEATMAN

The Gouden Buddha. COURTESY WIKIMEDIA COMMONS. LEFT: PHOTO BY ISHAN GUPTA

By the 1980s, it was American mindfulness practitioners, not Buddhist monks, who were leading the growth of the industry. High-profile advocates such as rocker Leonard Cohen, actor Richard Gere, basketball coach Phil Jackson, and author Alice Walker touted the benefits of mindfulness, bringing new awareness to the practice. And the Baby Boomers who had participated in mindfulness’s blossoming in the middle of the twentieth century were settling down in the suburbs and searching for ways to apply mindfulness to daily lives filled with packing school lunches, carpooling children, and View of San Francisco looking north toward Tiburon. weekend DIY. Meditation teachers adjusted their offerings to meet these new needs.

With the turn of the millennium, the mindfulness industry received a boost from the resurgence of another industry in It wasn’t until the 1970s that mindfulness and Buddhism began America: self-help. As Americans sought to improve every to diverge. Buddhist monks teaching in America, as well as aspect of their lives, from clean eating to decluttering to American-born Buddhist practitioners and psychologists, all saw breaking bad habits, mindfulness practitioners were ready ways to apply mindfulness to the stresses of suburban life and with suggestions and support. Mindfulness’s increasing modern medical practices. They started to market mindfulness exposure caught the attention of big business; Target, Aetna, as a way to increase concentration and productivity, reduce Hearst Publications, eBay, General Mills, and Ford incorporated stress, and deal with chronic pain and mental illnesses. mindfulness training into their programs to boost the happiness and productivity of their employees. The summer of 1974 marked the beginning of one major aspect of the growing business of mindfulness: silent retreats. While these recent changes have significantly increased At Vajradhatu in Boulder, Colorado, mindfulness disciples mindfulness’s presence in our daily lives, they have also gathered for a retreat run by former monk Chogyam Trungpa. affected other aspects of the industry. Mindfulness is now an Among the attendants were the composer John Cage, poet activity that more and more people are taking up on their own, Allen Ginsberg, and American-born mindfulness practitioners rather than in group sessions and retreats. With all the books, Jack Kornfield and Joseph Goldstein. It was this silent apps, websites, and instructional YouTube videos available at retreat that inspired Kornfield and Goldstein to found Insight the click of a button, mindfulness can now be done anywhere. Meditation Society in Barre, Massachusetts, and Spirit Rock But will these changes result in mindfulness becoming more Meditation Center in Woodacre, California, just 25 miles north firmly entrenched in our daily routines, or will it send us, like of the Golden Gate Bridge. the characters in Small Mouth Sounds, to escape our gadget- filled lives in the silence of a meditation retreat?

415.749.2228 17 WHO’S WHO IN SMALL MOUTH SOUNDS CONNOR EDWARD BRENNA BARRETT (Jan) CHIN-LYN PALUGHI (Alicia) makes his A.C.T. (Rodney) was born in has appeared on debut with Small Toronto, but now Broadway in A Time Mouth Sounds. calls New York City to Kill as well as off Barrett has acted in home. He has Broadway in Scared several of writer and appeared in the of Sarah (La MaMa director Adam television series Experimental Rapp’s works, including The Purple Jessica Jones, Feed the Beast, Limitless, Theatre Club), and Naked in a Fishbowl Lights of Joppa Illinois (Atlantic Theater Elementary, Person of Interest, The and King Lear (Cherry Lane Theatre). Company), Finer Noble Gases Mysteries of Laura, and Mysteries at the Her regional theater credits include (Rattlestick Playwrights Theater), The Museum. He is also a supporting actor in Phèdre, Orlando, and Three Sisters (Yale Metal Children (Vineyard Theatre), and the upcoming Netflix film Set It Up. His Repertory Theatre), and World Builders Sam Shepard’s True West (Actors theater credits include KPOP (workshops (Contemporary American Theater Theatre of Louisville). He has also at Ars Nova, Ma-Yi Theater Company, and Festival). Palughi has acted in television performed in productions at Geva Woodshed Collective), True West series and films such as High Theatre Center, McCarter Theatre (Curious Frog Theatre Company), Maintenance, The Family, The Mysteries Center, Williamstown Theatre Festival, Reconstruction (International WOW of Laura, Royal Pains, Mozart in the Summer Play Festival, and the New York Company), Leviticus (Theatre 4the Jungle, She She, and Synecdoche, New Fringe Festival. His film and television People, Ohio Theatre), The Brig (The York. Also a filmmaker, she wrote and credits include The Runaround, Hot in Living Theatre), Wake (Connelly Theater), directed a short film called Close. She Cleveland, True Blood, Parks and You Can’t Take It with You (T. Schreiber has an MFA from Yale School of Drama, Recreation, CSI: NY, Harry’s Law, Rita Studio), A Grimm Reality (Theatre 4the founded Virago Theatre Company, and Rocks, Do Not Disturb, The Jury, and People), and A Year in the Life of Twenty- is a proud company member of The Guiding Light. Barrett holds a BFA in Five Strangers Living in a City by the Lake Actors Center. acting from Northwestern University (Algonquin Theater). and an MFA in acting from New York SOCORRO University’s Tisch School of the Arts. ORVILLE SANTIAGO MENDOZA (Joan) has BEN BECKLEY (Teacher) was last performed at several (Ned) recently seen at A.C.T. in prominent New York appeared in Dying The Orphan of Zhao theaters, including For It at Atlantic as General Wei Jiang. Roundabout Theatre Theater Company He is a Drama Desk Company, Clubbed and the first national Award nominee and Thumb, Rattlestick Playwrights Theater, tour of Peter and the Barrymore Award winner who has The Public Theater, INTAR Theatre, Starcatcher. Beckley performed on Broadway in Peter and the Ensemble Studio Theatre, Brooklyn has performed in plays at Clubbed Starcatcher and Pacific Overtures. His Academy of Music, Ma-Yi Theater Thumb, New Georges, The Actors off-Broadway credits include Pacific Company, 59E59 Theaters, and The Lark. Company Theatre, and Berkshire Overtures and Passion (Classic Stage She was also in the chorus for the Theatre Group; musicals with Prospect Company); Found (Atlantic Theater Broadway production of The Bacchae. Theater Company, Joe’s Pub (The Public Company); and Romeo and Juliet, Timon Regionally, she has worked at Long Theater), and Playhouse on Park; four of Athens, and Road Show (The Public Wharf Theatre, Goodman Theatre, international tours with Temporary Theater). Mendoza has also acted at Victory Gardens Theater (Joseph Distortion; and five original works with several regional theaters such as La Jolla Jefferson Award), Huntington Theatre The Assembly. His on-camera credits Playhouse, Philadelphia Theatre Company (IRNE nomination), include The Onion, The Jew of Malta, Company, Kansas City Repertory Theatre, Shakespeare Theatre Company, and and Easy Living. East West Players, Goodspeed Musicals, Guthrie Theater. Santiago has appeared and Long Wharf Theatre. His television in the television series Mozart in the credits include The Blacklist, Law & Order: Jungle, Seven Seconds, Law & Order, Criminal Intent, and many commercials. Characters, Blue Bloods, and All My

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States

18 ACT-SF.ORG Children (ALMA award), as well as the JOMAR films Freedomland, Heaven’s Prisoners, TAGATAC The Devil’s Advocate, and iCreep. (Understudy) most Recently, she finished filming on Steve recently appeared in McQueen’s Widows. A.C.T.’s Hamlet as Fortinbras. His CHERENE recent Bay Area SNOW (Judy) credits include shared the stage with Jacques in As You Like It (California Scarlett Johansson in Shakespeare Theater), Doctor/Smuggler/ the 2012 Broadway Well Inhabitants in You For Me For You production of Cat on (Crowded Fire Theater), and Fortunado/ a Hot Tin Roof. Her Mata in Monstress (A.C.T.). Other credits off-Broadway and include Lin Bo in Caught (Shotgun regional credits include Walking Down Players); Clarín in Life Is a Dream Broadway, The Last of the Thorntons, (California Shakespeare Theater); Perlita/ Welcome to Fear City, Having Our Say, General Ledesma in Dogeaters (Magic The Little Foxes, Fata Morgana, Theatre); Jesus in India, Every Five brownsville song: b-side for tray, Civil War Minutes, and The Happy Ones (Magic Voices, Black Pearl Sings, To Kill a Theatre); and Rights of Passage (New Mockingbird, Coyote on a Fence, and Conservatory Theatre Center). He has Doubt, A Parable. Her film and television also been in workshops for A.C.T., Magic appearances include Arthur, Perhaps Theatre, Marin Theatre Company, Oregon Tomorrow, My Sassy Girl, City of Angels, Shakespeare Festival, TheatreWorks, and The Long Walk Home, Law & Order, Law & Playwrights Foundation. Tagatac earned Order: Special Victims Unit, Third Watch, a BA in theater from San Diego State and Chappelle’s Show. University and an MFA from A.C.T.

