The Berkeley Rep Magazine 2017–18 · Issue 7

Home , Mike Birbiglia, Rachel Hauck, Tony Taccone

Heidi Schreck and Oliver Butler discuss politics over guacamole 17 · The program for What the Constitution Means to Me 23

THE BERKELEY REP MAGAZINE 2017–18 · ISSUE 7

CM_program.indd 1 4/13/18 3:27 PM Beverley Calvo, joined in 2011 Living LARGER Moving to a smaller apartment meant giving up a lot. Or so Beverley thought. But she found out smaller meant smarter. When Beverley moved to St. Paul’s Towers, the East Bay’s most appealing Life Plan Community, she realized that minimizing meant maximizing. She could do more, enjoy more, and found our spacious, maintenance-free apartment homes to be a perfect fit. With wonderfully prepared menu options, Wi-Fi, and an expanding choice of amenities, Beverley has the freedom to explore her newest love—acting. See why 94% of our residents highly recommend living here. To learn more, or for your personal visit, please call 510.891.8542.

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CM_program.indd 2 4/13/18 3:27 PM IN THIS ISSUE

BERKELEY REP PRESENTS WHAT THE CONSTITUTION MEANS TO ME · 23 MEET THE CAST & CREW · 24

PROLOGUE A letter from the artistic director · 5 Connect with us online!

A letter from the managing director · 7 Visit our website berkeleyrep.org facebook.com/ @berkeleyrep You can buy tickets and plan your visit, berkeleyrep watch videos, sign up for classes, donate to vimeo.com/ @berkeleyrep REPORTS the Theatre, and explore Berkeley Rep. berkeleyrep Opening night and election day: berkeleyrep. berkeleyrep An interview with Eddie Kurtz · 11 We’re mobile! tumblr.com A collegial network: Cultivating Download our free iPhone or Google Play app —or visit our mobile site —to buy tickets, read relationships on Corporate Council · 14 the buzz, watch videos, and plan your visit. The Marge Grants keep staff working at the top of their game · 15 Considerations

FEATURES Only beverages in cans, cartons, or cups with You are welcome to take a closer look, but The Origin Story · 16 lids are allowed in the house. Food is prohibited please don’t step onto the stage or touch in the house. the props. Heidi Schreck and Oliver Butler discuss politics over guacamole · 17 Smoking and the use of e-cigarettes is prohibited Any child who can quietly sit in their own by law on Berkeley Rep’s property. seat for a full performance is welcome at Notes on women’s rights and the Berkeley Rep. Please inquire if you have amendments to the Constitution · 19 Please keep perfume to a minimum. Many questions about content or language. All patrons are sensitive to the use of perfumes attendees must be ticketed: please, no and other scents. babes in arms. CONTRIBUTORS Please make sure your cell phone or watch alarm If you leave during the performance, we may Foundation, corporate, and in-kind sponsors · 30 will not beep. Use of recording equipment or taking not be able to reseat you until an appropriate Individual donors to the Annual Fund · 31 of photographs of the show is strictly prohibited. break. You may watch the remainder of the act on a lobby or bar screen. Michael Leibert Society · 33

ABOUT BERKELEY REP THE BERKELEY REP MAGAZINE 2017–18 · ISSUE 7 Staff, board of trustees, and sustaining advisors ·34 The Berkeley Rep Magazine Editor Writers Contact Berkeley Rep is published at least seven times Karen McKevitt James Dinneen Box Office: 510 647-2949 per season. Sarah Rose Leonard Groups (10+): 510 647-2918 Art Director Karen McKevitt Admin: 510 647-2900 For local advertising inquiries, Nora Merecicky Arielle Rubin School of Theatre: 510 647-2972 please contact Pamela Webster at Graphic Designer Click berkeleyrep.org 510 590-7091 or Email [email protected] [email protected]. Kendall Markley

Cover and above: Heidi Schreck (photo by Christian Peacock)

2017–18 · ISSUE 7 · THE BERKELEY REP MAGAZINE · 3

CM_program.indd 3 4/13/18 3:27 PM May 2018 Volume 50, No. 7

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CM_program.indd 4 4/13/18 3:27 PM PROLOGUE from the Artistic Director

Like most people, I learned about the basic principles of American government in grade school. The Constitu- tion of the United States, along with its romantic sibling the Declaration of Independence and the slightly younger Bill of Rights, was required reading, and the words and ideas embed- ded in the document quickly became not only part of my un- derstanding of how government works, but life itself. Its stated intention, “to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity,” is nothing short of inspiring. The bulk of the text that follows is relatively straightforward. The concepts shockingly simple. The symmetry profound. Even for a seventh grader, the architecture and intent of the Constitution is mightily impressive. But from the fierce battle that marked its initial ratification in 1788, the Constitu- tion has been the source of relentless scrutiny and divisive arguments. Politicians of every kind have used it to bolster their positions. Pundits and television commentators refer to the Founding Fathers as if they were personal relatives. And the federal courts parse over the interpretation of every word in an effort to apply its original wisdom to current law. In spite of the clarity of the original document, an endless number of complications have arisen over its interpretation. As history has unfolded and social conditions change, as different generations have embraced different values, and as the world tries to grapple with rapidly changing economic and political developments, the arguments over what the Constitution means grow louder and louder. So what does the Constitution mean to you? Heidi Schreck’s bright new play provides a theatrical forum for us to re-imagine that question. Using an essay she wrote when she was in high school and her experience as a successful debater, Heidi re-creates a competition with a young, female student. Together they argue a press- ing legal question that impacts their lives, including an entire section that is entirely improvised right in front of us. In doing so they celebrate a central principle of our democracy: participation. It’s a thrilling experience, made only more important by our dire, current political situation and the need for all of us to grapple with our essential beliefs and to force them into consciousness. For in addition to being entertaining and engaging, this play is a celebration of the three most powerful words in our political history: “We the people.” So glad you could be here to take part.

Sincerely,

Tony Taccone

2017–18 · ISSUE 7 · THE BERKELEY REP MAGAZINE · 5

CM_program.indd 5 4/13/18 3:27 PM CM_program.indd 6 4/13/18 3:27 PM PROLOGUE from the Managing Director

A few months ago I was so delighted to see a Reach Your Highest copy of the Constitution on sale at an airport bookstore Business Potential right next to the sales registers. I bought one copy with the • Make getting reviews a breeze fervent hope that every other customer was doing the same • Show up higher in search results thing. Revisiting that remarkable document, I was awed by its • Appear in “near me” searches aspirational nature and surprised by both the breadth of what it does include and the reminder of what is not included. And www.real.review it was such a good reminder of the necessity of clearly stating those ideas and goals that we hold dear. The timeliness of Heidi Schreck’s What the Constitution Means to Me is striking for its commentary on the national political climate. Heidi connects the dots between intention and impact as it relates to the most important principles of our country. But her play is also timely for Berkeley Rep in that it comes as we are revisiting Proud to our own foundational documents. Given Berkeley Rep’s leadership continuity—Tony Taccone has been here for Support over 30 years (first as associate artistic director, then the artistic director), and I’ve been here for almost as long —it has been a while since we’ve reexamined our mis- Berkeley Rep sion statement and values. In all those years we’ve strived to honor our mission and live by a set of values, even if we haven’t spent much time talking about them. But as our board has set out in search of the Theatre’s next artistic director, it has been time to revisit our foundations, examine what remains true to who we are, jettison what we aren’t, and articulate the values we aim to live by. I’m proud to share with you this new articulation of what Berkeley Rep strives to Personal attention be. This is the foundational document that will drive our choice of artistic leader; it is thoughtful litigation the statement of values that already drives all of our choices. final resolution Mission statement: Berkeley Rep creates ambitious theatre that entertains and challenges its audiences, provokes civic engagement, and inspires people to experi- Our goal is to preserve our LAW FAMILY ence the world in new and surprising ways. client’s dignity and humanity. Values statement: Excellence—We believe in striving for excellence in all that we do: attracting the best artists and teachers, maintaining the highest production values, and providing education and enrichment opportunities to our community. Relevance—We believe that the best way to entertain and challenge our audience is FA M I LYLAW G R OUP, P. C . by developing new work and producing an eclectic repertoire of contemporary work and classics. Diversity—We believe that theatre can advance a more diverse and 575 Market Street, Suite 4000 inclusive future, and we endeavor to reflect that future in our arts, its creators, and San Francisco, CA 94105 415.834.1120 our community. Risk—We believe that producing compelling theatre requires taking www.sflg.com risks and pushing boundaries for ourselves and our audiences. Stewardship—We believe that creating meaningful art requires financial and institutional stability, and we embrace that responsibility as stewards of the resources entrusted to us. As you sit in the theatre tonight and enjoy What the Constitution Means to Me with us, I hope you will hear it in the context of our national dialogue, and that you will also appreciate it in the context of Berkeley Rep’s own stated intentions.

Warmly,

Susan Medak

2017–18 · ISSUE 7 · THE BERKELEY REP MAGAZINE · 7

CM_program.indd 7 4/13/18 3:28 PM CELEBRATE 2018–19 Join us for our 50th anniversary season! Subscribe today for the best seats at the best prices Ticket packages on sale now berkeleyrep.org/sub

A Doll’s House, Part 2 By Lucas Hnath Directed by Les Waters Main Season · Roda Theatre Starts September 2018 Welcome to A Doll’s House, Part 2—a fiercely intelligent and theatrically scintillating play that delighted audiences both on Paradise Square: Broadway and off. A New Musical Who’s that knocking on the door? Nora is Main Season · Roda Theatre “Smart, back in this audacious Tony Award-nomi- World premiere nated comedy. It’s been 15 years since she Starts December 2018 funny and slammed that same door on her marriage utterly and children in the revolutionary final Obie Award-winning director Moisés Kaufman (The Laramie engrossing” scene of Ibsen’s signature play. Now a Project and Master Class), award-winning playwrights Marcus Gardley (The House that will not Stand) —New York Times successful yet scandalous writer, she’s being blackmailed by a judge and needs her and Craig Lucas (Amélie), and lyricist former husband’s help. But her family has a Nathan Tysen (Amélie) return to Berkeley few grievances they need to air first. Rep along with Tony Award-winning choreographer Bill T. Jones to bring you No worries—familiarity with Ibsen is not required to utterly, this incredible musical based on extraor- World thoroughly, and unequivocally enjoy this play. dinary real-life stories. Premiere Co-production with Huntington Theatre Company It’s 1863 and in a 20-block area of Man- Musical hattan known as the Five Points, Black and Irish Americans live side by side, work together, marry, and for a brief period realize racial harmony. However, the intensifying Civil Fairview War soon results in the first-ever Federal draft, leading to riots as By Jackie Sibblies Drury Whites are called to enlist while Blacks are barred from serving. Directed by Sarah Benson Will the hard-won bonds of friendship, community, and family in Limited Season · Peet’s Theatre the Five Points prevail or be severed forever? World premiere Calling upon a variety of musical and dance traditions including Starts October 2018 Irish step-dancing and African traditional forms (Juba dancing), as Witness the work of Jackie Sibblies Drury—one of the brightest well as new ones created from their fusion (tap dance), Paradise voices in American theatre today—as she tackles our thorniest Square subverts and reframes some of the most popular music questions about society and race in a fully unpredictable and of the 19th century while honoring and celebrating this unique thrilling theatrical experience. neighborhood’s diverse inhabitants, whose passionate, moving, It begins simply enough: It’s Grandma’s birthday, and Beverly and heartbreaking experiences burn in our imaginations today. needs the family’s celebration to be perfect. But her husband is Paradise Square is produced by special arrangement with Garth H. Drabinsky in association no help, her brother hasn’t arrived, and her teenage daughter may with Peter LeDonne and Teatro Proscenium Limited Partnership be in trouble. What’s more, they are being watched…and judged. Soon, the attitudes and assumptions of these watchers begin to manifest in the family’s celebration, forcing them to fight for their very identities. In association with Soho Rep.

CM_program.indd 8 4/13/18 3:28 PM “It’s not only my 21st and final season as Berkeley Rep’s artistic director, but also Berkeley Rep’s 50th anniversary. People have been asking me what kinds of plays I’ll choose to commemorate these milestones. My answer? Keep producing audacious work by masterful artists who tell us urgent, captivating, and entertaining stories.” —TONY TACCONE, MICHAEL LEIBERT ARTISTIC DIRECTOR

Metamorphoses Based on the myths of Ovid Written and directed by Mary Zimmerman from the translation by David R. Slavitt Main Season · Peet’s Theatre Starts January 2019 Berkeley Rep presented Mary Zimmer- Mary man’s breathtaking Metamorphoses at the turn of the millennium—it later Zimmerman’s received a Broadway run and gar- signature nered her a Tony Award. She’s become tour de force a Berkeley Rep favorite, enthralling audiences with eight gorgeous productions. Don’t miss your chance to experience her signature tour de force, the provocative and mesmerizing Metamorphoses. The Good Book Dreams and reality collide with gods and mortals in Mary Zim- By Denis O’Hare and Lisa Peterson merman’s ode to the power of love—and the shadows that lurk Directed by Lisa Peterson beneath it. From a 24-foot wading pool in our intimate 400-seat Main Season · Peet’s Theatre theatre, she summons Ovid’s classical tales of passion, betrayal, Starts April 2019 hope, and transformation, inviting us into a realm of shared cul- Denis O’Hare and Lisa Peterson (the team behind An Iliad) apply tural myths and beautiful, unshakable visions. their formidable creative energy to unearth the all-too-human Co-production with Guthrie Theater formation of the most influential book in Western history— the Bible. This powerful play weaves together three distinct yet connected stories: a devout young man struggling to reconcile his belief with his identity; an atheist biblical scholar trying to find meaning Home as she faces her own mortality; and the creative journey of the Created by Geoff Sobelle Bible itself—from ancient Mesopotamia to medieval Ireland to Scenic Conception by Steven Dufala suburban America—through the many hands, minds, hearts, and Directed by Lee Sunday Evans circumstances that molded this incredibly potent testament to Original songs by Elvis Perkins the human spirit. Limited Season · Roda Theatre Starts March 2019 Straight from acclaimed performances at bam in New York and venues around the world, Obie Award-winning physical theatre artist Geoff Sobelle and his ensemble of actors, dancers, and de- Plus one more play signers treat you to an enchanting visual and immersive spectacle. to be announced— Right before your eyes, a two-story house is conjured from the shadows. Residents past, present, and future rollick through its directed by Tony Taccone! rooms in an impromptu dance that defies time and space, mag- ically transforming our mundane everyday tasks into a glorious, intimate, and profound celebration. A dreamlike infusion of illusion, live music, story, and ingenious SEASON SPONSORS engineering, this captivating show invites you to make its house your Home.

CM_program.indd 9 4/13/18 3:28 PM 50 BERKELEY REP’S YEARS AND GLOWING JOIN US!

CM_program.indd 10 4/13/18 3:28 PM REPORT

50 BERKELEY REP’S YEARS AND GLOWING JOIN US!

Join us as we toast Berkeley Rep’s past, present, and future at a HONORARY COMMITTEE Hope Alexander-Willis spectacular evening at the Ritz-Carlton San Francisco honoring 50 Todd Almond seasons of spectacular theatre. Tony Amendola & Judith Marx Mikhail Baryshnikov Eddie Kurtz The Honorable Tom Bates & Berkeley Rep’s OVATION—50 Years and Glowing—is a night of the Honorable Loni Hancock celebration. Reconnect with luminary artists and friends, from the Theatre’s Joy Carlin James Carpenter earliest days to the present, including a special performance by the cast of The Honorable Keith Carson & Maria Carson this season’s Ain’t Too Proud. It’s an evening not to be missed. Kathleen Chalfant Opening night and election day: Adam Chanler-Berat Charles Dean Hurry—tickets are limited...don’t miss the theatrical event of the season! Colman Domingo An interview with Eddie Kurtz Paul Dresher & Philippa Kelly Eve Ensler BY JAMES DINNEEN Steven Epp Oskar Eustis SATURDAY, JUNE 9, 2018 · 6:00PM Mona Golabek Daniel Handler & Lisa Brown The Ritz-Carlton San Francisco · 600 Stockton Street, San Francisco Geoff Hoyle Linda Lee Johnson Moisés Kaufman Alumni of Berkeley Rep’s Fellowship Program I felt like the theatre skills I had honed—storytelling, Maxine Hong Kingston have gone on to have a variety of careers, in and outside the making things happen, working in teams—seemed like things The Honorable Barbara Lee theatre. Eddie Kurtz, the artistic fellow between 2004 and the Democrats weren’t very good at. And what do you know? TICKETS START AT $750 PER PERSON Karen Ingenthron Lewis 2006, spent several years working in theatre before transi- They’re still not. But at the time I felt, “I have to try. I have to Proceeds from OVATION support all of the work on Berkeley Rep’s stages, Delroy & Nasha Lindo Sharon Lockwood tioning to work as a political organizer. He is currently the be a part of this.” as well as the Theatre’s arts education and new play development programs. Flicka McGurrin executive director of the Courage Campaign, a progressive Rita Moreno Bill Rauch grassroots advocacy organization which works in California Was there anything political about why you got involved Emma Rice to create policy models for the rest of the country. Peter F. with theatre in the first place? Ken Ruta Sloss Literary Fellow James Dinneen spoke with Eddie about No. To be blunt I got into theatre for much more personal RSVP Mitzi Sales & John Argue his work in politics and the ways in which his education in the reasons. I was trying to find myself in the world. Theatre was Anna Deveare Smith Julia Starr at 510 647-2901 or [email protected] Joe Spano theatre have informed his efforts. the first thing I was roll-out-of-bed good at. So that led me… Or visit berkeleyrep.org/ovation Stephen Spinella well it’s how I became an adult in the world, learned about Sir Patrick Stewart What inspired you to make the change from working in myself, and gained a lot of self-confidence and self-worth. Anne Swift Michael Tilson Thomas & Joshua Robison theatre to working in politics? Stephen Wadsworth & Francesca Faridany The short answer is the Iraq War. The Iraq War plus Was there anything you were roll-out-of-bed good at Tom Waits & Kathleen Brennan the 2004 election in which John Kerry lost. Bush was re- in politics? Alice Walker Alice Waters elected. I didn’t know where to start. I wanted to find the At Courage Campaign we do digital organizing, a lot of Les Waters & Annie Smart candidates who would run and advocate for the values emails and social media, trying to get people to pull in the Mary Zimmerman that I believed in. And do so in vigorous, exciting, emo- same direction. From go, I was really good at writing those tionally impactful ways. CONTINUED ON NEXT PAGE

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CM_program.indd 11 4/13/18 3:28 PM CONTINUED FROM PREVIOUS PAGE that’s very effective. It’s about you in this moment. What is your emails. Figuring out messaging. Putting together campaigns story? Why are you doing this? A lot of the organizing work is and projects. Working with partners. Basically, putting your- helping people find their personal connection to the campaign. self in other people’s shoes. All the things I just listed are skills that I honed in the the- What skill from your experience in theatre is most valuable atre: being able to communicate, to tell a story really clearly in your work now? and potently, to be empathetic. Or in a political situation, not A sense of story! I do think that that’s something that to be outraged that someone isn’t on your side…you have to a lot of folks on the Left, in particular, have lost. These understand what the world Democratic consultants and looks like from their perspec- their pollsters and their nano, tive. So I do think, yeah, I was What are you saying? What is narrow targeting blah blah roll-out-of-bed good at politics, your story? If you tell a good blah. Like, stop. What are you although there’s a huge learning saying? What is your story? If curve, as there was with theatre. story, it actually stands up to you tell a good story, it actually Dear God, I learned a lot. stands up to a lot of attacks. a lot of attacks. I mean Trump told a very What parallels have you compelling, completely racist, noticed after working both in theatre and in politics? completely fucked up, not-based-in-reality story. But when Opening night and election day. Which you should actu- you have a really good story that resonates with people and ally call voting day based on like cognitive, linguistic research. touches them, facts don’t matter. It’s a deadline. It doesn’t move. It focuses the mind. Everything you build is toward this moment. You can spend all your time It’s theatre. working on a show, then you can put it in front of the audi- It’s theatre! And there’s no reason that that theatre can’t ence and it doesn’t work. Sometimes it just pppffff. Flops. At be used for good. least in theatre you tend to be able to go back the next night and try to fix things, but politics…. You elect Donald Trump, Last question: What does the Constitution mean to you? you’ve elected Donald Trump. God help us all. It’s like so much of America to me. It’s so good and so bad. There’s so much to like about America and the progress and One thing I think What the Constitution Means to Me does the moments that we’ve had as a country. And I think a lot of really well is it takes this big, impersonal thing—the Consti- that is tied to the Constitution. Tied to some really good stuff tution—and it makes it personal. Is making the political per- that those brilliant folks managed to put together and the sonal something you think about in your organizing work? framework they managed to establish. And it also enshrined Absolutely. I go back to the organizing framework that slavery. It also set us up for so many problems. So it’s a deeply Obama based his campaigns on, which was the story of self, flawed document. And so I have a complicated relationship story of us, and story of now. That’s an organizing framework with the Constitution. SUMMER THEATRE INTENSIVE GRADES 6–8 · JUN 18-JUL 13 GRADES 9–12 · JUL 17-AUG 10

FILMMAKING AND ACTING INTENSIVE GRADES 9-12 · JUL 16–AUG 3

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A collegial network: Cultivating relationships on Corporate Council BY ARIELLE RUBIN

A theatre’s ability to create and foster relation- which they can share with clients and contacts, helping them ships ensures that it can produce meaningful work that cultivate and deepen their own relationships while introducing engages many people. One of the numerous ways Berkeley new potential partners to the Theatre. Rep continues to establish new relationships and strengthen A longtime subscriber, Jacky Fink, chief IP strategist in the existing ones is through its Corporate Council. The Corpo- Office of General Counsel at Deloitte, joined the Corporate rate Council is a group of business leaders who help reinforce Council in 2016. She has enjoyed becoming more “deeply in- Berkeley Rep’s relationships in the Bay Area business com- volved” at the Theatre and learning about the theatre-making munity by supporting the Theatre’s value as a key community process. In addition, the opportunity has enabled her to make and cultural resource. new relationships and contacts on the Council. Corporate Council members represent companies that Hamid Hussain, executive vice president and East Bay re- partner with Berkeley Rep. They serve as ambassadors for gion manager of Wells Fargo Bank, has been a member of the Berkeley Rep within their own companies and the larger Corporate Council for four years. On top of the networking corporate community. They may help Berkeley Rep to nav- opportunities, he enjoys the experience of giving back to the igate changes within their company or industry that could community. He is enthusiastic about providing opportunities impact support, such as new leadership or giving guidelines, for community members to “see the interesting and relevant or a changing regulatory environment. By setting an example plays that Berkeley Rep offers.” of corporate social responsibility and by introducing their Through their participation in Corporate Council, busi- contacts to Berkeley Rep, they encourage other businesses nesses are able to help the Theatre execute the many commu- and individuals to support the Theatre as sponsors, audience nity and education programs it offers. “The arts and access members, and community partners. to them are important,” says Jacky. “At Deloitte, we value Comprised of 18 businesses leaders who represent an education to help students thrive, and this is one way we can array of companies, including large national organizations like support the community.” American Express and local East Bay businesses like Semifred- By establishing relationships with many people and di’s Bakery, the Corporate Council meets approximately four organizations, Berkeley Rep creates its own giant web of times a year to learn about the current endeavors at Berkeley connections. Communication within a web moves in every Rep and discuss ways to further engage the community. Coun- direction, enabling those involved to make their own connec- cil meetings allow members to network with other business tions. For every relationship the Theatre cultivates, many more professionals and connect with other philanthropically minded emerge, linking community members to one another. This organizations. Employees at Berkeley Rep partner companies interconnectedness allows constituents to serve and support often receive discounts to Berkeley Rep productions. Similarly, each other, fostering a neighborly spirit in the Bay Area. The the companies also receive invitations to exclusive events Corporate Council does just that.

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CM_program.indd 14 4/13/18 3:28 PM REPORT The Marge Grants keep staff working at the top of their game BY KAREN MCKEVITT

At Berkeley Rep, we strive to create an environ- says Marjorie Randolph, who started the program in 2011 ment where top-notch artists can do their best work —and and has recently made another generous three-year com- for us, that means we also endeavor to make learning a part mitment. A major longtime supporter of Berkeley Rep, of everything we do. It’s really in our dna. In our Fellowship Marjorie is past president of our board of trustees, and Program, the next generation of theatre professionals receive during her tenure at the Theatre has sponsored more hands-on training from our accomplished staff of artists, than 30 plays. administrators, and technicians. And thanks to Berkeley Rep’s Since its inception in 2011, a total of 102 Marge Grants Professional Development Fund (affectionately known as the have been awarded. Our props department has taken fan- Marge Grants) our staff can keep up with the latest technolo- tastic advantage of the program to broaden their skill sets in gy, tools, and best practices. areas like fabric dyeing, marquetry (wood inlay), lathe, and “I wanted to create a program that would help the staff glass blowing. Our production department have received nine be better not only in their jobs, but also in their careers,” grants toward classes in Autocad (a drafting software) to help them work on technically complex shows like Ain’t Too Proud: Marjorie Randolph The Life and Times of The Temptations—and other members of our production department have taken classes in welding, video systems, millinery, and more. Jamaica Montgomery-Glenn, master carpenter, complet- ed both Autocad and welding classes thanks to her Marge Grant. “Now that I know Autocad, I can check measurements and get information from drawings while my supervisors are busy with another project,” she explains. “It has enabled me to lead a team of people because now I can answer my own questions. The tig welding class was really fun. I think welding aluminum is the way to go for certain set pieces because it is so lightweight and portable.” The Marge Grants also enable staff to attend vital professional conferences like ones for the League of Resident Theatres, Literary Managers and Dramaturgs of the Amer- icas, and Tessitura (Berkeley Rep’s database and ticketing system). The grants, however, can be used for more than nuts-and-bolts training: The props department was granted funding toward an all-staff yoga class, as they wanted to offer something to the full company that promoted healing and a healthy lifestyle. “The Marge Grants have become one of the most loved programs for our staff,” says Managing Director Susan Medak. “So many of them have developed really valuable new skills through these grants. More than anything we do, the Marge Grants exemplify our desire to encourage learning in all departments, among all staff members and for both personal and professional development.” Thanks to the Marge Grants, the staff at Berkeley Rep can continue to convey new knowledge not only with the next generation of theatre leaders in our Fellowship Program, but also with you through the work on our stages.

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CM_program.indd 15 4/13/18 3:28 PM The Origin Story

Over the past 10 years, Heidi Schreck has performed short monologues about the Constitution at evenings of works-in-progress in various downtown theatres in New York. Like a comic with a variable list of jokes, she would pick and choose what section she wanted to discuss on a given night. Afterwards, she would always put the piece down, never knowing what it should become. When she was offered a commission from True Love Productions a few years ago, she felt it was the right opportunity to work on what would eventually become What the Consti- tution Means to Me. A full-length version of the piece received a two-week run in Clubbed Thumb’s Summerworks, an off-Broadway festival that showcases innovative writers and directors. When the artistic staff at Berkeley Rep watched a video of that performance, we unanimously felt this piece fit perfectly as a closer to our season. Heidi is a rare breed in the theatre: she frequents leading stages off Broadway and nationwide as both an actress and a playwright. Her col- laborator, Oliver Butler, is the co-artistic director of The Debate Society, a company known for creating vividly detailed, heavily researched plays out of a slow-bake development process. Both artists have worked with us before: Heidi played the lead role in Lisa Kron’s In The Wake in the Roda Theatre in 2010, and The Debate Society developed their play Jacuzzi at The Ground Floor’s Summer Residency Lab in 2013. After the nyc run of Constitution, Heidi and Oliver thought about performing the show in American Legion halls across the country. In the meantime, all parties felt a good first stop was Berkeley, California. Where better to birth a national civic debate?