SAFIYA BESS WOHL (Playwright) is a FREDERICKS playwright and screenwriter from (Understudy) returns Brooklyn, New York. Her plays include to A.C.T., where she Small Mouth Sounds (Top Ten of Proud to previously appeared 2015 in The New York Times, The onstage in Tom Guardian, New York Post, and others; Stoppard’s The Hard Best of 2016 in New York Magazine Support Problem. Other recent and others), Continuity (Goodman credits include the world premiere of Theatre’s New Stages Festival), A.C.T. Aubergine at Berkeley Repertory Theatre, American Hero, Barcelona (Ovation Much Ado about Nothing at California Award nomination), Touch(ed), In, Cats Shakespeare Theater, Blackademics at Talk Back, and the original musical Crowded Fire Theater, Once on This Island Pretty Filthy in collaboration with at TheatreWorks, and the title role in Michael Friedman and The Civilians Personal attention Antigone at San Jose Repertory Theatre. (Lucille Lortel and Drama Desk Award thoughtful litigation Past favorites include The Civilians’ nominations for Outstanding Musical). final resolution production of In the Footprint and By Her work has been produced and

Hands Unknown at the New York developed at Second Stage Theater, Our goal is to preserve our LAW FAMILY International Fringe Festival. Fredericks Ars Nova, Williamstown Theatre client’s dignity and humanity. received a Bay Area Theatre Critics Circle Festival, Geffen Playhouse, and many Award nomination for her role as the Witch other theaters. She is the recipient in Into the Woods at San Francisco of Drama Desk’s Sam Norkin Off- FA M I LYLAW G R OUP, P. C . Playhouse. She plays the female lead in the Broadway Award for “establishing filmAmerica Is Still the Place and can be herself as an important voice in New 575 Market Street, Suite 4000 heard as the voice of PBS’s Independent York theater” and Outer Critics Circle’s San Francisco, CA 94105 Lens. She studied at the London Academy John Gassner Award. Wohl has also 415.834.1120 of Music and Dramatic Art (LAMDA) and developed projects for HBO, ABC, www.sflg.com UC Irvine. USA, Disney, Paramount, and others.

415.749.2228 19 RACHEL CHAVKIN (Director) is an operas such as Opera Theatre of Saint Obie Award–winning and Tony Award– Louis, Boston Lyric Opera, Opera Theatrical nominated director. She is also the Philadelphia, The Atlanta Opera, and artistic director of the Brooklyn-based Juilliard. Jellinek has an Obie Award for Paintings performance company, The TEAM. Sustained Excellence in Set Design. by Barbara Fracchia Selected work includes Dave Malloy’s Natasha, Pierre & the Great Comet TILLY GRIMES (Costume Designer) of 1812 (Ars Nova, Kazino, American is an English theater designer based Repertory Theater, Broadway), Marco in New York. Recent and upcoming Ramirez’s The Royale (The Old Globe, credits include Underground Railroad Lincoln Center Theater), Bess Wohl’s Game (Ars Nova, international and Small Mouth Sounds (Ars Nova, national tour), Small Mouth Sounds, Signature Theatre Company, national and Deathless (Goodspeed Musicals). tour), Anaïs Mitchell’s Hadestown (New In New York, she has worked with York Theatre Workshop), and multiple Roundabout Theatre Company, Ars collaborations with Taylor Mac, including Nova, Clubbed Thumb, HERE Arts The Lily’s Revenge and Act 2 (HERE Center, The Barrow Group, New Arts Center). The TEAM’s work has Georges, and La MaMa Experimental been seen worldwide, including at The Theatre Club. Regionally her work has Public Theater, Performance Space 122, been seen at Williamstown Theatre London’s National Theatre, Royal Court Festival, Oregon Shakespeare Festival, Theatre, National Theatre of Scotland, The Wilma Theater, Two River Theater, and festivals across Europe, Australia, Trinity Repertory Company, Pittsburgh and Asia. Chavkin is the winner of three Public Theater, and Westport Country Obie Awards; Drama Desk, Elliot Norton, Playhouse. Opera credits include and IRNE awards; and multiple Lucille productions at Boston Lyric Opera, Lortel Award nominations. She was Curtis Institute of Music, and The twice nominated for the Doris Duke Juilliard School. She received her Impact Award and was nominated for MFA from New York University’s Tisch the Tony Award for Best Direction for School of the Arts and has taught her work on Great Comet. She and in Brown University’s MFA directing Dave Malloy are recipients of the 2017 program. Grimes has received the Smithsonian Award for Ingenuity. Balsamo Grant for Emerging Immigrant Artists, the Irish Arts Design Award, LAURA JELLINEK (Scenic Irish Times Theatre Award nomination, Designer) is an Obie Award–winning and the Onstage Critics Award. designer who recently designed the set for Marvin’s Room on Broadway. MIKE INWOOD (Lighting Designer) Her off-Broadway credits include designed the off-Broadway premieres The Antipodes, Everybody, The of Small Mouth Sounds (Signature Wolves, A Life (Lucille Lortel Award, Theatre Company), Hir (Playwrights Drama Desk Award nomination), Horizons), Stupid Fucking Bird (The Marjorie Prime, The Nether (Lucille Pearl Theatre Company), Out Cold/Zippo Lortel Award nomination), The Songs (Brooklyn Academy of Music), Village Bike, and Buzzer. She has Half Moon Bay (Lesser America, Cherry worked on multiple projects with Lane Theatre), and Miles for Mary (The The Debate Society and The Mad Mad Ones). He has worked regionally Ones. Regionally, she has designed with Boston Lyric Opera, Philadelphia Small Mouth Sounds for Yale Repertory Theatre, Bard Theatre Company, Magic Theatre, 36 x 12, oil on canvas SummerScape, Cincinnati Playhouse Pittsburgh Opera, Perseverance Theatre, in the Park, Oregon Shakespeare Company of Fools, and Hudson Valley Festival, Williamstown Theatre Shakespeare Festival. He received an Festival, and South Coast Repertory. Emmy Award in 2010 for NBC’s coverage She has also designed for several of the Vancouver Olympic Games.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States

20 ACT-SF.ORG STOWE NELSON (Sound Designer) are The Lyons (Broadway), Gloria, Kid Frances Ha, and Two Lovers. He is has designed sound for several New Victory, Middletown, Wig Out!, Preludes, the former manager of East Coast York productions, including Animal 3C, Gorilla Man, and Natasha, Pierre & casting for Warner Bros. in New York. at Atlantic Theater Company; The the Great Comet of 1812 (Ars Nova). Skin of Our Teeth at Theatre for a His film and television credits include LAUREN Z. ADLEMAN (Associate New Audience; The Wolves at The the US casting of Black Mirror (seasons Director) is a Brooklyn-based director Playwrights Realm; Miles for Mary and 3–4), Mozart in the Jungle, The Sinner, who has an affinity for stories exploring Samuel & Alasdair: A Personal History of Saturday Church, Love After Love, the nature of identity colliding with an the Robot War at The Mad Ones (Drama Beauty Mark, It Felt Like Love, Grandma, external culture. Recent credits include Desk Award nominations); Indian and the New York casting of Spider-Man: the premiere productions of Black Summer at Playwrights Horizons; and Homecoming. As a casting associate, Hollow (Columbia University School The Painted Rocks at Revolver Creek Bergstein worked on Manchester by of the Arts), Journey to the Center and The Wayside Motor Inn at Signature the Sea, The Grand Budapest Hotel, of a Black Hole (Alchemical Theatre Theatre Company. His regional credits include The Roommate at Williamstown Theatre Festival; What Would Crazy Horse Do? at Kansas City Repertory Theatre; Cry it Out and I Now Pronounce at Humana Festival of New American Plays; and The Book of Will at the Denver Center for the Performing Arts.

NOAH MEASE (Props Designer) has worked as a designer on numerous off-Broadway productions such as John (Signature Theatre Company, Obie Start With a Course. Award); Hadestown (New York Theatre Workshop); Natasha, Pierre & the Great Find Your Passion. Comet of 1812 (American Repertory Theater); Small Mouth Sounds (Ars Nova); An Octoroon (Soho Rep., Theatre for a New Audience); The Nether (MCC Theater); Jacuzzi (Ars Nova); and Blood Play (The Bushwick Starr, The Public Theater). As a playwright, Mease’s works include Republic (JACK, Manbites Dog Theater) and Omega Kids (Dixon Place).

ANDREW SCHNEIDER (Video Designer) is an award-winning performer, writer, and interactive electronics artist. His performance works include YOUARENOWHERE (2015 Obie Award, 2016 Drama Desk Award nomination), Dance/ Field (Roulette Intermedium, Inc.), and WOW+FLUTTER (The Chocolate Factory). Schneider has designed videos for The Wooster Group and was a company member from 2007 to 2014.

HENRY RUSSELL BERGSTEIN, CSA (Casting Director) cast the original New York productions of Small Mouth Sounds with Lauren Port. Other New York productions he has cast

415.749.2228 21 MEGAN MCCLINTOCK (Assistant Nutcracker; 50 Shades! The Musical; Ivy LOOKING FOR A UNIQUE Stage Manager) returns to A.C.T. with + Bean, The Musical; Blank! The Musical; SAN FRANCISCO SPACE FOR Small Mouth Sounds. Past A.C.T. credits and Colin Quinn: Long Story Short. YOUR UPCOMING EVENT? include assistant stage-managing King HOST YOUR GATHERING AT Charles III, Between Riverside and Crazy, EVA PRICE (Producer) is a Tony A.C.T.’S GEARY THEATER! A Little Night Music, and Indian Ink. She Award–winning producer whose often works across the bay at Berkeley credits include over 15 Broadway plays, Repertory Theatre. Her favorite Berkeley musicals, and concerts. She is a member THE GARRET ROOM This charming, private space is ideal for Rep credits include Mary Zimmerman’s of The Broadway League’s Board of dinner parties, cocktail receptions, and Treasure Island, The Intelligent Governors and was named one of meetings. Capacity: 110 Homosexual’s Guide to Capitalism and Crain’s New York Business 40 Under 40 THE SKY BAR Socialism with a Key to the Scriptures, honorees. She is executive producer for A classy backlit lounge and bar perfect Girlfriend, The Arabian Nights, The White Maximum Entertainment, a producing for receptions at which mingling is key. Capacity: 135 Snake, No Man’s Land, Dear Elizabeth, and general management company and How to Write a New Book for located in New York. Recent Broadway FRED’S COLUMBIA ROOM the Bible. Other local credits include and off-Broadway productions include AND NANCY’S BAR A comfortable and elegant option with productions at California Shakespeare Dear Evan Hansen (six Tony Awards); versatile possibilities. Capacity: 228 Theater, Aurora Theatre Company, Marin On Your Feet!; Frankie Valli and the Four