PHOTO BY JAKE DEGROOT

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CM_program.indd 16 4/23/18 3:30 PM PHOTO BY CHRISTIAN PEACOCK Heidi Schreck and Oliver Butler discuss politics over guacamole BY SARAH ROSE LEONARD

In late March, playwright/performer Heidi Schreck Constitution impacted the very personal parts of my life, partic- and director Oliver Butler took a lunch break after a morning ularly as a woman and the generations of women in my family? of auditions. They had just finished seeing young Bay Area debaters try out material from their play What the Constitution Oliver, did you come onboard for the Clubbed Thumb run? Means to Me at Berkeley Rep’s Harrison Street campus, and Oliver Butler: Yeah. Heidi sat me down the previous Feb- that evening they would head to the Peet’s Theatre to watch ruary and said, “Do you want to work on this unfinished thing?” Julia Cho’s Office Hour, observing for the first time the space I found the base story so compelling. I’ve always had such an where Constitution now performs in action. Between bites interest in meta-theatre, and this sort of feels like meta-politics. of chips and guac, the artists discussed the nature of our Part of what I really loved in the process, and part of the inalienable rights and how the law interacts with improvisation reason it needs to be improvisational, is because the show itself onstage with Literary Manager Sarah Rose Leonard. is more of a process than a finished thing. It’s not something that you can ball up and say, “Now it’s done,” because time moves Sarah Rose Leonard: Heidi, what inspired this play? on. The political landscape changes. Heidi changes. You’ve got to Heidi Schreck: I had the idea for the play about 20 years honor that. I love watching it—even the struggle that Heidi goes ago! I fell in love with the structure of a show I saw in Seattle in through in telling it—because it’s uncomfortable, even painful, the late ’90s. It was like a rummage sale, and the objects all have to struggle with this impossible question: “What are rights?” a story attached, and the actor told the stories in random order every night. I wanted to make a show about my time doing the How much homework did you do for the piece? Constitution contest that had that same feeling of chance. HS: We worked with a constitutional lawyer. Even after we I really wanted to work with Oliver because of his collabora- opened, during the run at Clubbed Thumb, I would emailhim, and tive way of making plays with The Debate Society. I only had 12 based on our conversations, I would make changesto the text. pages or so when we started. As we worked, it became clearer Telling the audience this story is a way for me to understand and clearer that the story of the play was: how does or has the CONTINUED ON NEXT PAGE

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CM_program.indd 17 4/13/18 3:28 PM CONTINUED FROM PREVIOUS PAGE characters, which one could argue are political, but social something (Constitutional law) that’s really hard to understand. I change wasn’t explicitly part of what we were trying to do. finally figured out the interplay of the Constitution and domestic violence as the result of many questions sent to this lawyer! How has your more recent political activism informed I became fascinated by the idea that many of the your work? decisions made about women’s bodies were filtered OB: All of my political activism started with, and contin- through the Ninth Amendment, which is such a hazy, weird ues to be centered on, the belief that part of what is broken amendment. It’s very inter- and sick in America is our lack esting to me that when wom- of civic engagement. So, all of en finally had rights in this If the American story is hopefully my passion has been about document that didn’t even different ways to engage acknowledge women, nobody a story of emancipation—whether people more in civic activity. I could figure out where they it’s emancipation from slavery, hope I’d have worked on this were located, so they got put play before the 2016 presiden- into the Ninth Amendment, or emancipation from domestic tial election, but I’m not sure I and nobody knows what the violence, or emancipation from would have been as motivated amendment means. and excited. OB: It’s like a catch-all. ignorance—hopefully our story is If the American story is HS: Exactly. It’s a vague one that is moving towards some hopefully a story of emancipa- amendment. That’s where tion—whether it’s emancipa- women’s bodies live! sort of freedom. tion from slavery, or emancipa- Another part of our OLIVER BUTLER tion from domestic violence, or research was listening to emancipation from ignorance— oyez.org. We listened to many hopefully our story is one that is Supreme Court cases. moving towards some sort of freedom. I’m looking for new tools OB: Before working on this play, I assumed that the to start getting people on that path. people making our laws and interpreting the Constitution were smarter than me. Sort of like how I imagine the Catholic How did you craft what is set and what is improvisational? Church used Latin as a way to keep it so only the people in HS: The structure is set, because I’m breaking down one charge could read it and interpret it for you. amendment and then essentially one section of one amend- When I actually listened to some of the Justices, I was ment that has four points. There’s the structure—the four blown away by how illogical and easily refutable some of points—and the first three are essentially in my past, and the the arguments are—and by how self-serving a lot of the fourth thing is now. It goes great-grandmother, grandmother, Justices are. When you get beyond some of the language mother, me. Then there’s the debate. Within that, the story that keeps you out and makes you think, “I might not be I tell about my grandma could change from night to night, smart enough to understand this,” you realize that you are or the way I tell the story, or sometimes there’s a story that often dealing with heavily I just decide the night of to self-involved people trying to leave in or take out. But the wrestle language to line up main points are there. So with what they already feel. Since I was 15, I’ve been fascinated it’s like debate. You always Watching Heidi—who by how one, tiny little sentence in a have your main points and is brilliant, but not a consti- you just might deliver them tutional scholar—wrestle 250-year-old document could affect differently every night. with this stuff, actually makes my life so profoundly. OB: Heidi has the right me say, “I can, too.” Anyone and the agency to change should be able to look at this HEIDI SCHRECK anything she wants. Even document and say, “What Danny (her costar) is ready does this actually mean?” I do to let her go wherever she that more now because of this show. wants to go. That doesn’t mean that she does something differently every night, but she knows that she can. Even if Oliver, since the 2016 election, you’ve become more active you change nothing, to know you can change the piece for in politics. Which is somewhat ironic since you’ve had a you. We like the parallels between the constant revising and company called The Debate Society since 2004. rethinking that’s going on onstage reflecting with how the OB: We have a name that for years, people have asked, actual Constitution works. “What kind of debate do you do?” Ha! We gave ourselves that name to reference a high school debate club that may- How did Danny come into the piece and what is his role? be takes itself a little too seriously. We have for a long time HS: I was on an exercise bike and had a vision of Danny said that we don’t start with specifically political work. We in the piece. In part, I did not want to be onstage alone, and make these sort of dark Americana stories about outsider I thought, “Who do I want onstage with me?” I thought,

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CM_program.indd 18 4/23/18 3:30 PM “Danny.” I also wanted someone to represent the old American Legion guy. And other men. He’s evolved into a witness, a partner of sorts, and then it was late in our rehearsal process when I said, “Would you mind telling a personal story, also?” I’d love to hear about how the young debater role came NOTES ON into the play. HS: My first idea was to have a young girl play my great-great-grandmother. The more we worked on the WOMEN’S RIGHTS piece, the more it became clear that this was a piece in which everyone had to be who they actually were. So then I realized, “I’m talking about being a debater at 15. We should get a debater who’s 15. And she should come out and essentially replace me.” The most important thing we were looking for when we TO were casting both here and in New York was somebody with THE a ferocious mind who was an actual debater, who does debate and knows how it works, and would be able to debate spon- taneously onstage, and surprisingly, there are a lot of amazing BY JAMES DINNEEN young women who can do that. OB: That’s also a fun quality to the rules of different debate styles. There are all these arbitrary rules and then you are either working within the rules as they exist, or as we learned Women were not allowed to participate in from the various young women who come and audition and the conventions which framed and ratified the United tell us about some of them, specialize in pushing back on the States Constitution in the 1780s. Women’s rights as actual structure of the debate as a way to win. So even they citizens—particularly their right to vote, run for office, are evolving. serve on a jury, and serve in a militia—were under- HS: It’s very popular right now to say, “I’m not actually stood by the framers to be different from the rights of gonna agree to debate the topic we agreed to debate.” The male citizens. A number of amendments made to the argument, and it’s a lot of students of color doing this in Constitution since 1791 have played an important role particular, is to say, “Your rules are bogus and the structure in establishing—and sometimes inhibiting—the rights is excluding me.” I think it’s a really inspiring thing happen- of women in the United States. ing in debate right now. It’s young people saying, “Actually, In What the Constitution Means to Me, Heidi we don’t want to play by the rules anymore. We need to Schreck reckons with how the Constitution and its make new ones.” amendments have affected her life as an American and as a woman. This play came of age in the small off-Broadway theatre Some of the amendments most significant to community. What are your thoughts on moving it into a the history of women’s rights legislation are high- lighted here. wider context? CONTINUED ON NEXT PAGE OB: We really, really wanted to be able to do a full run of this show before the 2018 election. Obviously it’s not lost on us that there are hundreds of women running for office in the 2018 elections. Women are by far the most politically active people in my sphere, which is also a problem, because where are the men? But we are in a moment where women are putting themselves at the center of the story. I hope that people come see this show and don’t just think, “Oh, I should look at the Constitution” (which I also hope they do). I hope they think, “I should run for the school board.” HS: For me, the most interesting part of working on this show is the examination of how the Constitution actually impacts me on an extreme, personal level. Since I was 15, I’ve been fascinated by how one, tiny little sentence in a 250-year-old document could affect my life so profoundly. There’s a way in which that sentence was the difference in me being here and not being here. I find that putting my own physical body in relationship to this document is a profound, interesting, strange experience.

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CM_program.indd 19 4/23/18 3:30 PM 9NINTH AMENDMENT (1791) 1313TH AMENDMENT (1865) 1414TH AMENDMENT (1868) SUMMARY: S U M M A R Y : S U M M A R Y : Reserves the rights of citizens which Forbids forced slavery and involuntary Section One establishes citizenship by are not specifically mentioned by the servitude, except as punishment for birth or naturalization in the United U.S. Constitution. criminal offense. States. It also guarantees all citizens due NOTES: N O T E S : process, or fair proceedings in a trial, Arguments that the Ninth Amend- Constitutional Scholar Akhil Reed Amar and equal protection under the law. ment implies a right to privacy play a points out that women were “in large Section Two removes the practice significant role in legislation regarding part the agents and the subjects of the of counting slaves as 3/5 of a person in reproductive rights. In cases like Griswold Thirteenth Amendment. They were a census and grants all males at least 21 v. Connecticut (1965) and Roe v. Wade agents, because women publicly mobi- years old the right to vote. (1973), the Supreme Court decided that lized for the abolitionist movement; and Section Three prevents citizens who access to contraception and to abortion, they were subjects, because half of the were involved in rebellion against the respectively, were protected on the people who were emancipated were fe- United States from holding office—de- basis of the right to privacy. However, male.” Women like Sojourner Truth and signed to prevent former Confederate protection on the basis of privacy has a Harriet Beecher Stowe gave speeches officials from holding office. mixed track record for women. For one, and published writing in support of abo- Section Four states that the debt as American historian Jill Lepore puts lition. A dominant theme in abolitionist accrued by the federal government it, “The privacy doctrine reaffirms and literature was the plight of enslaved during the Civil War will be honored ex- reinforces what the feminist critique of women, especially their role as sexual cepting debts owed to the Confederacy sexuality criticizes: the public/private servants of male slave owners. or claims by slaveholders regarding the split.” For example, the right to privacy In addition to contributing to the loss or emancipation of any slave. was involved in arguments opposed to end of slavery, women’s role in the NOTES: women’s suffrage, the thinking being that abolitionist movement was a notable We tend to understand “civil” rights to political enfranchisement for women in- instance of women acting in politics include “political” rights, like the right to truded on men’s privacy at home. Lepore without legal protection for their polit- vote. While the 14th Amendment is an also explains that legal protection on the ical participation. In the 19th century, important legal foundation for protecting basis of privacy is a weak substitute for society expected that women act only “civil” rights like the right to own prop- arguments based on equality, such as de- in the private sphere. So long as religion erty or to speak freely, it has not been segregation of schools in Brown v. Board was considered to be part of the private understood to protect “political” rights. of Education (1954), which have tended to sphere, however, women could act in Amar explains that at the time of grow stronger over time. politically significant religious move- its ratification, the 14th Amendment The Equal Rights Amendment, which ments with some freedom. Religious was about granting “civil” rights to black was meant to provide a sturdier consti- groups of men and women played a people. He suggests that “civil” rights tutional basis for legislation preventing significant role in the abolitionist move- were largely defined in 1868 by the gender discrimination, never came to ment, working to motivate change with status of unmarried white women. “The fruition. Though Congress passed the moral appeals against the sin of slavery. Fourteenth Amendment,” he writes, amendment in 1972 and it was ratified by “was in effect saying that America 35 states, it failed to pass the necessary would let blacks—black men and black 38 states by the ratification deadline. women—have the rights that unmar- Some scholars argue that the de- ried white women had long enjoyed.” cades-old amendment could still be valid Though the 14th Amendment was if it was ratified by three more states. ratified in the context of protecting Section One of the proposed emancipated slaves from discrimi- amendment reads simply: “Equality of nation, the first section of the 14th rights under the law shall not be denied Amendment does not explicitly treat or abridged by the United States or any racial discrimination as different from State on account of sex.” gender discrimination.

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CM_program.indd 20 4/23/18 3:30 PM 1515TH AMENDMENT (1870) 1818TH AMENDMENT (1919) 19TH19 AMENDMENT (1920) SUMMARY: SUMMARY: S U M M A R Y : Guarantees citizens the suffrage rights Denies the sale and consumption Reserves suffrage rights regardless of sex. regardless of their race, color, or previ- of alcohol. NOTES: ous slave status. NOTES: The century-long struggle for women’s NOTES: The temperance movement that would suffrage began to organize at the national Whereas the 14th Amendment address- eventually lead to the passage of the level at the Seneca Falls Convention in es “civil” rights, the 15th Amendment 18th Amendment began in the early 1848. At the convention, Elizabeth Cady guarantees “political” rights regardless 19th century. From the beginning, wom- Stanton read her manifesto Declaration of of race. However, the 15th Amendment en—especially women involved in reli- Sentiments, which, modelled on the Decla- does not recognize women as a protect- gious organizations—spoke out against ration of Independence, outlined women’s ed category in political participation. the evils of destitution and violence that grievances and demands. The declaration Though the women’s rights movement liquor brought on families. The Woman’s was signed by members of the convention supported abolition, it divided over sup- Christian Temperance Union, organized including abolitionist Frederick Douglass. port for the 15th Amendment due to its under the leadership of Frances Willard The outbreak of the Civil War in 1861 failure to guarantee women’s suffrage. in 1874, was the largest single women’s interrupted the political momentum that Supporters of the amendment formed organization of the century. The temper- followed the convention. the American Woman Suffrage Asso- ance movement, like the abolitionist After the war, the National Woman ciation. Detractors of the amendment movement, marked another instance of Suffrage Association, which included formed the National Woman Suffrage women taking political action without Stanton and Susan B. Anthony, planned Association. The two competing orga- political rights protected under the law. an act of civil disobedience to make their nizations would not merge until 1890 It is not a coincidence that the temper- case for women’s suffrage: a group of to coordinate support for what would ance movement happened in parallel to women attempted to vote in the federal become the 19th Amendment. the women’s rights movement: many elections of 1872 in New York, where state women were involved in both. laws prevented women from voting. The federal government decided to prosecute Anthony and others for voting illegally. In United States v. Susan B. Anthony (1873), the Supreme Court determined that the right to vote was not protected by the 14th Amendment, setting important precedent for limiting 14th Amendment protections to “civil” rights. Following the failure in court, the National Woman Suffrage Association decided to promote a new amendment to the constitution which would guarantee women’s suffrage. The 19th Amendment, also called the Susan Anthony Amend- ment, was ratified on August 18, 1920, after another half-century of a women-led crusade for suffrage. Though the 19th Amendment only mentions voting, it effectively guarantees all political rights regardless of sex. It has also been cited, in cases like Adkins v. Children’s Hospital (1923), as a block to any legislation which differentiates between women and men.

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CM_program.indd 21 4/23/18 3:30 PM Angels in America, Part One: Millennium Approaches Millennium One: Part America, in Angels in Harrison Randy and Faridany Francesca PHOTO BY KEVIN BERNE KEVIN BY PHOTO

NOW PLAYING IN THE RODA THEATRE

A Gay Fantasia on National Themes PART ONE: MILLENNIUM APPROACHES PART TWO: PERESTROIKA

BY Tony Kushner DIRECTED BY Tony Taccone

LEAD SPONSORS

SEASON SPONSORS

CM_program.indd 22 4/23/18 3:31 PM Angels in America, Part One: Millennium Approaches Millennium One: Part America, in Angels in Harrison Randy and Faridany Francesca PHOTO BY KEVIN BERNE KEVIN BY PHOTO

Berkeley Repertory Theatre presents BERKELEY REPERTORY THEATRE the West Coast premiere of TONY TACCONE, MICHAEL LEIBERT ARTISTIC DIRECTOR SUSAN MEDAK, MANAGING DIRECTOR

BY CAST Heidi Heidi Schreck* Heidi Schreck Danny Danny Wolohan* Wisdom Wisdom Kunitz NOW PLAYING IN THE RODA THEATRE DIRECTED BY Anaya Anaya Matthews

Oliver Butler PRODUCTION STAFF MAY 3–JUNE 17, 2018 Scenic Design Rachel Hauck PEET’S THEATRE · MAIN SEASON Costume Design Michael Krass

This show has no intermission. Lighting Design Jennifer Schriever Sound Design Sinan Refik Zafar Casting Amy Potozkin, csa A Gay Fantasia on National Themes What the Constitution Means to Me is made PART ONE: MILLENNIUM APPROACHES possible thanks to the generous support of Stage Manager Betsy Norton* SEASON SPONSORS PART TWO: PERESTROIKA Jack & Betty Schafer Additional material by: Danny Wolohan, Anaya Matthews, Michael & Sue Steinberg and Wisdom Kunitz The Strauch Kulhanjian Family BY Tony Kushner What the Constitution Means to Me originated with Clubbed Thumb in partnership with True Love DIRECTED BY Tony Taccone Productions as part of Summerworks 2017.

This play was commissioned by True Love Productions and developed in partnership with Clubbed Thumb. LEAD SPONSORS Bruce Golden & Michelle Mercer * Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. EXECUTIVE SPONSORS Michelle Branch & Dale Cook SPONSORS Affiliations David & Vicki Fleishhacker The director is a member of the Society of Jerry & Julie Kline Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in ASSOCIATE SPONSORS lort Theatres are represented by United Lynne Carmichael Scenic Artists Local usa-829, iatse. Peter Pervere & Georgia Cassel Karen Stevenson & Bill McClave LEAD SPONSORS Wendy Williams

SEASON SPONSORS

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CM_program.indd 23 4/23/18 3:31 PM BERKELEY REP PRESENTS profiles

Heidi Schreck Wisdom Kunitz Here, An Iliad, Mother Courage, Antony & PLAYWRIGHT/PERFORMER WISDOM Cleopatra, and Valley Song. Previously with Heidi is a playwright, Wisdom is ecstatic Heidi Schreck: Grand Concourse and Creature. actor, and screenwriter to be performing for Rachel’s recent New York credits include Latin living in Brooklyn. Her the very first time at History for Morons (Broadway); The Lucky Ones latest plays include Berkeley Rep. The (Ars Nova); Hadestown and An Iliad (New York What the Constitution aspiring performer Theatre Workshop); Latin History for Morons, Means to Me and Grand has performed in The Tiny Beautiful Things, and Dry Powder (The Concourse, which pre- Struggle at Sacramento’s Public Theater); Amy and the Orphans and On miered at Playwrights Mel Lawson and Twelfth the Exhale (Roundabout Theatre Company); Horizons and Steppen- Night (Viola/Cesario) Animal (Atlantic Theater); You’ll Still Call Me wolf Theatre in 2014–15, in Sacramento’s Guild By Name (Sonya Tayeh at Live Arts); All the and has been produced by theatres all over Theater. Wisdom attends James Logan High Ways to Say I Love You (mcc Theater); Antlia the country including Shotgun Players in School and actively participates in both Pneumatica and Grand Concourse (Playwrights Berkeley. Grand Concourse received a Lilly speech and debate. She competes in various Horizons); Night Is a Room, Our Lady of Kibeho, Award, the Clare Tow Award, and was a final- league tournaments in Congressional debate and And I and Silence (Signature Theatre); and ist for the Susan Smith Blackburn prize. Hei- as well as Oratorical Interpretation. To the Bone (Cherry Lane Theatre). Her recent di’s other plays Creature, There Are No More regional work includes Top Girls (Huntington Big Secrets, and The Consultant have been Anaya Matthews Theatre Company); Poster Boy and And No produced by Long Wharf Theatre, Page 73, ANAYA More Shall We Part (Williamstown Theatre Seattle Public Theatre, art, SpeakEasy, New Anaya is thrilled to join Festival); The Good Book (Court Theatre); George, Rattlestick Theatre Company, and the Berkeley Rep family Shakespeare in Love, Roe, Into the Woods, The more. She holds commissions from the At- in this production of Music Man, and Othello (Oregon Shakespeare lantic Theatre Company, Manhattan Theatre What the Constitution Festival); Clybourne Park and Cat on a Hot Tin Club, and South Coast Repertory Theatre and Means to Me. Her Roof (Guthrie Theater). Rachel received the has a been a playwriting fellow with Soho regional credits include Princess Grace Award, Lilly Award, and an Rep and the Sundance Theatre Lab. Her tele- Ragtime, Annie, and Obie Award for Sustained Excellence. vision writing includes Nurse Jackie, Billions, Sound of Music (Berke- and I Love Dick, and she is currently develop- ley Playhouse). She Michael Krass ing a TV series with Annapurna Pictures and has performed at the COSTUME DESIGNER Imagine. As an actor, Heidi has performed at Oakland Art and Soul Festival, as a young artist Michael returns to Berkeley Rep after 30 Berkeley Rep (In the Wake), Roundabout The- in residence at Children’s Fairyland, and has years—the very first regional work of his ca- atre, mtc, Playwrights Horizons, Shakespeare professional credits working with Mini Mix’d reer was The Art of Dining here. He is a three- in the Park, and more. TV: Nurse Jackie, The Dance Company, the Oakland Interfaith Gospel time Tony Award nominee for his work on Good Wife, Billions, Law & Order: svu. Heidi is Choir, and the Oakland Youth Chorus Chamber Broadway, which includes The Cherry Orchard; the recipient of two Obie Awards, a Drama Singers. Anaya is a playwright and a member Machinal; Noises Off; You’re A Good Man, Char- Desk Award, and the Theatre World Award. of the Berkeley Rep Young Writers of Color lie Brown; and Heisenberg. Off Broadway and Collective. She is fluent in French and is a 10th regionally he has designed world premieres by Danny Wolohan grader at St. Mary’s College High School. Edward Albee, John Guare, Kenneth Lonergan, DANNY Heidi Schreck, Simon Stephens, The Debate Danny is a member of Oliver Butler Society, Will Eno, Christopher Durang, and Campo Santo Theatre DIRECTOR many many others. Recently he won LA’s Ova- Company. His past Oliver is the co-artistic director of The Debate tion Award for Parfumerie. Michael designed Berkeley Rep credits Society and has directed The Amateurs (Vine- Pélleas and Mélisande for the Mariinsky The- include Tragedy: a trag- yard Theatre), The Light Years (Playwrights atre in St. Petersburg, Russia; Campbell Scott’s edy, Concerning Strange Horizons), Jacuzzi (Ars Nova), Blood Play (Bush- film of Hamlet; and much dance for Ballet Devices from the Distant wick Starr), Buddy Cop 2 (Ontological-Hysteric Tech in New York. He taught for many years at West, and The Lieutenant Theater), Cape Disappointment (PS 122), You’re nyu and now teaches design to the graduate of Inishmore. He has Welcome, The Eaten Heart, The Snow Hen, and directors at Brown University. appeared off Broadway A Thought About Raya. His off-Broadway cred- in The Low Road (The Public Theater), An its include The Open House (Signature Theatre, Jennifer Schriever Octoroon (Soho Rep), The Flick (Barrow Street Lortel Award Best Play, Obie Award Direc- LIGHTING DESIGNER Theatre, also at Steppenwolf Theatre), Judy tion) and What the Constitution Means to Me Jennifer, who is also the lighting designer for (Page 73) and Verité (lct3), Pocatello (Play- (Clubbed Thumb). His regional credits include Berkeley Rep’s production of Angels in Amer- wrights Horizons), and Tumacho, I’m Pretty Bad Jews (Long Wharf Theatre), Thom Pain ica, is based in New York City. Her Broadway Fucked Up, and Baby Screams Miracle (Clubbed (based on nothing) (Geffen Playhouse), Legacy credits include Eclipsed and John Leguizamo’s Thumb). Danny has appeared on the TV shows (Williamstown Theatre Festival), An Opening Ghetto Klown (also filmed for hbo). Her The Black List, Orange is the New Black, Law & in Time (Hartford Stage), and his international off-Broadway credits include Bobbie Clearly Order: svu, Elementary, and Veep. credits include Timeshare (The Malthouse, and On the Exhale (Roundabout Theatre Australia). Oliver is a Sundance Institute Company); In the Body of the World (Manhat- Fellow and a Bill Foeller Fellow (Williamstown). tan Theatre Club); The Amateurs (Vineyard Theatre); School Girls, or the African Mean Girls Rachel Hauck Play (mcc Theatre); Strange Interlude (Trans- SCENIC DESIGNER port Group); The Moors (Playwrights Realm); Rachel’s Berkeley Rep credits include The Bright Half Life (Women’s Project); and Night is Madwoman in the Volvo, Roe, It Can’t Happen a Room (Signature Theatre Company). Region-