THE MAIN THEATER Theatre Company, Center REPertory Seasons on Broadway!; Peter and the This main theater has been impressing Company, and San Francisco Opera. Starcatcher; Found; Hershey Felder as audiences for a hundred years. McClintock has a BA in theater and Irving Berlin; John Grisham’s A Time To Capacity: 1,015 history from Willamette University. Kill; Lewis Black: Running on Empty; Annie; Kathy Griffin Wants a Tony; Colin J. MICHAEL STAFFORD Quinn: Long Story Short; The Merchant (Production Manager) joins the of Venice, starring Al Pacino; The

For more info please visit act-sf.org/rentals production as a freelance production Addams Family; Carrie Fisher’s Wishful or contact Amy Hand at [email protected] manager and technical director Drinking; and Dr. Seuss’ How the Grinch based in Brooklyn, New York. Over Stole Christmas! The Musical. Price has the past decade, he has worked also produced a number of international Laboratory), Ambition: the female in production departments with productions and national tours. American serial killer musical (Ars various touring and New York City– Nova ANT Festival), and Malefactions based companies such as Maximum MAXIMUM ENTERTAINMENT (Chinatown Soup). Adleman was Entertainment, Technical Producing PRODUCTIONS STAFF the 2015–16 Robert Moss Directing Group, Troika Entertainment, Big Eva Price Fellow at Playwrights Horizons, and League Productions, Williamstown Carl Flanigan is an alumna of the 2017 Lincoln Theatre Festival, The Juilliard School, Andrew Hartman Center Theater’s Directors Lab. and Mind the Gap, Inc. Stafford Danielle McGarry received a BFA in theatre design and Avram Freedberg JAMES STEELE (Production technology from University of the Mary Beth Dale Stage Manager) has worked on the Arts in Philadelphia, Pennsylvania. SMALL MOUTH SOUNDS Broadway productions of Mrs. Warren’s NATIONAL TOUR STAFF Profession and One Man, Two Guvnors. MAXIMUM ENTERTAINMENT You-Shin Chen, Associate Set Designer He also has several off-Broadway (General Management) is a producing, Caity Mulkearns, Assistant credits, including By The Water developing and management company Costume Designer (Manhattan Theatre Club); Pageant founded by Avram Freedberg, Mary Cecilia Durbin, Associate (SAS Productions, Inc.); Tail! Spin! (Lynn Beth Dale, and Eva Price, and is Lighting Designer Redgrave Theater at Culture Project); joined by Managing Director/General Beth Lake, Associate Sound Designer Natasha, Pierre & the Great Comet of Manager Carl Flanigan. General Gil Sperling, Associate Video Designer 1812 (Ars Nova); My Name is Asher management credits on Broadway, off Satchel Buck Jones, Casting Associate Lev (Westside Theatre); An Iliad (New Broadway, and on tour include Born Ben Arons, Production Photographer York Theatre Workshop); The Tribute For This; Cruel Intentions: The Musical; Artist (Primary Stages); and The Divine Frankie Valli and the Four Seasons ADDITIONAL CREDITS Sister (DR Theatrical Management). On Broadway!; Carefree: Dancin’ With Aaron Clark, Stage Supervisor Fred & Ginger; The Lion; The Hip Hop

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States

22 ACT-SF.ORG presence PHOTO BY STEFAN COHEN

collaboration

innovation

Taught by acting professionals from A.C.T., our leadership program develops workshops customizable to clients' needs. Whether you're preparing for the next pitch, motivating your team, or answering post-presentation questions, our program will give employees the techniques to engage any audience.

PROFESSIONAL CLIENTS INCLUDE: DEVELOPMENT TRAINING LEARN MORE Visit act-sf.org/growth or contact Program Director Dan Kolodny at [email protected]. INSIDE A.C.T. PHOTO BY REEK FELIZIANI BY PHOTO THE STRAND HITS ITS STRIDE YOUR STORIES, YOUR SPACE, YOUR THEATER BRUCE DAMONTE BY PHOTO BY TAYLOR STEINBECK

Since its sparkling renovation in 2015, A.C.T.’s Strand Black Butterflies, Darren Canady’s new play commissioned for Theater has become a beacon of theatrical innovation A.C.T. about girls and young women of color trapped in the and community engagement. From presenting new plays incarceration system. Several of the works in New Strands have in the New Strands Festival to providing space for local become full productions—Lauren Yee’s The Great Leap will artists to showcase their work with ArtShare, A.C.T. has play this season at Atlantic Theater Company in New York City, reinvented this historic theater. As The Strand turns while Black Butterflies was staged at The Strand this summer 100 years old this October, we celebrate this theater’s by actors from the Young Conservatory, A.C.T.’s Education Bay Area story and look ahead to its next chapter. & Community Programs, and Destiny Arts in Oakland. From workshopping plays in development to producing innovative Located in San Francisco’s old vaudeville district, productions such as The Unfortunates, Love and Information, dubbed the “Great White Way” for its marquee lights, Monstress, and Chester Bailey, The Strand has provided a The Strand has been rooted in the arts since its 1917 home for thrilling untold stories from diverse communities. foundation. Despite changes in the building’s name (it started life as The Jewel) and its offerings (it was once a Both artists and audiences have responded to The Strand’s silent film cinema), this venue was always a theater. But storytelling possibilities. Through ArtShare, A.C.T.’s space- when operations closed in 2003, the building became sharing initiative supporting local artists and arts organizations, derelict. In October 2013, A.C.T. began a two-year, different communities (including Campo Santo, Magic Theatre, $35-million transformation guided by architects Skidmore, and Teatro Pachuco) have added their own storytelling flavor to Owings & Merrill, converting the 700-seat cinema into a A.C.T.’s stages. And with the introduction last season of our community destination featuring the Strand Cafe, the @TheStrand series—world-class entertainment from around 283-seat Rembe Theater, and the 140-seat performance the country—new audiences filled The Rembe for productions space, The Rueff. The reconstruction not only represented including Bill Irwin’s On Beckett, Martin Moran’s solo show growth for A.C.T. as an institution, but also marked the The Tricky Part, and concerts from The Skivvies. Look out revitalization of the Central Market neighborhood. for comedian Colin Quinn (Saturday Night Live, Trainwreck) playing a weeklong @TheStrand set in December. From the moment A.C.T. moved in, The Strand was envisioned as an incubator of new theater in the Bay As The Strand evolves, San Franciscans continue to discover Area. Nowhere is that more visible than with the New this multidisciplinary venue, from a morning coffee in the Strands Festival, a weeklong exploration of new work. Strand Cafe, to an M.F.A. Program matinee, to a night of During the 2017 festival, San Franciscans experienced stand-up comedy. This coming season will be full of innovative master classes in songwriting, playwriting, and clowning; theater, featuring Qui Nguyen’s hit comedy Vietgone and the saw staged readings of work from three Ma-Yi Theater third rendition of the New Strands Festival. By developing Company playwrights; and attended the reading of groundbreaking work and reinvigorating the arts in Central Market, The Strand is making San Francisco history all over again.

24 ACT-SF.ORG PHOTOS BY KEVIN BERNE, UNLESS NOTED KEVIN BERNE, UNLESS BY PHOTOS PHOTO BY JAY YAMADA JAY BY PHOTO

CLOCKWISE FROM UPPER LEFT The cast of The Unfortunates (2016); Ogie Zulueta, Jomar Tagatac, and Rinabeth Apostol in Monstress (2015); David Strathairn and Dan Clegg in Chester Bailey (2016); Tiana Bishop and Citlali Perez in Black Butterflies (2017); PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO Young Conservatory student Walker Brinskele in Punk Rock (2016); M.F.A. Program actor Emily Brown in The Rocky Horror Show (2016).

OPPOSITE FROM TOP The Strand Theater (1950); The Strand Theater (2015).

415.749.2228 25 INSIDE A.C.T.

VINTAGE MELLO ALESSANDRA BY PHOTO

M.F.A.AND ACTORS VANGUARD MIX IT UP IN A NEW SEASON BY SIMON HODGSON

26 ACT-SF.ORG LEFT M.F.A. Program actors Adam Donovan, Jerrie R. Johnson, Carlos O.

PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO Andrickson, and Julie Adamo in promiscuous/ cities.

OPPOSITE M.F.A. Program actors Diana Gonzalez-Morett and Akilah A. Walker (class of 2017) in Black Orpheus: Una Historia de Amor.

While fall heralds a new theatrical season on the stages of By contrast, Malicious Animal Magnetism (playing at The Strand The Strand and The Geary, it also raises the curtain on a new this winter) is a contemporary new drama by Jeremy Cohen academic year at A.C.T. At 30 Grant Avenue, 37 young actors and Dipika Guha, co-commissioned by A.C.T. and Z Space. from our Master of Fine Arts Program throng the studios Workshopped in the New Strands Festival earlier this year, and corridors. Many have been performing over the summer Malicious Animal Magnetism provides A.C.T.’s student actors with in festivals and theaters or teaching in A.C.T.’s Education & an opportunity to participate in the creation of a world premiere. Community Programs. All of them are looking forward to While acting in a new work can be freeing, “That freedom comes appearing in this year’s M.F.A. Program productions, which range with a different responsibility to contribute,” says Smith. “With his from The Changeling—a Jacobean tragedy first performed in or her work in the rehearsal room, an actor might influence the 1622—to Malicious Animal Magnetism, a brand new play about a writing of the play—that role might become more important to landmark moment of gay history in 1970s San Francisco. the story, for example.”