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CM_program.indd 24 4/23/18 3:31 PM ally, Jen has designed at Goodman Theatre, Theatre), Woyzeck (Illyrian Players), and Julius of America, and was nominated for Artios Center Stage, American Repertory Theatre, Caesar (Griot Theatre of the West Valley). He Awards for Excellence in Casting for The Oregon Shakespeare Festival, Goodspeed holds an mfa from the Yale School of Drama. Intelligent Homosexual’s Guide to Capitalism Opera House, Studio Theatre in DC, Shake- Visit sinanzafar.com. and Socialism with a Key to the Scriptures; One speare Theatre Company, Studio Theatre, Man, Two Guvnors; and An Octoroon. Woolly Mammoth, South Coast Repertory, Amy Potozkin, csa and Williamstown Theatre Festival. Her opera DIRECTOR OF CASTING/ Betsy Norton credits include Die Fledermaus and Pearl Fishers ARTISTIC ASSOCIATE STAGE MANAGER (Metropolitan Opera); Faust, A Midsummer This is Amy’s 28th season at Berkeley Rep. Betsy is thrilled to be returning to Berkeley Night’s Dream, and La Traviata (Mariinsky Through the years she has also had the plea- Repertory Theatre, having previously served Theatre in Russia); and The Pearl Fishers sure of casting plays for act (Seattle), Arizona as stage manager for Mike Birbiglia: The New (English National Opera in London). Jennifer is Theatre Company, Aurora Theatre Compa- One and production assistant for Monsoon an adjunct professor at Purchase College. Visit ny, B Street Theatre, Bay Area Playwrights Wedding and Amélie: A New Musical (Berkeley jenschriever.com. Festival, Dallas Theater Center, Marin Theatre Rep and Center Theatre Group). Other work Company, the Marsh, San Jose Repertory includes five seasons (and over 15 shows) at Sinan Refik Zafar Theatre, Social Impact Productions Inc., Marin Theatre Company. Betsy is a proud new SOUND DESIGNER and Traveling Jewish Theatre. Amy cast member of the Actors’ Equity Association. Sinan is a New York-based sound designer roles for various independent films, includ- and composer. He is thrilled to be making his ing Conceiving Ada, starring Tilda Swinton; Clubbed Thumb Berkeley Rep debut! His recent work includes Haiku Tunnel and Love & Taxes, both by Josh Clubbed Thumb commissions, develops and peerless (Yale Repertory Theatre), Hamlet Kornbluth; and Beyond Redemption by Britta produces funny, strange and provocative (Waterwell), What the Constitution Means to Sjogren. Amy received her mfa from Brandeis new plays by living American writers. It is Me and Richard in 9 Poses (Clubbed Thumb), University, where she was also an artist in a groundbreaker, with a precise curatorial Intimate Apparel and Detroit (TheatreSquared), residence. She has been an audition coach vision and a remarkable track record for We Are Proud to Present a Presentation About to hundreds of actors and a presentation/ launching artists’ careers; and an incubator, the Herero of Namibia, Formerly Known as communication coach to many business- nurturing plays, collaborations, and above South West Africa, From the German Südwesta- people. Amy taught acting at Mills College all artists, through thoughtfully deployed frika, Between the Years 1884–1915 (Yale Drama and audition technique at Berkeley Rep’s resources, opportunities, mentorship and Coalition), Midsummer (Tiltyard), Macbeth School of Theatre, and has led workshops hospitality. Visit clubbedthumb.org. (director Will Frears), and Lindsey Ferrentino’s at numerous other venues in the Bay Area. Amy and the Orphans (Carlotta Festival of New Prior to working at Berkeley Rep, she was an Plays). Other regional credits include O, Fallen intern at Playwrights Horizons in New York. One (Curly Cue & Co), Blood Knot (Lounge Amy is a member of csa, the Casting Society

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Lorri Rosenberg Arazi Jennie A. Flanigan Jodi Nishimura Anna Bahnson Wendy Gardner Ferrari Nancy Noman Norah Brower Toni Hanna Sandy Patel-Hilferty Carla Buffington Nancy Hinkley Rebecca Pentzell Jackie Care Sharon Ho Perry Riani Maria Cavallo-Merrion Dan Joy Amy Robeson Carla Della Zoppa Maureen Kennedy Ira & Carol Serkes Leslie Easterday Tracy McBride Diane Verducci Gini Erck Denise Milburn

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CM_program.indd 25 4/23/18 3:31 PM BERKELEY REP PRESENTS profiles

True Love Productions munications Group (tcg), organizations that Dream at their original home at the Cherry True Love Productions is Jeanne Donovan represent the interests of nonprofit theatres Lane Theatre, working on Little Flower of East Fisher and Laurie Gilmore. Select Broadway across the nation. Susan chaired panels for Orange directed by the late Philip Seymour credits include A Doll’s House, Part 2; Bright the Massachusetts Arts Council and has also Hoffman, and being a part of the development Star; A Gentleman’s Guide to Love and Murder; served on program panels for Arts Midwest, team for The Ride, an interactive four-mile Skylight; Fish in the Dark; Fela!; The Norman the Joyce Foundation, and the National En- traveling performance in the heart of Times Conquests; 33 Variations; 13; A Catered Affair; dowment for the Arts. Closer to home, Susan Square. Regionally Peter has worked with Well; Medea; and The Retreat from Moscow. serves on the board of the Downtown Berke- the Huntington Theatre Company, American Off-Broadway credits include True Love, Shock- ley Association (dba). She is the founding chair Repertory Theater, Commonwealth Shake- headed Peter, Coraline, and Sleep No More. of the Berkeley Arts in Education Steering speare, Trinity Rep, Hasty Pudding Theatricals, Committee for Berkeley Unified School Colorado Ballet, Central City Opera, and the Tony Taccone District and the Berkeley Cultural Trust. Susan Denver Center Theatre Company. Peter is a MICHAEL LEIBERT ARTISTIC serves on the faculty of Yale School of Drama graduate of Otterbein University. DIRECTOR and is a member of the International Women’s Tony is celebrating his 20th anniversary sea- Forum and the Mont Blanc Ladies’ Literary Madeleine Oldham son. During Tony’s tenure as artistic director Guild and Trekking Society. She was awarded RESIDENT DRAMATURG/ of Berkeley Rep, the Tony Award-winning the 2012 Benjamin Ide Wheeler Medal by the DIRECTOR, THE GROUND FLOOR nonprofit has earned a reputation as an inter- Berkeley Community Fund and the 2017 Vi- Madeleine is the director of The Ground national leader in innovative theatre. In those sionary Leadership Award by tcg. During her Floor: Berkeley Rep’s Center for the Creation 20 years, Berkeley Rep has presented more time in Berkeley, Susan has been instrumental and Development of New Work and the The- than 70 world, American, and West Coast in the construction of the Roda Theatre, the atre’s resident dramaturg. She oversees com- premieres and sent 23 shows to New York, Nevo Education Center, the renovation of the missioning and new play development, and two to London, and one to Hong Kong. Tony Peet’s Theatre, and in the acquisition of the dramaturged the world premiere productions has staged more than 40 plays in Berkeley, Harrison Street campus. of Aubergine, The House that will not Stand, including new work from Julia Cho, John Le- Passing Strange, and In the Next Room (or the guizamo, Culture Clash, Rinde Eckert, David Theresa Von Klug vibrator play), among others. As literary man- Edgar, Danny Hoch, Geoff Hoyle, Itamar GENERAL MANAGER ager and associate dramaturg at Center Stage Moses, and Lemony Snicket. He directed two Before joining Berkeley Rep, Theresa had in Baltimore, she produced the First Look shows that transferred to London, Continen- over 20 years of experience in the New York reading series and headed up its young audi- tal Divide and Tiny Kushner, and three that not-for-profit performing arts sector where ence initiative. Before moving to Baltimore, landed on Broadway: Bridge & Tunnel, Wishful she has planned and executed events for she was the literary manager at Seattle Chil- Drinking, and Latin History for Morons. Prior dance, theatre, music, television, and film. Her dren’s Theatre, where she oversaw an exten- to working at Berkeley Rep, Tony served as previous positions include the interim general sive commissioning program. She also acted artistic director of Eureka Theatre, which manager for The Public Theater; general as assistant and interim literary manager at produced the American premieres of plays manager/line producer for Theatre for a New Intiman Theatre in Seattle. Madeleine served by Dario Fo, Caryl Churchill, and David Edgar Audience, where she opened its new state-of- for four years on the executive committee before focusing on a new generation of the-art theatre in Brooklyn and filmed a major of Literary Managers and Dramaturgs of the American writers. While at the Eureka, Tony motion picture of the inaugural production Americas act Scriptworks, Crowded Fire, the commissioned Tony Kushner’s legendary of Julie Taymor’s A Midsummer Night’s Dream, Eugene O’Neill Theatre Center, the Kennedy Angels in America and co-directed its world released June 2015; production manager at Center, New Dramatists, Playwrights Center, premiere. He has collaborated with Kushner the New Jersey Performing Arts Center and and Portland Center Stage. on eight plays at Berkeley Rep, including New York City Center, including the famous Brundibar and The Intelligent Homosexual’s Encores! Great American Musicals in Concert; Lisa Peterson Guide to Capitalism and Socialism with a Key to and field representative/ lead negotiator for ASSOCIATE DIRECTOR the Scriptures. Tony’s regional credits include the Association of Theatrical Press Agents and Lisa is a two-time Obie Award-winning Actors Theatre of Louisville, Arena Stage, Managers. She holds a MS in Labor Relations writer and director whose previous projects Center Theatre Group, the Eureka Theatre, and Human Resources Management from at Berkeley Rep include Office Hour (2018); the Guthrie Theater, the Huntington Theatre Baruch College. Watch on the Rhine (2017); It Can’t Happen Company, Oregon Shakespeare Festival, the Here (2016); Madwoman in the Volvo (2016); Public Theater, and Seattle Repertory The- Peter Dean An Iliad (2012), which Lisa co-wrote with atre. As a playwright, he debuted Ghost Light, PRODUCTION MANAGER Denis O’Hare and which won Obie and Rita Moreno: Life Without Makeup, Game On, Peter began his Berkeley Rep career in 2014, Lortel Awards for Best Solo Performance; written with Dan Hoyle, and It Can’t Happen and since then some his favorite productions Mother Courage (2006); The Fall (2001); and Here, written with Bennett S. Cohen. In 2012, include Party People, X’s and O’s (A Football Antony & Cleopatra (1999). Other recent Tony received the Margo Jones Award for Love Story), Monsoon Wedding, and Aubergine. West Coast productions include You Never “demonstrating a significant impact, under- Previously, he served as production manager Can Tell (California Shakespeare Theater), standing, and affirmation of playwriting, with at The Public Theater, where favorite works in- Hamlet (Oregon Shakespeare Festival), a commitment to the living theatre.” clude Here Lies Love, Father Comes Home from and Chavez Ravine (Ovation Award for Best the War Parts 1–3, Mobile Shakespeare, and Production—Center Theatre Group). She Susan Medak The Tempest as well as musical collaborations has directed world premieres by many major MANAGING DIRECTOR with Sting, the Roots, and the Eagles. Peter American writers, including Tony Kushner, Susan has served as Berkeley Rep’s managing also helped Alex Timbers develop Rocky the Beth Henley, Donald Margulies, José Rivera, director since 1990, leading the administra- Musical, The Last Goodbye, and the cult classic David Henry Hwang, Luis Alfaro, Marlane tion and operations of the Theatre. She has Dance Dance Revolution the Musical. Other Meyer, Naomi Wallace, Basil Kreimendahl, served as president of the League of Resident favorites include working with Edward Albee and many others. She regularly works at the Theatres (lort) and treasurer of Theatre Com- to remount The Sandbox and The American Guthrie Theater, Actors Theatre of Louisville,

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CM_program.indd 26 4/23/18 3:31 PM the Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, Arena Stage, Coldwell Banker Berkeley and New York Theatre Workshop. Lisa and Denis are working on a new play about faith Locally Grown, Globally Known called The Good Book and a commission for McCarter Theatre Center titled The Song of 1495 Shattuck Avenue, Berkeley Rome. Lisa is also writing a new music-the- 510.486.1495 | ColdwellBankerHomes.com atre piece with Todd Almond called The californiahome.me | /cbcalifornia Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep. Michael Suenkel PRODUCTION STAGE MANAGER

Michael began his association with Berkeley ©2017 Coldwell Banker. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company and Equal Housing Opportunity. Each Coldwell Banker Rep as the stage management intern for the Residential Brokerage Office is Owned by a Subsidiary of NRT LLC. Real Estate Licensees affiliated with Coldwell Banker Residential Brokerage are Independent Contractor Sales Associates and are not employees of NRT LLC., 1984–85 season and is now in his 23rd year Coldwell Banker Real Estate LLC or Coldwell Banker Residential Brokerage. CalBRE License #01908304. as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in Lon- don, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, the STARTS JUN 22 Public Theater and Second Stage Theater in RESERVE TICKETS TODAY! New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss. Jack & Betty Schafer SEASON SPONSORS Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is now on the boards of San Francisco Opera and the Straus Historical Society. He is an emeritus trustee of the San Francisco Art Institute and the Oxbow School. Betty is on the board of EarthJustice, the Jewish Commu- nity Center of San Francisco, and Sponsors of Educational Opportunity. In San Francisco, she is engaged in the launch of Wise Aging, a “...lacerating...nuanced... program for adults addressing the challenges of growing older. They have three daughters extraordinarily timely.” and eight grandchildren. — TIME OUT NEW YORK Michael & Sue Steinberg SEASON SPONSORS Michael and Sue have been interested in the By SARAH BURGESS AURORATHEATRE.ORG arts since they met and enjoy music, ballet, Directed by JENNIFER KING 510.843.4822 and live theatre. Michael, who recently retired as chairman and chief executive officer of 2081 ADDISON STREET Macy’s West, served on Berkeley Rep’s board DOWNTOWN BERKELEY of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season. The Strauch Kulhanjian Family SEASON SPONSOR Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. He is chairman of The Roda Group (rodagroup. com), a venture development company based in Berkeley. The Roda Group is a lead investor in new battery, carbon capture, and water remediation technology companies based in Silicon Valley and Vancouver,