That range speaks to the breadth of the M.F.A. Program and These two productions represent just a slice of this year’s eclectic mirrors the way A.C.T. uses contrasting content to inspire M.F.A. season. Also in the mix are multiple musical revues, plus a mainstage audiences. Training in the Conservatory inspires pair of plays featuring dynamic female-led stories—seventeenth- young actors by challenging them with productions from century Spanish drama Fuenteovejuna and Greek tragedy The different eras. “Actors cut their teeth on the classics to better Bacchae. It was Stephen Buescher, head of movement in the perform contemporary work,” says Conservatory Director M.F.A. Program, who suggested these timeless stories in the wake Melissa Smith. By developing a critical understanding of classic of the women’s marches across the country in January 2017. “We theater-making techniques, M.F.A. candidates can bring that are living in a time of renewed protest,” says Buescher. “These insight and knowledge to new work, understanding how a plays are classics whose themes are resonant with our times.” contemporary playwright may be influenced by twentieth- century theater-maker Bertolt Brecht, for example, or how a Audiences eager to see these new works and classics told modern-day scene has echoes of sixteenth-century playwright anew can buy tickets for any of these productions on A.C.T.’s Christopher Marlowe. website. And if you’re in a hurry to see these talented performers on the mainstage, you’re in luck—all our third-year The first M.F.A. classic coming up this season at The Strand is actors will be appearing in A Christmas Carol, which opens The Changeling, a seventeenth-century revenge tragedy written December 1 at The Geary. by Thomas Middleton and William Rowley. It’s directed by Nancy Benjamin, A.C.T.’s longtime head of voice and dialect who has wanted to stage the play for years. This season’s second-year actors, says Smith, are a perfect fit. “Revenge tragedy is not Buy tickets for M.F.A. Program productions about dry wit. It’s really visceral—this class of actors has the at act-sf.org/mfa or by calling 415.749.2228. emotional range and the temperaments to tackle this play.”

415.749.2228 27 INSIDE A.C.T.

SILENCE SHATTERED HAROLD PINTER’S THE BIRTHDAY PARTY BY ELSPETH SWEATMAN

28 ACT-SF.ORG LEFT From left, Adam O’Byrne, René Augesen, and Jack Willis in The Homecoming (2011).

PHOTO BY KEVIN BERNE BY PHOTO BELOW Carey Perloff and Harold Pinter in rehearsal in 1989 at Classic Stage Company. PHOTO BY TOM CHARGIN TOM BY PHOTO

Some playwrights are drawn to silence for its humorous In The Birthday Party, the inhabitants of a ramshackle boarding potential. British playwright and Nobel Prize recipient Harold house in an undisturbed English seaside town find themselves Pinter was drawn to it for its danger. In his work—including in a lethal psychological battle with two unsettling strangers, the contemporary classic The Birthday Party, which opens at Goldberg and McCann. Petey, Meg, and Stanley must now The Geary in January—silence is a weapon: a means of gaining resist: resist the two strangers who have upended their lives; tactical advantage, psychological power, and domination. resist the terror of the present and the reminders of the past; resist society’s dead ideas and traditions. It is telling that one of But silence is just one of the many weapons in his characters’ Pinter’s favorite lines from The Birthday Party is “Stan, don’t let arsenals. “In a Pinter play, the movement of a glass from one them tell you what to do!” side of a table to another or the simple crossing and uncrossing of a pair of legs” becomes a way of establishing advantage and “We are in a moment in American history in which there are control, said theater critic Michael Billington. Add in dialogue in many ‘knocks on the door’—interrogations in which you’re not which characters’ identities are continuously shifting, and you sure what the crime is or why the person is singled out,” says get a play that seethes with mystery, menace, and sudden humor. Perloff. “That’s what The Birthday Party is about: the absurdity and horror of people trying to take power over each other. Pinter is a playwright that A.C.T. Artistic Director Carey Perloff What has Stanley done that he deserves to be tormented by has returned to throughout her career. During her 25-year Goldberg and McCann? And who are they working for? It’s a tenure at A.C.T., she has directed Old Times (1998), Celebration fascinating theatrical event, totally alive in the moment. That’s and The Room (2001), and The Homecoming (2011). Now, in her what I’ll be going for: the vivid, real-time explosion of the play.” last year as artistic director, she revisits Pinter’s tale of refuge and resistance that she first directed in 1988 at New York’s Classic Stage Company. Joining her on this journey are A.C.T. The Birthday Party runs favorite Marco Barricelli, Tony Award winner Judith Ivey, and Stratford Festival star Scott Wentworth. JAN 10–FEB 4 AT THE GEARY THEATER. Learn more at act-sf.org/birthday

415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during the September 1, 2016, to September 1, 2017, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event sponsor/lead supporter

SEASON PRESENTERS

FRANNIE FLEISHHACKER FRED M. LEVIN AND TONI REMBE AND JEFF AND LAURIE UBBEN has supported A.C.T. for more than 21 NANCY LIVINGSTON* ARTHUR ROCK Jeff is a founder of ValueAct Capital years. She has chaired season galas and Nancy is the immediate past chair of Past chair of A.C.T.’s Board of Trustees, and a director of 21st Century Fox serves on A.C.T.’s Board of Trustees and A.C.T.’s Board of Trustees. She serves Toni is a retired partner at Pillsbury Inc. and Willis Towers Watson several committees. She funded the on the boards at the College of Fine Winthrop Shaw Pittman. Arthur was one PLC. He serves on the boards of Duke Mort Fleishhacker M.F.A. Scholarship Arts at Boston University and the of America’s first venture capitalists. University, Northwestern University, and multiple capital campaigns. She National Council for the American Along with other community endeavors, and the E. O. Wilson Biodiversity has held board positions at the SF Theatre. Fred serves on the boards they are cofounders of the Arthur and Foundation. Laurie founded San Junior League and the Francisca Club. of the SF Symphony, the Asian Art Toni Rembe Rock Center for Corporate Francisco’s Bird School of Music. Museum, and the SF Film Society. Governance at Stanford Law School. PRISCILLA AND KEITH GEESLIN Priscilla is a vice chair of A.C.T.’s BURT AND DEEDEE MCMURTRY* MARY AND STEVEN SWIG Board of Trustees and chairs the Deedee is on A.C.T.’s Emeritus Advisory Steven has served on A.C.T.’s board Development Committee. She serves Board. She serves on the art committee since 1986 and is cofounder of Presidio on the boards of SF General Hospital for Lucile Packard Children’s Hospital Graduate School. Mary is on the Foundation, the SF Symphony, Grace and the arts advisory and director’s Women’s Leadership Board of Harvard Cathedral, and NARAL Pro-Choice advisory boards for Stanford Cantor Art University’s John F. Kennedy School of America. A principal of Francisco Center. Burt has served on the boards Government. They serve on the boards Partners, Keith is the president of of Stanford University, Rice University, of the Solar Electric Light Fund and SF Opera’s board of trustees. and Carnegie Institution for Science. the Americans for Cures Foundation.

COMPANY SPONSORS EXECUTIVE PRODUCERS PRODUCERS Elsa and Neil Pering Jerome L. and Thao N. Dodson Lesley Ann Clement and Karl Lukaszewicz Paul Asente and Ron Jenks Mr. and Mrs. Tom Perkins* Ray and Dagmar Dolby Family Fund* Bill and Phyllis Draper Nancy and Joachim Bechtle Merrill Randol Sherwin Jeri Lynn and Jeffrey W. Johnson* Sarah and Tony Earley Lloyd and Janet Cluff David and Carla Riemer* Barbara Ravizza and John S. Osterweis Sakana Foundation Daniel E. Cohn and Lynn Brinton Sally and Toby Rosenblatt* Patti and Rusty Rueff Kevin and Celeste Ford Carlotta and Robert Dathe* Dr. Caroline Emmett and Jack and Susy Wadsworth Mr. and Mrs. Gordon P. Getty Concepción and Irwin Federman Dr. Russell Rydel Barry Williams and Lalita Tademy* Jo S. Hurley* Linda Jo Fitz* Kathleen Scutchfield Kay Yun and Andre Neumann-Loreck* Christopher and Leslie Johnson Rose Hagan and Mark Lemley Anne and Michelle Shonk* John Little and Heather Stallings Little Kirke and Nancy Sawyer Hasson* Cherie Sorokin Janet V. Lustgarten Dianne and Ron Hoge* Doug Tilden Nion McEvoy and Leslie Berriman Luba Kipnis and David Russel* Kenneth and Gisele Miller Rodman and Ann Marymor Robina Riccitiello Don and Judy McCubbin Abby and Gene Schnair* Mr. and Mrs. J. A. McQuown Mr. and Mrs. Charles R. Schwab Mary and Gene Metz Valli Benesch and Bob Tandler Clay Foundation - West Susan A. Van Wagner Donald J. and Toni Ratner Miller* Barbara and Stephan Vermut Tim Mott and Pegan Brooke Aaron Vermut and Adriana López Vermut Rich Rava and Elisa Neipp Nola Yee LeRoy Ortopan

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR

We are privileged to recognize these members’ generosity during the September 1, 2016, to September 1, 2017, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event sponsor/lead supporter

ASSOCIATE PRODUCERS James and Julia Davidson Myrna and Tom Frankel Mr. Brian Kliment Paul Angelo Joan Dea Mr. and Mrs. Thomas A. Gallagher Mr. Joel Krauska and Ms. Patricia Fox Mrs. Barbara Bakar Carol Dollinger Dr. and Mrs. Richard E. Geist Paola and Richard Kulp Kathleen Bennett and Tom Malloy Mr. Joseph W. Donner, III Arnie and Shelly Glassberg* Linda Kurtz* Kenneth Berryman The New Ark Fund Dr. Allan P. Gold and Mr. Alan C. Ferrara Jennifer Langan Dr. Barbara L. Bessey Barb and Gary Erickson Marcia and John Goldman Marcia and Jim Levy Ben and Noel Bouck Nancy and Jerry Falk Marcia and Geoffrey Green Jennifer S. Lindsay Linda Joanne Brown Mr. Rodney Ferguson and Betty Hoener Helen M. Marcus, in memory of Gayle and Steve Brugler Ms. Kathleen Egan Chris and Holly Hollenbeck David J. Williamson Mr. and Mrs. David Crane Vicki and David Fleishhacker Alan and Cricket Jones Drs. Michael and Jane Marmor