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CM_program.indd 27 4/23/18 3:31 PM THE GROUND BERKELEY REP PRESENTS profiles Canada. Roger is chairman of the board of met in amateur theatre, and his father was FLOOR SUMMER directors of Cool Systems, the manufacturer instrumental in bringing American Conserva- of Game Ready, a medical physical therapy tory Theater to San Francisco. Other family system. He is also chairman of the board members have served on the boards of act RESIDENCY LAB of trustees for the Mathematical Sciences and Magic Theatre. Research Institute. He is a member of the UC Berkeley Engineering Dean’s college Jerry & Julie Kline “At the Summer Lab, the advisory board; a member of the board of SPONSORS projects are uniquely Northside Center, a mental-health services Julie and Jerry are longtime subscribers of agency based in Harlem, New York City; Berkeley Rep and are pleased to sponsor What non-traditional and and a co-founder of the William Saroyan the Constitution Means to Me. exciting. There is a great Program in Armenian Studies at Cal. Roger also leads the Mosse Art Restitution Proj- BART sense of trust and they’re ect, which searches for family art illegally SEASON SPONSOR very flexible in a really confiscated during Germany’s Third Reich. Bay Area Rapid Transit (bart) is the backbone His wife, Julie A. Kulhanjian, is an attending of the Bay Area transit network and serves healthy way.” physician at Oakland Children’s Hospital. more than 100 million passengers annually. — Oliver Butler, 2013 Summer They have three college-age children. bart’s all-electric trains make it one of the Residency Lab artist greenest and most energy-efficient transit Bruce Golden & Michelle Mercer systems in the world. Visit bart.gov/bartable LEAD SPONSORS to learn more about great destinations and Michelle and Bruce have been ardent events that are easy to get to on bart (like supporters of Berkeley Rep since 1993, Berkeley Rep!). At bart.gov/bartable, you can when they moved with two young children find discounts, enter sweepstakes offering in tow to Berkeley. Their favorite evenings fantastic prizes, and find unique and exciting at Berkeley Rep were usually the discussion things to do just a bart ride away. While nights, where often friends would join them you’re there, be sure to sign up for bartable as well. Michelle and Bruce always felt that This Week, a free, weekly email filled with the Berkeley Rep was an exceptional Bay Area latest and greatest bartable fun! cultural treasure as it was willing to support courageous new works and nurture inno- Peet’s Coffee vative young playwrights. In 2002, Bruce SEASON SPONSOR and Michelle moved to London, where Peet’s Coffee is proud to be the exclusive cof- they nourished themselves on a steady fee of Berkeley Repertory Theatre and salutes diet of English theatre (note the proper Berkeley Rep for its dedication to the highest spelling) until they could return to their artistic standards and diverse programming. beloved Berkeley Rep. They are delighted Peet’s is honored to support Berkeley Rep’s once again to be back in the very center of renovation with the new, state-of-the-art leading-edge theatre and are honored to be Peet’s Theatre. In 1966, Alfred Peet opened his lead producers for two of this season’s great first store on Vine and Walnut in Berkeley and productions. Their two now-grown children Peet’s has been committed to the Berkeley The cornerstone of The are also tremendous theatre junkies and will community ever since. As the pioneer of the Ground Floor, Berkeley Rep’s hopefully be joining Bruce and Michelle for craft coffee movement in America, Peet’s is R&D program for artists, some of this season’s performances. dedicated to small-batch roasting, superior quality beans, freshness and a darker roasting is our Summer Residency Michelle Branch & Dale Cook style that produces a rich, flavorful cup. Peet’s Lab. The Summer Lab brings EXECUTIVE SPONSORS is locally roasted in the first leed® Gold certi- theatre-makers of every Michelle is a trustee of Berkeley Rep and Dale fied roaster in the nation. stripe to Berkeley each is a trustee by association. Last season, they helped underwrite An Octoroon. They are Wells Fargo summer to work on projects thrilled to sponsor this production of What the SEASON SPONSOR in development—from the Constitution Means to Me. Wells Fargo is proud to support the tiniest seed of an idea to a award-winning Berkeley Repertory Theatre as David & Vicki Fleishhacker a season sponsor for the last 12 years because production-ready draft, and SPONSORS of its dedication to artistic excellence and everything in between. David and Vicki Fleishhacker’s families trace community engagement. Founded in 1852 and their California roots back to the Gold Rush. headquartered in San Francisco, Wells Fargo To attend Summer Lab Both have been involved in amateur theatre provides banking, insurance, investments, for decades. Vicki has long been active and mortgage, and consumer and commercial presentations, sign up for our performed with Children’s Theatre Associa- finance. The bank is committed to building mailing list: berkeleyrep.org/ tion of San Francisco productions. David ap- better every day to meet our customers’ groundfloor peared in over a dozen musical productions financial goals. For more information, please as actor, singer, and lyricist. He has served on visit wellsfargo.com. many nonprofit boards, including Berke- ley Rep and, currently, the San Francisco Symphony Youth Orchestra. David’s parents

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CM_program.indd 28 4/23/18 3:31 PM ADDITIONAL STAFF Assistant director Brady Brophy-Hilton Debate coach Jesse Garrett Production assistant Bradley Hopper Props Noah Kramer Dara Ly Scene shop Jennifer Costley Will Gering Carl Martin Sean Miller Scenic artists Kate Fitt Lassen Hines Emma Lehman Sound engineer Xochitl Loza Studio teacher Victoria Northridge Vocal coach Jessica Berman Heidi Schreck would like to thank Sherry Chastain Schreck and Larry Schreck, Kip Fagan, Maria Striar, Lee Sunday Evans, Rosdeley Ciprian, and Tom Cole. Medical consultation for Berkeley Rep provided by Cindy J. Chang, MD, ucsf Clinical Professor, and Steven Fugaro, MD.

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CM_program.indd 29 4/23/18 3:31 PM We thank the many institutional partners who enrich our community by BERKELEY REP championing Berkeley Rep’s artistic and community outreach programs. THANKS We gratefully recognize these donors to Berkeley Rep, who made their Institutional Partners gifts between February 2017 and March 2018.

LEGEND Ground Floor donor

GIFTS OF $100,000 AND ABOVE GIFTS OF $25,000–49,999 GIFTS OF $5,000–9,999 The William and Flora Hewlett Foundation Anonymous Anonymous The Shubert Foundation BayTree Fund Ann and Gordon Getty Foundation Time Warner Foundation, Inc. The Ira and Leonore S. Gershwin Philanthropic Fund Reinhold Foundation Wallis Foundation GIFTS OF $50,000–99,999 Walter & Elise Haas Fund GIFTS OF $1,000–4,999 The Reva and David Logan Foundation Woodlawn Foundation Joyce & William Brantman Foundation Jonathan Logan Family Foundation Civic Foundation Koret Foundation GIFTS OF $10,000–24,999 jec Foundation National Endowment for the Arts Anonymous Karl & Alice Ruppenthal Foundation for the Arts The Bernard Osher Foundation Berkeley Civic Arts Program rhe Foundation The Harold and Mimi Steinberg Charitable Trust Ramsay Family Foundation Tournesol Project

CORPORATE SPONSORS

SEASON SPONSORS SPONSORS BUSINESS MEMBERS The Andreason Group at Morgan Stanley BluesCruise.com Mechanics Bank Wealth Management Cooperative Center Federal Credit Union The Morrison & Foerster Foundation Field Paoli Architects, in memory of John & Carol Field CORPORATE PARTNERS Perforce Foundation Armanino llp tmg Partners, in memory of John & Carol Field Deloitte LEAD SPONSORS McCutcheon Construction Panoramic Interests Schoenberg Family Law Group

PERFORMANCE SPONSORS Bayer Boston Properties, in memory of John & Carol Field Gallagher Risk Management Services EXECUTIVE SPONSORS Macy’s

American Express Is your company a corporate sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.

IN-KIND SPONSORS EXECUTIVE SPONSORS

MATCHING GIFTS The following companies have matched their employees’ contributions to Berkeley Rep. Please SPONSORS Au Coquelet La Note contact your company’s HR office to find out if your Hafner Vineyard Aurora Catering Lucia’s of Berkeley company matches gifts. Latham & Watkins llp Autumn Press ocho Candy Accenture · Adobe Systems Inc. · Apple · Applied Mayer Brown llp Bare Picante Materials · Autodesk Inc. · Bank of America · Chevron mcgarrybowen Bobby G’s Pizzeria PiQ Corporation · Clorox · Dolby · Electronic Arts Ramsay Winery Brown Sugar Kitchen Platano Salvadoran Cuisine Outreach · Farallon Capital Mangement · Fremont Rhoades Planning Group Comal Revival Bar + Kitchen Group Foundation · Gap Foundation · Genentech · Robert Meyer’s Mangia/Nosh Corison Winery Suya African Carribbean Grill Google · ibm Corporation · Intel Corporation · John & Catering Company Donkey & Goat Winery Sweet Adeline Bakeshop Maria Goldman Foundation · Johnson & Johnson · Semifreddi’s East Bay Spice Company Tigerlily Lawrence Livermore National Laboratory · Levi Whole Foods Market Eureka! Triple Rock Brewery Strauss & Co. · Microsoft · Morrison & Foerster · Viks Chaat & Market five Venus norcal Mutual Insurance Company · Oracle Gather Restaurant Zut! Tavern on 4th St. Corporation · Pixar Animation Studios · Salesforce · PARTNERS gio’s Pizza & Bocce Shell Oil · Sidley Austin llp, San Francisco · Union act Catering Hugh Groman Catering Hotel Shattuck Plaza is the Bank, The Private Bank · Varian Medical System · Almare Gelato Jazzcaffè official hotel of Berkeley Rep. visa u.s.a., Inc. · Workday Angeline’s Louisiana Kitchen La Méditerranée

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CM_program.indd 30 4/13/18 3:28 PM We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands BERKELEY REP of young people every year. We gratefully recognize these donors to Berkeley Rep, who THANKS made their gifts between February 2017 and March 2018. Individual Donors To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.

SPONSOR CIRCLE SEASON SPONSORS Guy Tiphane Patricia Sakai & Richard Shapiro Ted & Carole Krumland Jack & Betty Schafer Kelli & Steffan Tomlinson Joan Sarnat & David Hoffman Peter & Melanie Maier Michael & Sue Steinberg Gail & Arne Wagner Liliane & Ed Schneider Helen M. Marcus The Strauch Kulhanjian Family Nick & Laura Severino Dale & Don Marshall SPONSORS Barry Lawson Williams & Phyra McCandless & LEAD SPONSORS Anonymous (2) Lalita Tademy Angelos Kottas Edward D. Baker Maria Cardamone & Paul Matthews Felicia Woytak & Steven Rasmussen Martin & Janis McNair Yogen & Peggy Dalal David & Vicki Cox Ed Messerly & Sudha Pennathur Bruce Golden & Michelle Mercer Thalia Dorwick ASSOCIATE SPONSORS Steven & Patrece Mills M Frances Hellman & Warren Breslau Robin & Rich Edwards Anonymous (2) Norman & Janet Pease Jonathan Logan & John Piane Cynthia A. Farner Shelley & Jonathan Bagg Peter Pervere & Georgia Cassel Jane Marvin/Peet’s Coffee David & Vicki Fleishhacker Edith Barschi Barbara L. Peterson Stewart & Rachelle Owen Paul Friedman & Diane Manley Neil & Gene Barth Gary & Noni Robinson Mary Ruth Quinn & Scott Shenker Jill & Steve Fugaro Valerie Barth Cynthia & William Schaff Karen Galatz & Jon Wellinghoff The Battle Family Foundation Emily Shanks M EXECUTIVE SPONSORS Scott & Sherry Haber Ben Brown & Louise Rankin Pat & Merrill Shanks Anonymous James C. Hormel & Brook & Shawn Byers Shirlen Fund, in memory of Barbara Bakar Michael P. Nguyen Lynne Carmichael Shirley and Philip Schild Michelle Branch & Dale Cook Jerry & Julie Kline Julie & Darren Cooke Ed & Ellen Smith Susan Chamberlin Jack Klingelhofer Robert Council & Ann Parks-Council Karen Stevenson & Bill McClave John Dains Michael H. Kossman Paul Daniels, in honor of Lisa & Jim Taylor Bill Falik & Diana Cohen Suzanne LaFetra Peter Yonka Wendy Williams Kerry Francis & John Jimerson Sandra & Ross McCandless William Espey & Linda & Steven Wolan Paul Haahr & Susan Karp Dugan Moore Margaret Hart Edwards Martin & Margaret Zankel Wayne Jordan & Quinn Delaney Pam & Mitch Nichter Steven Goldin Lata Krishnan & Ajay Shah Leonard X & Arlene B. Rosenberg Hitz Foundation Monica Lopez & Sameer Gandhi Sheli & Burt Rosenberg, in honor of Christopher Hudson & Marjorie Randolph Len & Arlene Rosenberg Cindy J. Chang, MD K Rummi & Arun Sarin kbe Jack & Valerie Rowe Ms. Wendy E. Jordan Jean & Michael Strunsky Joe Ruck & Donna Ito Rosalind & Sung-Hou Kim