30 ACT-SF.ORG Christine and Stan Mattison Gary and Joyce Rifkind Naren and Vinita Gupta Betty and Jack Schafer Mr. and Mrs. Robert McGrath Gary Rubenstein and Nancy Matthews James Haire and Timothy Cole Ms. Jean Schulz Mr. Byron R. Meyer Scott and Janis Sachtjen Mr. and Mrs. Richard Halliday Russ Selinger Milton Mosk and Thomas Foutch Kent and Nancy Clancy Vera and David Hartford Mr. and Mrs. John Shankel Paula and John Murphy Thomas Schumacher Mr. and Mrs. David M. Hartley Mr. James Shay and Mr. Steven Correll Terry and Jan Opdendyk The Somekh Family Foundation Mr. Greg Hartman Mr. Earl G. Singer Norman and Janet Pease Mr. Richard Spaete Ms. Kendra Hartnett and Robert Santilli Raven Sisco Ms. Carey Perloff and Mr. Anthony Giles Diana L. Starcher Stephen and Diane Heiman* Richard and Jerry Smallwood Marjorie Perloff Roselyne C. Swig Mrs. Deirdre Henderson Ms. Judith O. Smith Ms. Saga Perry and Mr. Frederick Perry Pasha and Laney Thornton Mr. and Mrs. Jerre Hitz Mr. and Mrs. Edward H. Snow Jon and Barbara Phillips Larry Vales Ms. Marcia Hooper Mr. and Mrs. Robert S. Spears Lisa Pritzker Jane and Bernard von Bothmer Rob Hulteng Steven and Chris Spencer John Riccitiello Joy and Ellis Wallenberg, Robert Humphrey & Diane Amend Mr. Paul Spiegel Dr. James Robinson and Milton Meyer Foundation Judy and Bob Huret Lillis and Max Stern Ms. Kathy Kohrman Louise Wattrus Robert and Riki Intner Vibeke Strand, MD and Jack Loftis, PhD Matt and Yvonne Rogers Ms. Allie Weissman Harold and Lyn Isbell Richard and Michele Stratton Susan Roos Barbara and Chris Westover Franklin Jackson & Maloos Anvarian Mr. Jay Streets Lori Halverson Schryer Dr. and Mrs. Andrew Wiesenthal Stephanie and Owen Jensen Mr. M. H. Suelzle Paul and Julie Seipp Carlie Wilmans Russell and Mary Johnson Susan Terris Rick and Cindy Simons Diane B. Wilsey* Sy Kaufman Dr. Eric Test and Dr. Odelia Braun Lee and Carolyn Snowberg Mr. and Mrs. Roger Wu Ms. Pamela L. Kershner Nancy Thompson and Andy Kerr Mr. Laurence L. Spitters Miss Angèle Khachadour Mrs. Helena Troy Wasp Emmett and Marion Stanton DIRECTORS Ms. Nancy L. Kittle John R. Upton Jr. and Vera and Harold Stein Anonymous (2) Mr. R. Samuel Klatchko Janet Sassoon-Upton Dr. Martin and Elizabeth Terplan Martha and Michael Adler Harold L. Wyman Foundation Arnie and Gail Wagner Patrick S. Thompson* Bruce and Betty Alberts Stephanie Hencir Lamey and Mr. and Mrs. James Wagstaffe John and Sandra Thompson Lynn Altshuler and Stanley D. Herzstein Patrick Lamey Mrs. Katherine G. Wallin and Mr. and Mrs. Harold P. Anderson Thomas and Barbara Lasinski Mr. Homer Wallin BENEFACTORS Sharon L. Anderson Harriet Lawrie Ms. Margaret Warton and Rick and Anne Riley Ms. Kay Auciello Ms. Pamela D Lee Mr. Steve Benting Beverly and Loring Wyllie Jeanne and William Barulich Mr. Richard Lee and Ms. Carol Watts Bonnie Frank and Michele Bear Ms. Patricia Taylor Lee Ms. Patricia Tomlinson and PLAYWRIGHTS David V. Beery and Norman Abramson* Dr. Lois Levine Mundie Mr. Bennet Weintraub Ray and Jackie Apple Jane Bernstein and Robert Ellis Mr. Michael Levy and Mr. Michael Ms. Beth Weissman Mr. Eugene Barcone David and Rosalind Bloom Golden Irv Weissman and Family Sara and Wm. Anderson Barnes Fund Larry and Lisbeth Blum Ms. Helen S. Lewis Marie and Daniel Welch The Tournesol Project John Boland and James Carroll Sue Yung Li and Dale K. Ikeda Kenneth and Sharon Wilson Donna L. Beres and Terry Dahl Mr. Mitchell Bolen and Ron and Mary Loar Mr. David S. Wood and Roger and Helen Bohl Mr. John Christner Ms. Evelyn Lockton Ms. Kathleen Garrison Ms. Donna Bohling and Christopher and Debora Booth Ms. Gayla Lorthridge Mr. and Mrs. Roy B. Woolsey Mr. Douglas Kalish Brenda and Roger Borovoy Dr. Thane Kreiner and The Arthur and Charlotte Zitrin Mr. Mark Casagranda Romana D. Bracco Dr. Steven Lovejoy Foundation Dolly Chammas Nicholas and Janice Brathwaite Richard N. Hill and Nancy Lundeen Madeline and Myrkle Deaton Benjamin Bratt and Talisa Soto Stephanie and Jim Marver Richard DeNatale and Craig Latker Jean L. Brenner Ms. Jill Matichak Handelsman Michael G. Dovey Tom and Carol Burkhart John B. McCallister Emerald Gate Charitable Trust Mrs. Libi Cape John G. McGehee Philip and Judy Erdberg Ms. Sally Carlson and Mr. Karl Keesling Casey and Charlie McKibben Jacqueline and Christian Erdman Denis Carrade and Jeanne Fadelli Elisabeth and Daniel McKinnon Sue and Ed Fish Steven and Karin Chase Sue and Ken Merrill Mr. and Mrs. Patrick F. Flannery Susan and Ralph G. Coan, Jr. Ms. Nancy Michel Dr. and Mrs. Fred N. Fritsch Rebecca Coleman Mr. and Mrs. Roger Miles Mrs. Susan Fuller Mr. and Mrs. Ricky J. Curotto J. Sanford Miller and Vinie Zhang Miller Sameer Gandhi and Monica Lopez Tiffanie DeBartolo and Scott Schumaker Mr. and Mrs. Merrill E. Newman Marilee K. Gardner Robert and Judith DeFranco Ms. Mary D. Niemiller Glasser Family Fund Ingrid M. Deiwiks Mrs. Margaret O’Drain Dr. A. Goldschlager Reid and Peggy Dennis Emilie and Douglas Ogden Barbara Grasseschi and Tony Crabb William Dewey Margo and Roy Ogus Mark and Renee Greenstein Mrs. Julie D. Dickson Ms. Barbara Oleksiw Mr. Bill Gregory Art and JoAnne Dlott Meredith Orthwein Kaatri and Doug Grigg Bonnie and Rick Dlott Janet and Clyde Ostler Mr. and Mrs. Henry Paul Hensley Anne and Gerald Down Janine Paver and Eric Brown Bannus & Cecily Hudson Ms. Kathleen Dumas Mark Pigott Jennifer S. Lindsay Robert Eklund Kenneth Preston Patrick Machado Charles and Susan Fadley Gordon Radley Melanie and Peter Maier - Mr. Alexander L. Fetter and Sandi and Mark Randall John Brockway Huntington Ms. Lynn Bunim Mr. and Mrs. Jacob Ratinoff Foundation Mr. Robert Feyer and Albert and Roxanne Richards Fund Mr. Daniel Murphy Ms. Marsha Cohen* Rick and Anne Riley Barbara O’Connor Jacques Fortier Victoria and Daniel Rivas Mr. Don O’Neal Lynda Fu Mrs. Marianne B. Robison Denise Orwin Ms. Kathleen Gallivan Barbara G. Rosenblum Peter Pastreich and Jamie Whittington William Garland and Michael Mooney Susan Rosin and Brian Bock Mr. Adam Pederson Mr. Michael R. Genesereth Marieke Rothschild Mr. and Mrs. William Pitcher Susan and Dennis Gilardi Ms. Irene Rothschild Joseph E. and Julie Ratner* Ms. Ann M. Griffiths Ms. Dace Rutland Mr. and Mrs. John A. Reitan Raymond and Gale L. Grinsell Ms. Monica Salusky and Jeff and Karen Richardson Ms. Margaret J. Grover Mr. John Sutherland

415.749.2228 31 ALAN JONES, CHAIR We are privileged to recognize Friends of A.C.T. members’ generosity during the September 1, 2016, to September 1, 2017, period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Sarah Armstrong at 415.439.2353 or [email protected].

PATRON SUSTAINER Mrs. Gary Letson Marilyn and Irvin Yalom Anonymous (2) Anonymous (4) Barry and Ellen Levine Elysa Yanowitz Mr. Howard J. Adams Ms. Patricia Wilde Anderson Kathleen Anderson and Jeff Lipkin Jacqueline L. Young Mr. Michael Bassi and Ms. Christy Styer Mr. Paul Anderson Ms. Linda Lonay Mr. and Mrs. Philip Zimbardo Dorothy and Ervin Behrin Rebecca and David Ayer Timothy Lucas Mr. Thomas Benet Dick Barker Christiana and Sandy Macfarlane Fred and Nancy Bjork Mr. William Barnard Mr. and Mrs. William Manheim Peter Blume Mr. David N. Barnard Alan Markle Teresa Clark Ms. Pamela Barnes Robert McCleskey Mr. Byde Clawson and Robert H. Beadle Karin and Gregory McClune Dr. Patricia Conolly Mr. Daniel R. Bedford Karen and John McGuinn Ms. Linda R. Clem Mr. Ari Benbasat Dr. Margaret R. McLean Paul and Deborah Cleveland David and Michele Benjamin Trudy and Gary Moore Jean and Mike Couch Ms. Joyce Avery and Mr. Brian A. Berg Michael Morgan Ms. Karen T. Crommie Mr. and Mrs. Paul Berg Sharon and Jeffrey Morris Mr. Copley E. Crosby Richard and Katherine Berman Mr. Ronald Morrison Gregory Davis Stuart and Helen Bessler Dorotea C. Nathan Ira and Jerry Dearing Mr. Igor R. Blake Jane and Bill Neilson Mr. Timothy C. Duran Mr. John Blankenship and Jeanne Newman Michael Kalkstein and Susan English Ms. Linda Carter Nancy and Bill Newmeyer Leif and Sharon Erickson Mr. Noel Blos Ms. Nancy F. Noe Mr. and Mrs. Richard Fowler Carol M. Bowen and Ms. Joanna Officier and Mr. Ralph Tiegel Elizabeth and Paul Fraley Christopher R. Bowen Pamela Orloff Ms. Susan Free Mr. Roland E. Brandel Mr. James O’Toole Alan and Susan Fritz Martin and Geri Brownstein Barbara Paschke and Kathy Hart Mr. and Mrs. Bernard Butcher David Volpendesta Mr. John F. Heil Jaime Caban and Rob Mitchell Mr. David J. Pasta Leni and Doug Herst Glenn Chapman Richard and Donna Perkins James and Helen Hobbs Ms. Shirley Cookston Ms. M. N. Plant Dr. and Mrs. John E. Jansheski James Cuthbertson Mr. and Mrs. Mark O. Rand Ms. Carolyn Jayne Yogen and Peggy Dalal Ms. Danielle Rebischung Louise Karr Jill and Stephen Davis Maryalice Reinmuller Jeffrey and Loretta Kaskey Ms. Roberta Denning Mr. and Mrs. Charles Rino Ed and Peggy Kavounas Kelly and Olive DePonte Ms. Allison Rock and George and Janet King Richard and Sheryl Donaldson Mr. Christopher Wuthmann Hal and Leslie Kruth Ms. Joanne Dunn Mr. and Mrs. Richard Rogers Eileen Landauer and Mark Michael Mr. and Mrs. John L. Elman Marguerite Romanello Julia Lobel Marilynne Elverson Dan Rosenbaum and Suzanne L. Klein Mr. and Mrs. Robert W. Logan Mr. Robert G. Evans Mr. L. Kyle Rowley Mr. and Mrs. Alexander Long Ms. Angela Sowa and Ms. Diane Rudden Jeff and Susanne Lyons Dr. Dennis B. Facchino Paul Sack Jeffrey and Elizabeth Minick Mr. James Feuille and Louise Adler Sampson Thomas and Lydia Moran Ms. Nancy J. Murray Mr. and Mrs. David Sargent* John and Betsy Munz M. Daniel and Carla Flamm Sonja Schmid Cindy Nicola Mrs. Dorothy A. Flanagan Ms. Karin Scholz-Grace Ms. Lisa Nolan Karen and Stuart Gansky Mr. James J. Scillian Ms. Susan O’Brien Mr. John Garfinkle Mr. Jim Sciuto Ann Paras Frederick and Leslie Gaylord Ms. Karen Scussel and Mr. Curt Riffle Robert and Marcia Popper David and Marcia Glassel Mr. Robert J. Sehr Caitlin A. Quinn and Peter C. Garenani Kathleen and Paul Goldman Dr. Elliot and Mrs. Kathy Shubin Ms. Diane Raile Dr. James and Suzette Hessler Ms. Patricia Sims Helen Hilton Raiser Mr. Kim Harris and Bennet Marks Mr. Mark Small Mr. Orrin W. Robinson, III David Hawkanson Ruth and Alan L. Stein Barbara and Saul Rockman Ms. Dixie Hersh Bert and LeAnne Steinberg Ms. Mary Ellen Rossi Ms. Sandra Hess Jeffrey Stern, M.D. Peter and Janice Scattini Edward L. Howes, MD Mr. and Mrs. Monroe Strickberger Mr. Paul Schmidt Richard and Cheryl Jacobs Mr. Jason Surles David Schnur Anne and Ed Jamieson Marvin Tanigawa Andrew and Marva Seidl Allan and Rebecca Jergesen Maggie Thompson Ms. Ruth A. Short Mr. and Mrs. Norman L. Johnson Robert Tufts Dr. Gary Stein and Jana Stein Mrs. Zeeva Kardos Ms. Leslie Tyler Ms. Jacqueline Stewart Jascha Kaykas-Wolff Leon Van Steen Ian E. Stockdale and Ruth Leibig Michael Kim Mr. and Mrs. Ronald G. VandenBerghe Dr. and Mrs. G. Cook Story Karla Kirkegaard Marsha Veit Melissa and Jonathan Weinberg Mr. and Mrs. Kevin Klotter Mr. Douglass J. Warner Mr. Keith Wetmore Ms. Hamila Kownacki Ms. Meredith J. Watts Christina Yu Edward and Miriam Landesman Mr. Richard West Mrs. Judith T. Leahy Mr. Robert Weston

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

**Deceased

Providing a Legacy for A.C.T.

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

FOR MORE INFORMATION ABOUT PROSPERO SOCIETY MEMBERSHIP

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

415.749.2228 33 Memorial & Tribute Gifts

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

Karen Blodgett In Honor of Linda Jo Fitz and her service to A.C.T. Ms. Jamie Ney In Memory of Ann Adams Mr. Robert G. Evans In Honor of Linda Fitz Anonymous In Memory of Ruth Asawa Mr. and Mrs. David M. Hartley In Honor of Linda Fitz Jane Shurtleff In Memory of John Chapot Jacqueline L. Young In Honor of Linda Fitz Ms. Kathleen Gallivan In Memory of Jack Gallivan Sandi and Mark Randall In Honor of Frannie Fleischhacker Mr. David J. Pasta In Memory of Gloria Guth Sakana Foundation In Honor of Priscilla Geeslin Susan Stevenson In Memory of Meribeth Meacham Mary Cathryn Houston In Honor of Arnie Glassberg Richard and Victoria Larson In Memory of Dennis Powers Vicki and Stephen Hoffman In Honor of Skylar Goldberg Ms. Peggy Kivel In Memory of Eva Ramos Robert and Riki Intner In Honor of Ruth Keith Ms. Joy Eaton In Memory of Todd Wees Elizabeth Mason In Honor of Luba Kipnis Laurie Hernandez In Honor of Alan Littlehales Daniel E. Cohn and Lynn Brinton In Honor of Nancy Livingston Helen Hilton Raiser In Honor of Nancy Livingston Anne and Ed Jamieson In Honor of Nancy Livingston Ms. Carey Perloff and Mr. Anthony Giles In Honor of Nancy Livingston Anat Pilovsky In Honor of Janet Lustgarten Katherine E. Akos and Harry L. Jacobs In Honor of Peter Pastreich, Tiffany Redmon, and Nancy Mims Roselyne C. Swig In Honor of Carey Perloff Susan Medak and Gregory S. Murphy In Honor of Ellen Richard Sue and Ken Merrill In Honor of Patti and Rusty Rueff Cheryl Brandon In Honor of Craig Slaight Jon and Betsy Nakamura In Honor of Craig Slaight Helene Roos In Honor of Craig Slaight

Corporate Partners Circle

The Corporate Partners Circle comprises businesses that support the artistic mission of A.C.T., including A.C.T.’s investment in the next generation of theater artists and audiences, and its vibrant educational and community outreach programs. Corporate Partners Circle members receive extraordinary entertainment and networking opportunities, unique access to renowned actors and artists, premium complimentary tickets, and targeted brand recognition. For information about how to become a Corporate Partner, please contact Caitlin A. Quinn at 415.439.2436 or [email protected].

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

Foundations and Government Agencies

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

$100,000 AND ABOVE $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Doris Duke Charitable Department of Children, Anonymous The Kenneth Rainin Davis/Dauray Family Fund Foundation Youth & Their Families Walter and Elise Haas Fund Foundation Edna M. Reichmuth San Francisco Grants The Edgerton Foundation The Kimball Foundation Laird Norton Family Educational Fund of for the Arts National Endowment for The Harold and Mimi Foundation The San Francisco The William Randolph Hearst the Arts Steinberg Trust The Sato Foundation Foundation Foundation The Bernard Osher MAP Fund The Stanley S. Langendorf The William and Flora Foundation Saint Francis Foundation Foundation Hewlett Foundation San Francisco’s Office of Wallis Foundation Jewels of Charity, Inc. Economic and Workforce The Zellerbach Family Development Foundation The Virginia B. Toulmin Foundation

34 ACT-SF.ORG Theatre Forward Current Funders List as of January 2017

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

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

Gifts in Kind

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

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

Corporations Matching Annual Fund Gifts

As A.C.T. is both a cultural and an educational institution, many employers will match individual employee contributions to the theater. The following corporate matching gift programs honor their employees’ support of A.C.T., multiplying the impact of those contributions.