ARTISTIC DIRECTOR’S CIRCLE

PARTNERS Beth & David Sawi Ronnie Caplane Hilary & Tom Hoynes Linda Protiva Anonymous (4) Jackie Schmidt-Posner & Leslie Chatham & Kathie Weston Paula Hughmanick & Lawrence Prozan Tarang & Hirni Amin Barry Posner Betsey & Ken Cheitlin Steven Berger Bill Reuter & Ruth Major Stephen Belford & Bobby Minkler Joyce & Jim Schnobrich Paul Collins K Lynda & Dr. J. Pearce Hurley Maxine Risley, in memory of Jennifer Chaiken & Sam Hamilton Neal Shorstein, MD & Constance Crawford Roxanna Jackman, in honor of James Risley Barbara & Rodgin Cohen Christopher Doane James Cuthbertson Mary & Norman Jackman Deborah Romer & William Tucker Karen & David Crommie Stephen & Cindy Snow Barbara & Tim Daniels M Bill & Lisa Kelly David S. H. Rosenthal & Lois M. De Domenico Audrey & Bob Sockolov Richard & Anita Davis Duke & Daisy Kiehn Vicky Reich Thomas W. Edwards & Rebecca Vickie Soulier Francine & Beppe Di Palma Stephen F. Kispersky Boyard & Anne Rowe Parlette-Edwards Deborah Taylor Barrera Corinne & Mike Doyle Jean Knox Enid & Alan Rubin Nancy & Jerry Falk Susan West Linda Drucker John Kouns & Anne Baele Kouns Lisa Salomon & Scott Forrest Kimberley Goode Barry Williams Bill & Susan Epstein Lucy Kuntz, in honor of Monica Salusky & Nelson Goodman Patricia & Jeffrey Williams Merle & Michael Fajans The Cage Players John K. Sutherland Ms. Teresa Burns Gunther & Sheila Wishek Tracy & Mark Ferron Woof Kurtzman & Liz Hertz Jeane & Roger Samuelsen Dr. Andrew Gunther Sally Woolsey Lisa & Dave Finer Randy Laroche & David Laudon Jackie & Paul Schaeffer Richard & Lois Halliday Ann & Shawn Fischer Hecht Sherrill Lavagnino & Linda & Nathan Schultz Earl & Bonnie Hamlin BENEFACTORS Linda Jo Fitz Scott McKinney Brenda Buckhold Shank, M.D., Ph.D. Peter & Florence Hart, in memory Anonymous (6) Patrick Flannery Andrew Leavitt & Catherine Lewis Dave & Lori Simpson of John L. Field Roy & Judith Alper Thomas & Sharon Francis Nancy & George Leitmann, in Sherry & David Smith Bonnie & Tom Herman Peggy & Don Alter Lisa Franzel & Rod Mickels memory of Helen Barber Valerie Sopher Kathleen & Chris Jackson Pat Angell, in memory of Donald & Dava Freed Henry Lerner, in honor of Sally & Joel Spivack Barbara E. Jones, in memory of Gene Angell Herb & Marianne Friedman Joanne Levene Lerner Gary & Jana Stein William E. Jones Martha & Bruce Atwater James Gala Ellen & Barry Levine Alison Teeman & Seymour Kaufman & Naomi Auerbach & Ted Landau Kevin & Noelle Gibbs Suzanne & William Lingo Michael Yovino-Young Kerstin Edgerton Nina Auerbach Dennis & Susan Johann Gilardi Dixon Long Susan Terris Duke & Daisy Kiehn Linda & Mike Baker Marjorie Ginsburg & Howard Slyter Vonnie Madigan Sam Test Wanda Kownacki Michelle L. Barbour Daniel & Hilary B. Goldstine Elsie Mallonee Sushmita Vij Louise Laufersweiler & Warren Sharp Leslie & Jack Batson Mary & Nicholas Graves Lois & Gary Marcus Jonathan & Kiyo Weiss Eileen & Hank Lewis Don & Gerry Beers M Robert & Judith Greber Charlotte & Adolph Martinelli Beth Weissman Sumner & Hermine Marshall David Beery & Norman Abramson Anne & Peter Griffes Rebecca Martinez Wendy Willrich Miles & Mary Ellen McKey Michael S. Berman, in memory of Garrett Gruener & Amy Slater Jill Matichak Steven Winkel & Barbara Sahm Susan Medak & Greg Murphy John & Carol Field Migsy & Jim Hamasaki Kirk McKusick & Eric Allman Sam & Joyce Zanze Toby Mickelson & Donald Brody Caroline Beverstock Bob & Linda Harris Dan Miller Mark Zitter & Jessica Nutik Zitter Janet & Clyde Ostler Naomi Black Vera & David Hartford Andy & June Monach Jane & Mark Zuercher Sandi & Dick Pantages Cynthia & David Bogolub Ruth Hennigar Scott Montgomery & Marc Rand Rezwan & Azarmeen Pavri Caroline Booth Christina Herdell, in memory of Judith & Richard Oken Kermit & Janet Perlmutter Bernard Boudreaux Vaughn & Ardis Herdell Sheldeen Osborne LEGEND Pure Dana Fund Linda Brandenburger Richard N. Hill & Nancy Lundeen Judy O’Young, MD & Gregg Hauser K in-kind gift Sue Reinhold & Deborah Newbrun Broitman-Basri Family Elaine Hitchcock Bob & MaryJane Pauley M matching gift Timothy Rempel K Don & Carol Anne Brown Bill Hofmann & Robbie Welling M Mary Ann Peoples, in memory of K We are pleased to recognize first-time donors to Gregg Richardson & Lee Mingwei Tracy Brown & Greg Holland Don & Janice Holve, in memory of Lou Peoples Berkeley Rep, whose names appear in italics. Jaimie Sanford & Ted Storey Don Campbell and Family M Daisy & Paul Persons Paula B. Pretlow M

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CM_program.indd 31 4/13/18 3:28 PM BERKELEY REP THANKS Individual Donors

CHAMPIONS & Richard Feldman · Daniel Murphy · Jane & Kathleen Damron · Pat & Steve Davis · ddl Medak, in memory of Alexandra Victoria Anonymous (4) · Fred & Kathleen Allen · Bill Neilson · Christina & Geoffrey Norman, in Productions, in memory of Zan Bealmear · Gray-Bealmear · Ruth Medak · Ralph & Melinda Elisabeth Andreason & Melissa Allen · Marcia memory of John & Carol Field · Pier & Barbara Harry & Susan Dennis · Jerome & Thao Mendelson · Aliza & Peter Metzner · Marlene & & George Argyris · Ross E. Armstrong · Jolie Oddone · Carol J. Ormond · Lynette Pang & Dodson · Kathy Down & Greg Kelly · Kristen Stephen Miller · Jeff Miner · The Morris Family: Baumgardner · Susan Benzinger, in memory Michael Man · Gerane Wharton Park · Regina Driskell · David Drubin · Anita C. Eblé · Jessica & Susan, Kathy, Karen, Steve & Jaxon · Ronald of Zan Gray Bealmear · Robert Bransten, in Phelps · Malcolm & Ann Plant · Gary & Jean Michael Eisler, in memory of John & Carol Field · Morrison · James & Katherine Moule · Aki & Emi memory of John & Carol Field · Eric Brink & Pokorny · David & Bobbie Pratt · David & Mary Alan Entine · Gini Erck & David Petta · Michael Nakao · Ron Nakayama · Sharon Noteboom · Gayle Vassar · Davis Carniglia & Mary-Claire Ramos · Kent Rasmussen & Celia Ramsay · Evanhoe · Sheilah & Harry Fish · Brigitte & Louis Judy Ogle · Suzette S. Olson · Eddie & Amy Baker · John Carr · Paula Carrell · Anthony J. Reuben, Junius & Rose, llp, in memory of John Fisher · Martin Fleisher · Michael & Vicky Flora · Orton · Frederick Oshay · Todd Parr · Brian D. Cascardi · Sumir Chadha · Ed & Lisa Chilton · & Carol Field · Audrey & Paul Richards · Helen Jacques Fortier · Mary & Stan Friedman · David Parsons · P. David Pearson & Barbara Richard & Linnea Christiani · John & Izzie Richardson · John & Jody Roberts · Galen Gaskin & Phillip McPherson · Karl & Kathleen Schonborn · Bob & Toni Peckham, in honor of Crane · Ilana DeBare & Sam Schuchat · David Rosenberg & Denise Barnett · Martha Ross · Geier · Tim Geoghegan · Gwendolyn Goldsby, in Robert M. Peckham, Jr. · James & Susan Penrod, Deutscher · Burton Peek Edwards · Susan Dace P. Rutland · Teddy & Bruce Schwab · memory of Angela Paton · Barry & Erica Goode · in honor of Dale & Don Marshall · Lewis Perry · English & Michael Kalkstein · Paul Andrew & Marva Seidl · Beryl & Ivor Silver · Gail Gordon & Jack Joseph · Gene Gottfried · James F. Pine M · F. Anthony Placzek · Charles Feigenbaum & Judy Kemeny · Martin & Cherida Collins Smith · Alice & Scott So · Rico & Maya Green · Sheldon & Judy Greene · Pollack & Joanna Cooper · Susie & Eric Poncelet · Barbara Fishman · Frannie Fleishhacker · Douglas Sovern & Sara Newmann · John St. Don & Becky Grether · Ken & Karen Harley · Roxann R. Preston · Rich Price · Laurel & Gerald James & Jessica Fleming · Samuel Fogleman, Dennis & Roy Anati · Monroe W. Strickberger · Paula Hawthorn & Michael Ubell · Clifford Przybylski · Sheldon & Catherine Ramsay · in memory of Zan Gray Bealmear · Don & Pate & Judy Thomson · Michael Tubach & Hersh · Dixie Hersh · Doug & Leni Herst, in Teresa L. Remillard · Rick & Stephanie Rogers · Janie Friend, in honor of Bill & Candy Falik · Amrita Singhal · Larry Vales · William van Dyk honor of Susie Medak · Fran Hildebrand · Alice Deborah Dashow Ruth, in memory of Leo P. Chris R. Frostad M · Ann Harriman, in memory & Margi Sullivan · Pamela Gay Walker/Ghost Hill & Peter Starr · Alex Ingersoll & Martin Ruth · Dorothy R. Saxe · Laurel Scheinman · of Malcolm White · Dan & Shawna Hartman Ranch Productions · William R. Weir · Tannenbaum · Mr. & Mrs. Harold M. Isbell · Bob & Gloria Schiller · Dr. David Schulz · Seiger Brotsky · Rick Hoskins & Lynne Frame · Dean Elizabeth Werter & Henry Trevor · Susan & Ann L. Johnson · Reese & Margaret Jones · Family Foundation · Marc & Jane Seleznow · Francis · Howard Hertz & Jean Krois · The Harvey Wittenberg · Charles Wolfram & Peter Claudia & Daly Jordan-Koch · Kaarel Kaljot · Pat Sarah E. Shaver · Steve & Susan Shortell · Joshua Hornthal Family Foundation, in honor of Wolfram · Ron & Anita Wornick Kelly & Jennifer Doebler · Kimberly J. & Ruth Simon · William & Martha Slavin · Carra Susie Medak · Marilyn & Michael Kenley-Salarpi · Christopher Killian & Carole Sleight · Suzanne Slyman · Jerry & Dick Jensen-Akula · Randall Johnson · Corrina ADVOCATES Ungvarsky · Jack & Birthe Kirsch · Deborah & Smallwood · Sigrid Snider · Robert & Naomi Jones · Fred Karren, in memory of Beth Anonymous (18) · Abbey Alkon & Jonathan David Kirshman, in memory of John & Carol Stamper · Herbert Steierman · Annie Stenzel · Karren · Dennis Kaump · Lynn Eve Komaromi, Leonard · Emily Arnold · Steven & Barbara Field · Jeff Klingman & Deborah Sedberry · Carol Sundell · Tracy Thompson · Karen in honor of the Berkeley Rep Staff · Janet Aumer-Vail · Susan & Barry Baskin · Stephanie Susan Kolb · David & Joan Komaromi · Kenneth Tiedemann & Geoff Piller · Henry Timnick · Amy Kornegay & Dan Sykes · Craig Labadie · Beach · Richard & Kathy Berman · Ed & Kay Kulander · Robert Lane & Tom Cantrell · David & Tobin & Scott Jacobson · Lynn Tolin, in Susilpa Lakireddy · Helen E. Land · Jane & Mike Blonz · Karen Bowen & Beth Gerstein, in honor Mari Lee · Glennis Lees & Michael Glazeski · memory of John & Carol Field · Mike & Ellen Larkin, in memory of Jerry & Marilyn Ungar · of Donald Trump · Marilyn Bray · Peter Brock · Ray Lifchez · Julianne Lindemann & Michael Turbow · Dean Ujihara · Sharon Ulrich & Barbara & Thomas Lasinski · Marcia C. Linn · Craig Broscow · John H. Buckman · Jane Weinberger · Jennifer S. Lindsay · Deidre & Marlowe Ng · Sarah Van Roo · Mr. Leon Van Sidne S. Long · Jay & Eileen Love · Naomi & Buerger · Dr. Alan Burckin & Carol Olmert · Loren Lingenfelter, in memory of Zan Bealmear · Steen · Gerald & Ruth Vurek · Louise & Larry Bruce Mann · Match Vineyards · John E. Laura Chenel · Terin Christensen · Karen Jacqui & Terry Long · Loveable Feast, in memory Walker · Robert & Sheila Weisblatt · Sallie Matthews · Erin McCune · Karen & John Clayton & Stephen Clayton · Jane & Tom of Zan Bealmear · Gerry & Kathy MacClelland · Weissinger · Dr. Ben & Mrs. Carolyn Werner · McGuinn · Harry Mixon Esq · Geri Coulter · Carolyn & Phil Cowan · Michael & Paul Mariano · Charles Marston & Rosa Robert T. Weston · Dick & Beany Wezelman · Monheimer, in honor of Sharon Kinkade · Denise Coyne · Ed Cullen & Ann O’Connor · Luevano · Igor Maslennikov · Caroline McCall & Sharon & Kenneth Wilson · Laura & Ernest Brian & Britt-Marie Morris · Jerry Mosher · Pam & Mike Crane · Sheila Cullen · Sharon & Ed Eric Martin · Daniel & Beverlee McFadden · John Winslow · Dorothy Witt · Margaret Wu & Marvin & Neva Moskowitz · Patricia Motzkin Cushman · Jill & Evan Custer · Brett D’Ambrosio · G. McGehee · Brian McRee · George & Jeri Ciara Cox · Lee Yearley & Sally Gressens

We gratefully recognize the following donors whose contributions were received from February 24 to March 31, 2018