Acxiom Corporation BlackRock GE Foundation Macy’s, Inc. The Clorox Company Adobe Systems Inc. Charles Schwab Google Merrill Lynch & Co. Foundation Apple, Inc. Chevron Hewlett-Packard Foundation, Inc. The James Irvine Foundation Applied Materials Chubb & Son IBM International Foundation Northwestern Mutual The Morrison & Foerster AT&T Foundation Dell Direct Giving Campaign JPMorgan Chase Foundation Foundation Bank of America Dodge & Cox Johnson & Johnson Family Pacific Gas and Electric TPG Capital, L.P. Bank of America Foundation Ericsson, Inc. of Companies Arthur Rock Verizon Bank of New York Mellon Federated Department Stores Levi Strauss Foundation Salesforce Visa International Community Partnership The Gap Lockheed Martin Corporation State Farm Companies John Wiley and Sons, Inc. Foundation

415.749.2228 35 A.C.T. STAFF

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

James Haire Costume Shop Ticket Services M.F.A. Program Core Faculty Producing Director Emeritus Jessie Amoroso, Costume Director Ian Fullmer, Box Office Manager Christine Adaire, Head of Voice Callie Floor, Rentals Manager Mark C. Peters, Subscriptions Manager Nancy Benjamin, Co-Head of Voice and Dialects, Resident Artists Keely Weiman, Build Manager/Draper David Engelmann, Head Treasurer Director Anthony Fusco, Domenique Lozano Jef Valentine, Inventory Manager Anthony Miller, Group Sales Stephen Buescher, Head of Movement, Director Maria Montoya, Head Stitcher Scott Tignor, Stephanie Arora, Subscriptions Domenique Lozano, Acting, Director Associate Artists Kelly Koehn, Accessories & Crafts Artisan Coordinators Michael Paller, Director of Humanities, Director Marco Barricelli, Olympia Dukakis, Giles Chanterelle Grover, First Hand Andy Alabran, Hillary Bray, Peter Davey, Lisa Anne Porter, Co-Head of Voice and Dialects Havergal, Bill Irwin, Steven Anthony Jones, Elizabeth Halperin, Alex Mechanic, Johnny Victoria Mortimer, Interim Costume Jack Sharrar, PhD, Theater History Andrew Polk, Tom Stoppard, Gregory Wallace, Moreno, Katharine Torres, Treasurers Timberlake Wertenbaker Administrator Melissa Smith, Head of Acting, Director Tessanella DeFrisco, Bree Dills, Costume Fellows Front of House Playwrights M.F.A. Program Adjunct Faculty Kevin Nelson, Theater Manager Pamela Gray, Qui Nguyen, Suzan-Lori Parks, Wig Shop Milissa Carey, Singing, Director Cara Chrisman, David Whitman, Carey Perloff and Paul Walsh, Harold Pinter, Lindsay Saier, Wig Master Andy Donald, Arts Leadership House Managers William Shakespeare, Simon Stephens, Melissa Kallstrom, Wig Supervisor Julie Douglas, Improv Leontyne Mbele-Mbong, Megan Murray, Bess Wohl Lauren English, Business of Acting Genevieve Pabon, Tuesday Ray, Associate STAGE STAFF Dan Feyer, Music Director, Accompanist Directors House Managers The Geary: Janet Foster, Audition, Showcase Hal Brooks, Jaime Castañeda, Rachel Chavkin, Kevin Hoskins, Lead Bartender Miguel Ongpin, Head Carpenter Giles Havergal, Director, Acting Liz Diamond, Sheryl Kaller, Domenique Lozano, Oliver Sutton, Security Carey Perloff Suzanna Bailey, Head Sound Ramsey Abouremeleh, Shannon Amitin, Gregory Hoffman, Combat Mark Pugh, Head Properties Kimberly Anthony, Nic Candito, Forrest Choy, Jasmin Hoo, Citizen Artistry Choreographers Daniel Swalec, Head Electrician Bernadette Fons, Kadeem Harris, Anthony Mark Jackson, Devised Theater Val Caniparoli, Josh Prince Colin Wade, Flyman Hernandez, Kevin Hoskins, Caleb Lewis, Susan Darryl Jones, Acting Monson, Haley Nielsen, Trever Pearson, Pete Mary Montijo, Wardrobe Supervisor Sean Kana, Singing Pickens, Jeremy Rice, Atarah Richmond, Miki Composers/Orchestrators Diane Cornelius, Assistant Wardrobe Supervisor Richmond, Travis Rowland, Tracey Sylvester, W. D. Keith, On-Camera Acting David Coulter, Shammy Dee, Paul Scott Loren Lewis, Joe Nelson, Stage Door Monitors Leonard Thomas, Cevie Toure, Robyn Williams, Philip Charles MacKenzie, On-Camera Acting Goodman Bartenders Heidi Marshall, On-Camera Acting The Strand: Music Directors Susan Allen, Rodney Anderson, Branden Seana McKenna, Acting Patsy McCormack, Strand Master Technician Bowman, Serena Broussard, Danica Burt, Caymichael Patten, Audition Dan Feyer Sarah Jacquez, Strand Sound Engineer Margaret Cahill, Jose Camello, Barbara Casey, Carey Perloff, Arts Leadership Wendy Chang, Niyjale Cummings, Kathy Dere, Designers Kari Prindl, Alexander Technique ADMINISTRATION John Doll, Larry Emms, Doris Flamm, Claire John Arnone, Nina Ball, Brian Bembridge, Gerndt, Blue Kesler, Ryszard Koprowski, Sharon Stacey Printz, Dance Riccardo Hernandez, Laura Jellinek, Alexander Denys Baker, Administrative Project Manager Lee, Sadie Li, Joe MacDonald, Val Mason, Sam Tiffany Redmon, Fundraising V. Nichols, David Israel Reynoso, Scenic Coralyn Bond, Executive Assistant and Board Mesinger, Eileen Murphy, Kathy Napoleone, Lindsay Saier, Stage Makeup Liaison Jessie Amoroso, Beaver Bauer, Candice Lily Narbonne, Brandie Pilapil, Mark Saladino, Ken Savage, Director Steve Salzman, Walter Schoonmaker, Stephanie Donnelly, Tilly Grimes, Meg Neville, David Israel Elyse Shafarman, Alexander Technique Reynoso, Costumes Human Resources Somersille, Michael Sousa, Melissa Stern, Claire Liz Tenuto, Dance Robert Hand, James F. Ingalls, Wen-Ling Liao, David Jackson, Human Resources Director Tremblay, Dale Whitmill, Lorraine Williams, Lisa Townsend, Director, Choreographer Mike Inwood, Alexander V. Nichols, Nancy Alpa Shah, Human Resources Generalist Ushers Schertler, Robert Wierzel, Yi Zhao, Lighting James Wagner, Business of Acting Brendan Aanes, Stowe Nelson, Jake Rodriguez, General Management The Strand Cafe Darron L West, Sound Amy Hand, Associate General Manager Rafael Monge, Cafe Manager Studio A.C.T. Mark Jackson, Program Director Tal Yarden, Chris Lundahl, Video Amy Dalba, Company Manager LaRina Hazel, Raj Paul Pannu, Baristas Liz Anderson, Filmmaking Sabra Jaffe, Interim Company Manager Heidi Carlsen, Voice Coaches Mia Carey, General/Company Management EDUCATION & COMMUNITY Nancy Benjamin, Lisa Anne Porter, Fellow PROGRAMS Matt Chapman, Movement Voice and Text Elizabeth Brodersen, Director of Education Julie Douglas, Mask, Clown, and Movement Stephen Buescher, Movement Finance & Community Programs Francie Epsen-Devlin, Musical Theater Jonathan Rider, Danielle O’Dea, Fights Lawrence Yuan, Director of Finance Jasmin Hoo, Associate Director of Education Paul Finocchiaro, Acting Dan Feyer, Music Sharon Boyce, May Chin, Matt Jones, & Community Programs W. D. Keith, On-Camera Acting Finance Associates Vincent Amelio, School & Community Drew Khalouf, Speech and Diction ARTISTIC Programs Coordinator Jessica Kitchens, Acting Information Technology , ACTsmart Residencies Andy Donald, Associate Artistic Director Vanessa Ramos Kari Prindl, Alexander Technique Thomas Morgan, Director Coordinator Michael Paller, Dramaturg Mark Rafael, Acting Joone Pajar, Network Administrator Stephanie Wilborn, Community Programs Janet Foster, Director of Casting and Artistic Coordinator Katie Rubin, Acting, Stand-Up Associate Operations Elizabeth Halperin, Student Matinees Naomi Sanchez, Musical Theater Allie Moss, Artistic Associate Jamie McGraw, Associate Manager, Facilities Lealani Drew Manuta, Education Programs Jonathan Spector, Introduction to Playwriting Ken Savage, Associate Producer Operation and Security Fellow Laura Wayth, Acting Nora Zahn, Artistic Fellow Jeffrey Warren, Assistant Facilities Manager Nailah Harper-Malveaux, Community Leopoldo Benavente, Facilities Crew Member Producing Fellow Conservatory Accompanists PRODUCTION Curtis Carr, Jr., Victor Newman, Jesse Lynden James Bair, Dan Feyer, Christopher Hewitt, Paul McCurdy, Thaddeus Pinkston, Audrey Hoo, Production Manager Nightchase, Security YOUNG CONSERVATORY Naomi Sanchez Robert Hand, Associate Production Manager Jaime Morales, Geary Cleaning Foreman Jill MacLean, Craig Slaight Director of Jack Horton, Associate Production Manager Jamal Alsaidi, Jeaneth Alvarado, Lidia Godinez, the Young Conservatory Library Staff Geary Cleaning Crew Emily Hanna, Young Conservatory & Studio Chris Lundahl, Design and Production Associate Joseph Tally, Head Librarian A.C.T. Coordinator Michelle Symons, Assistant Production Manager G. David Anderson, Theresa Bell, Laurie Development Andy Alabran, Acting Walter Ryon, Conservatory Production Manager Bernstein, Helen Jean Bowie, Bruce Carlton, Caitlin A. Quinn, Director of Development Haley Miller, Conservatory Design and Cristina Anselmo, Acting Barbara Cohrssen, William Goldstein, Pat Production Coordinator Tiffany Redmon, Deputy Director of Molly Bell, Musical Theater Hunter, Connie Ikert, Ashok Katdare, Martha Development Sean Key-Ketter, Conservatory Design and Danielle Conover, Physical Theater Kessler, Nelda Kilguss, Barbara Kornstein, Production Coordinator Bethany Herron, Associate Director of Nancy Gold, Physical Character, Acting Analise Leiva, Ines Lewandowitz, Patricia Development, Institutional Partnerships O’Connell, Roy Ortopan, Maida Paxton, Maggie Manzano, Conservatory Production and Dan Griffith, Movement Helen Rigby, Director of Legacy Giving Connie Pelkey, Christine Peterson, Dana Rees, Stage Management Coordinator Jane Hammett, Musical Theater Jody Price, Director of Special Events Roger Silver, Jane Taber, Susan Torres, Joyce Spencer Jorgensen, Production Fellow Emily Hanna, Acting Renée Gholikely, Development Research and Weisman, Jean Wilcox, Marie Wood, Library W. D. Keith, Director Volunteers Stage Management Prospect Manager Domenique Lozano, Director, Acting Elisa Guthertz, Head Stage Manager Sarah Armstrong, Donor Relations and Christine Mattison, Dance, Choreographer A.C.T. thanks the physicians and staff of the Elisa Guthertz, Deirdre Rose Holland, Membership Manager Centers for Sports Medicine, Saint Francis Marcy Reed, James Steele, Karen Szpaller, Stephanie Swide, Development Operations Lauren Rosi, Musical Theater Memorial Hospital, for their care of the A.C.T. Stage Managers Manager Vivian Sam, Musical Theater, Dance company: Dr. Victor Prieto, Dr. Hoylond Hong, Champagne Hughes, Special Events Manager Josh Schell, Acting Dani Bae, Christina Hogan, Christina Larson, Dr. Susan Lewis, Don Kemp, P.A., and Chris Megan McClintock, Leslie M. Radin, Assistant Jordan Nickels, Development Assistant Valerie Weak, Acting Corpus, Clinic Supervisor. Stage Managers Emily Remsen, Special Events Fellow Krista Wigle, Musical Theater Hal Day, Production Assistant Rachel Stuart, Development Fellow Accreditation Miranda Campbell, Erin Sweeney, Bri Owens, CONSERVATORY A.C.T. is accredited by the Accrediting Stage Management Fellows Marketing & Public Relations Christopher Herold, Director of Summer Commission for Senior Colleges and Christine Miller, Associate Director of Marketing Training Congress Universities of the Western Association of Prop Shop Brad Amorosino, Senior Graphic Designer Jack Sharrar, PhD, Director of Academic Affairs Schools and Colleges (WASC), 985 Atlantic Ryan L. Parham, Supervisor Avenue, Suite 100, Alameda, CA 94501, Simon Hodgson, Publications Manager , Director of Financial Aid Jerry Lopez 510.748.9001, an institutional accrediting body Abo Greenwald, Assistant Simone Finney, Digital Content Manager Dan Kolodny, Manager, Conservatory Operations recognized by the Council on Postsecondary Kevin Kopjak/Charles Zukow Associates, & Professional Development Training Accreditation and the U.S. Department of Public Relations Counsel Emily Hanna, Young Conservatory & Studio Education. Elspeth Sweatman, Publications Associate A.C.T. Coordinator Miranda Ashland, Marketing Fellow Matt Jones, Bursar/Payroll Administrator Taylor Steinbeck, Publications Fellow Vanessa Flores, Conservatory Associate, Tabriana Willard, Graphics Fellow Academic Programs Ilyssa Ernsteen, Olga Korolev, 36 Conservatory Fellows ACT-SF.ORG A.C.T. PROFILES

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

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

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

415.749.2228 37 F.Y. I .

ADMINISTRATIVE OFFICES A.C.T. MERCHANDISE AFFILIATIONS Copies of Words on Plays, A.C.T.’s in-depth A.C.T.’s administrative and conservatory A.C.T. is a constituent of Theatre Communications performance guide, are on sale in the main offices are located at 30 Grant Avenue, San Group, the national organization for the nonprofit lobby, at the box office, and online. Francisco, CA 94108, 415.834.3200. On the professional theater. A.C.T. is a member web: act-sf.org REFRESHMENTS of Theatre Bay Area, the Union Square Strand Cafe hours are Thursday–Tuesday (8 Association, the San Francisco Chamber of a.m.–4 p.m.) and Wednesday (7 a.m.–noon) Commerce, and the San Francisco Convention BOX OFFICE INFORMATION for the general public. Full bar service, sweets, & Visitors Bureau. and savory items are available to patrons one A.C.T. BOX OFFICE A.C.T. operates under an agreement Visit us at 1127 Market Street at 7th Street, hour before performances. You can avoid the between the League of Resident Theatres across from the UN Plaza; or at 405 Geary long lines at intermission by preordering food and Actors’ Equity Association, the union of Street at Mason, next to the theater, one and beverages. Bar drinks are now permitted professional actors and stage managers in the United States. block west of Union Square. Walk-up hours in the theater. are Tuesday–Sunday (10 a.m.–15 minutes after CELL PHONES The Director is a member of the STAGE curtain) on performance days, and Monday– DIRECTORS AND CHOREOGRAPHERS If you carry a pager, beeper, cell phone, or Friday (noon–6 p.m.) and Saturday–Sunday SOCIETY, a national theatrical labor union. watch with alarm, please make sure that (noon–4 p.m.) on nonperformance days. it is set to the “off” position while you are The scenic, costume, lighting, and sound (For Geary Box Office walk-up hours, please in the theater. Text messaging during the designers in LORT theaters are represented visit act-sf.org.) Phone hours are Tuesday– performance is very disruptive and not allowed. by United Scenic Artists, Local USA-829 of Sunday (10 a.m.–curtain) on performance the IATSE. days, and Monday–Friday (10 a.m.–6 p.m.) PERFUMES and Saturday–Sunday (10 a.m.–4 p.m.) on The scenic shop, prop shop, and stage crew The chemicals found in perfumes, colognes, are represented by Local 16 of the IATSE. nonperformance days. Call 415.749.2228 and and scented aftershave lotions, even in use American Express, Visa, or MasterCard; small amounts, can cause severe physical or fax your ticket request with credit card A.C.T. is supported in part by a grant from reactions in some individuals. As a courtesy to the Grants for the Arts Tax Fund. information to 415.749.2291. Tickets are also fellow patrons, please avoid the use of these available 24 hours a day on our website at products when you attend the theater. act-sf.org. All sales are final, and there are no refunds. Only current ticket subscribers and EMERGENCY TELEPHONE those who purchase ticket insurance enjoy Leave your seat location with those who STRAND THEATER EXITS ticket exchange privileges. Packages are may need to reach you and have them call available by calling 415.749.2250. A.C.T. gift 415.439.2397 in an emergency. certificates can be purchased in any amount online, by phone or fax, or in person. LATECOMERS A.C.T. performances begin on time. Latecomers SPECIAL SUBSCRIPTION DISCOUNTS will be seated before the first intermission only Seniors (65+) save $40 on 8 plays, $35 if there is an appropriate interval. on 7 plays, $30 on 6 plays, $25 on 5 plays, G and $20 on 4 plays. Full-time students, LISTENING SYSTEMS educators, and administrators save up to Headsets designed to provide clear, amplified 50% off season subscriptions with valid ID. sound anywhere in the auditorium are Visit act-sf.org/educate for details. available free of charge in the lobby before performances. Please turn off your hearing aid SINGLE TICKET DISCOUNTS when using an A.C.T. headset, as it will react to Joining our eClub is the best—and sometimes the sound system and make a disruptive noise. only—way to find out about special ticket offers. Visit act-sf.org/eclub for details. Find PHOTOGRAPHS AND RECORDINGS of A.C.T. us on Facebook and Twitter for other great performances are strictly forbidden. deals. Beginning two hours before curtain, RESTROOMS are located on the basement a limited number of discounted tickets level; on the ground floor (two ADA toilets are available to seniors (65+), educators, behind the box office); and toward the back of administrators, and full-time students. For the upper orchestra, on mezzanine 2. M1 matinee performances, all seats are just $20 for seniors (65+). Valid ID required—limit Wheelchair Seating is located at the one ticket per ID. Not valid for Premiere main cross aisle on the orchestra Orchestra seating. All rush tickets are subject level, at Box A on the orchestra level, to availability. and in the mezzanine. A.C.T. is pleased to announce that an Automatic GROUP DISCOUNTS External Defibrillator (AED) is now available Groups of 15 or more save up to 50%! For in the Strand box office. more information call Anthony Miller at 415.439.2424. LOST AND FOUND If you’ve misplaced an item while you’re AT THE THEATER still at the theater, please look for it at our A.C.T.’s Strand Theater is located at 1127 merchandise stand in the lobby. Any items Market Street. The lobby opens one hour found by ushers or other patrons will be taken M2 before curtain. Bar service and refreshments there. If you’ve already left the theater, please are available one hour before curtain. The call 415.439.2471 and we’ll be happy to check theater opens 30 minutes before curtain. our lost and found for you. Please be prepared with the date you attended the performance and your seat location.

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