SUPPORTERS Patti Bittenbender · Jane & Tom Coulter · Wayne Lamprey & Dena Watson-Lamprey K CONTRIBUTORS Anonymous (3) · Jennifer Burroughs · Martha & William Crowe · Lori & Michael Crowley · Carolyn Higgins, in memory of Douglas Higgins · Patricia Kates & Henry Brady · Beth & Tim Kientzle M · Margaret O'Halloran & Be part of the story. Christopher Lutz · Virginia N. Rigney · Jennifer M. Van Natta Give today. FRIENDS Anonymous (3) · Sally Benjamin · Jake Heggie · James & Celia Kelly · Mark Small · Edwin A. Waite Text BACKSTAGE

Special thanks to Marjorie Randolph for to 41444 establishing The Marjorie Randolph Professional Development Fund, which berkeleyrep.org/give supports the Berkeley Rep staff. PHOTO BY KEVIN BERNE Ephraim Sykes and Jeremy Pope in Ain’t Proud—The Too Life and Times of The Temptations

32 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUE 7

CM_program.indd 32 4/13/18 3:28 PM BERKELEY REP THANKS Individual Donors

Sustaining members Dr. Harvey & Deana Freedman Margaret D. & Winton McKibben Dorothy Walker as of April 2018: Joseph & Antonia Friedman Ruth Medak Weil Family Trust— Anonymous (7) Paul T. Friedman Susan Medak & Greg Murphy Weil Family Norman Abramson & Dr. John Frykman Stephanie Mendel Karen & Henry Work David Beery Laura K. Fujii Toni Mester Martin & Margaret Zankel Sam Ambler David Gaskin & Shirley & Joe Nedham Carl W. Arnoult & Phillip McPherson Theresa Nelson & Bernard Smits Gifts received by Aurora Pan Marjorie Ginsburg & Pam & Mitch Nichter Berkeley Rep: Ken & Joni Avery Howard Slyter Sheldeen G. Osborne Anonymous Nancy Axelrod Mary & Nicholas Graves Sharon Ott Estate of Suzanne Adams Edith Barschi Elizabeth Greene Amy Pearl Parodi Estate of Helen Barber Neil & Gene Barth Don & Becky Grether Barbara L. Peterson Estate of Fritzi Benesch Susan & Barry Baskin Richard & Lois Halliday Regina Phelps Estate of Carole B. Berg Linda Brandenburger Julie & Paul Harkness Margaret Phillips Estate of Nelly Berteaux The society welcomes the Broitman-Basri Family Linda & Bob Harris Marjorie Randolph Estate of Jill Bryans following new members: Bruce Carlton & Fred Hartwick Bonnie Ring Living Trust Estate of Nancy Croley Sofia Close Richard G. McCall Ruth Hennigar Tom Roberts Estate of Carol & John Field Janice Kelly & D. Carlos Kaslow Paula Carrell Douglas J. Hill David Rovno Estate of Rudolph Glauser Stephen K. Cassidy Hoskins/Frame Family Trust Tracie E. Rowson Estate of Zandra Faye LeDuff Paula Champagne & Lynda & Dr. J. Pearce Hurley Deborah Dashow Ruth Estate of John E. & David Watson Robin C. Johnson Patricia Sakai & Helen A. Manning Terin Christensen Bonnie McPherson Killip Richard Shapiro Estate of Richard Markell Andrew Daly & Jody Taylor Lynn Eve Komaromi Betty & Jack Schafer Estate of Gladys M. Laina Dicker Scott & Kathy Law Brenda Buckhold Shank, Perez-Mendez Thalia Dorwick Ines R. Lewandowitz M.D., Ph.D. Estate of Margaret Purvine Rich & Robin Edwards Dot Lofstrom Kevin Shoemaker Estate of Leigh & Ivy Robinson Thomas W. Edwards & Helen M. Marcus Valerie Sopher Estate of Stephen C. Schaefer, in Rebecca Parlette-Edwards Dale & Don Marshall Michael & Sue Steinberg honor of Jean and Jack Knox Bill & Susan Epstein Sumner & Hermine Marshall Dr. Douglas & Anne Stewart Estate of Peter Sloss William Espey & Rebecca Martinez Jean Strunsky Estate of Harry Weininger Margaret Hart Edwards Suzanne & Charles Henry Timnick Estate of Grace Williams Dr. Stephen E. Follansbee & McCulloch Guy Tiphane Dr. Richard A. Wolitz John G. McGehee Phillip & Melody Trapp Kerry Francis Miles & Mary Ellen McKey Janis Kate Turner

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s board-designated endowment funds, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year. For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or [email protected]. BERK_REP_program_v2.pdf 1 4/19/18 11:51 AM

CMY

2017–18 · ISSUE 7 · THE BERKELEY REP MAGAZINE · 33

CM_program.indd 33 4/23/18 3:32 PM BERKELEY REP STAFF BOARD OF TRUSTEES Michael Leibert Artistic Director Managing Director Tony Taccone Susan Medak President General Manager Theresa Von Klug Stewart Owen Vice Presidents ARTISTIC Tailor Audience Development Manager Hurteau · Anthony Jackson · Kasey Carrie Avery Kathy Kellner Griffith Director of Casting & Samanta Cubias Klem · Krista Knight · Julian López- Richard M. Shapiro First Hand Morillas · Dave Maier · Reid McCann · Artistic Associate Webmaster Roger A. Strauch Amy Potozkin Janet Conery Christina Cone Patricia Miller · Alex Moggridge · Edward Morgan · Jack Nicolaus · Slater Wardrobe Supervisor Jean Z. Strunsky Director, The Ground Floor/ Video & Multimedia Producer Penney · Greg Pierotti · Lisa Anne Barbara Blair Resident Dramaturg Benjamin Michel Porter · Diane Rachel · Rolf Saxon · Treasurer Madeleine Oldham Program Advertising Elyse Shafarman · Arje Shaw · Joyful Felicia Woytak Literary Manager ELECTRICS Pamela Webster Simpson · Cleavon Smith · M. Graham Sarah Rose Leonard Smith · Elizabeth Vega · James Wagner · Secretary Master Electrician Front of House Director Dan Wolf Leonard X Rosenberg Artistic Associate Frederick C. Geffken Kelly Kelley Katie Craddock Teaching Artists Production Electricians Front of House Manager Chair, Trustees Committee Amber Flame · Carla Pantoja · Dave Associate Director Christine Cochrane · Kenneth Coté Debra Selman Jill Fugaro Lisa Peterson Maier · Elena Wright · Jack Nicolaus · SOUND AND VIDEO House Managers Lindsey Schmeltzer · Radhika Rao · Chair, Audit Committee Artist in Residence Elizabeth Anne Bertolino · Elle Black · Salim Razawi · Simon Trumble · Teddy Kerry L. Francis Stephen Spinella Sound Supervisor Aaron Eaves · Aleta George · Spencer · Andre San-Chez · Bryan Artists under Commission James Ballen Kimberly Harvey-Scott · Tuesday Ray · Quinn · Shannon Davis · Zoe Board Members Todd Almond · Christina Anderson · Sound Engineers Debra Selman Swenson-Graham · Daryl Harper · Edward D. Baker Michelle Branch Jackie Sibblies Drury · Dave Malloy · Angela Don · Annemarie Scerra Lead Concessionaires Miriam Ani David Cox Lisa Peterson · Sarah Ruhl · Tori Molly Conway · Nina Gorham · Teen Core Council Amar Doshi Sampson · Joe Waechter ADMINISTRATION Kimberly Harvey-Scott · Neo Barnes · Jesias Burrell · Robin Edwards Lucca Troutman · Emily Weiss Controller Uma Channer · Adin Gilman-Cohen · Lisa Finer PRODUCTION Suzanne Pettigrew Concessionaires Mirabel Connor · Miya Drain · Devin Karen Galatz Production Manager Chloe Auletta-Young · Jessica Bates · Elias · Anna Granados · Fiona Bruce Golden Associate Managing Director/ Deane-Grundman ·Alecia Harger · Peter Dean Manager, The Ground Floor Will Flanagan · Lorenz Gonzales · Steven Goldin Autumn Goodman-Torrez · Katie Kayla Hansen · Kyla Henderson · Zoe Interim Assistant Production Sarah Williams Scott Haber Holmes · Serene LaBue-Deshais · Larkin · Avery Martin · Sumayya Manager David Hoffman Associate General Manager Luci Liss · Johnny Lloyd· Krista Posell · Bisseret-Martinez · Lucy Urbano · Zoey Russo Jonathan C. Logan Amanda Williams O’Steen Win Wallace Alana Walker · Hannah Williams · Jane Marvin Company Manager Sophia Villamor Yale Management Fellow Ticket Services Director Sandra R. McCandless Jean-Paul Gressieux Jaime Totti Geo Haynes Docent Co-Chairs Susan Medak Matty Bloom, Content Pamela Nichter Executive Assistant Subscription Manager STAGE MANAGEMENT Kate Horton Joy Lancaster, Recruitment Sudha Pennathur Laurie Barnes Selma Meyerowitz, Off-Sites Laura Severino Production Stage Manager Bookkeeper Michael Suenkel Box Office Supervisor and Procedures Emily Shanks Kristine Taylor Julie Gotsch Tony Taccone Stage Managers What the Constitution Means to Me Associate Controller Box Office Agents Docents Kelli Tomlinson Molly Meg Legal · Leslie M. Radin · Eric Ipsen Gail Wagner Kathy Rose · Karen Szpaller · Chris Gabrielle Boyd · Carmen Darling · Michelle Barbour, Lead Docent Waters · Kimberly Mark Webb Payroll Administrator Jordan Don · Katherine Gunn · Sandy Greenberg · Jodi Grigas · Past Presidents Katie Riemann Lian Ladia · Jaden Pratt Joaninha · Muriel Kaplan · Linda Lowens · Helen C. Barber Production Assistants Susan Wansewicz · Rebecca Woolis Bradley Hopper · Hana Kadoyama · Tessitura User Interaction A. George Battle Amanda Mason · James McGregor · Administrator OPERATIONS Carole B. Berg 2017–18 BERKELEY REP Sofie Miller · Betsy Norton Destiny Askin Facilities Director Robert W. Burt FELLOWSHIPS Shih-Tso Chen Information Technology Manager Mark Morrisette Bret C. Harte Directing Fellow Narsai M. David STAGE OPERATIONS Dianne Brenner Facilities Coordinator Nicholas Kowerko Thalia Dorwick, PhD Stage Supervisor Andrew Susskind Nicholas M. Graves Company Management Fellow Julia Englehorn DEVELOPMENT Building Engineer Richard F. Hoskins Alice Stites Director of Development Thomas Tran Jean Knox Costume Fellow Robert M. Oliver PROPERTIES Lynn Eve Komaromi Building Repair Technician Kiara Montgomery Marjorie Randolph Properties Supervisor Associate Director of Development Kevin Pan Development Fellow Harlan M. Richter Jillian A. Green Daria Hepps Facilities Assistants Ariana Johnson Richard A. Rubin Assistant Properties Supervisor Director of Individual Giving Theresa Drumgoolie · Sophie Li · Edwin C. Shiver Amelia Burke-Holt Laura Fichtenberg Carlos Mendoza · Guy Nado · Jesus Education Fellow Roger A. Strauch Rodriguez · LeRoy Thomas Ky’Lend Adams Properties Artisan Stewardship Officer Martin Zankel Graphic Design Fellow Samantha Visbal Woof Kurtzman Sustaining Advisors BERKELEY REP Kendall Markley Institutional Giving Manager Rena Bransten SCHOOL OF THEATRE SCENE SHOP Julie McCormick Harry Weininger Sound Fellow Martha Conte Director of the School of Theatre Cecilia Pappalardo Technical Director Thalia Dorwick, PhD Individual Giving Coordinator Rachel Hull Jim Smith Kelsey Scott Lighting/Electrics Fellow William T. Espey Associate Director Domino Mannheim William Falik Associate Technical Director Special Events Manager MaryBeth Cavanaugh David Fleishhacker Matt Rohner Lauren Shorofsky Marketing/Digital Paul T. Friedman Program Manager, Training and Communications Fellow Shop Foreman Nicholas M. Graves Development Database Community Programs Arielle Rubin Sam McKnight Coordinator Richard F. Hoskins Anthony Jackson Peter F. Sloss Literary/ Carole Krumland Master Carpenter Jane Voytek Education Communications and Dramaturgy Fellow Dale Rogers Marshall Jamaica Montgomery-Glenn Development Associates Partnerships Manager James Dinneen Julie McCray Maddie Gaw · Julia Starr Carpenters Marcela Chacón Production Management Fellow Helen Meyer Patrick Keene · Read Tuddenham Data and Tessitura Analyst Dugan Moore M ARKETING & Hayley Rowland Katie Riemann Peter Pervere SCENIC ART COMMUNICATIONS Properties Fellow Marjorie Randolph Community Programs Administrator Mara Ishihara Zinky Charge Scenic Artist Director of Marketing and Patricia Sakai Communications Modesta Tamayo Lisa Lázár Scenic Art Fellow Jack Schafer Peter Yonka Faculty Chrissy Curl William Schaff Bobby August Jr. · Erica Blue · Jon Michael Steinberg COSTUMES Director of Public Relations Scenic Construction Fellow Tim Etheridge Burnett · Rebecca Castelli · Eugenie William Ebeler Michael Strunsky Costume Director Chan · Iu-Hui Chua · Jiwon Chung · Martin Zankel Maggi Yule Art Director Sally Clawson · Deborah Eubanks · Stage Management Fellow Nora Merecicky Tait Adams Associate Costume Director/ Susan Garner · Christine Germain · Hair and Makeup Supervisor Communications & Digital Nancy Gold · Gary Graves · Marvin FOUNDING DIRECTOR Amy Bobeda Content Director Greene · Susan-Jane Harrison · Michael W. Leibert Karen McKevitt Gendell Hing-Hernández · Melissa Hillman · William Hodgson · Andrew Producing Director, 1968–83

34 · THE BERKELEY REP MAGAZINE · 2017–18 · ISSUE 7

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