Musicals at Berkeley Rep 9 · Stephen Foster: Father of American popular music 20 · The program for Paradise Square22

THE BERKELEY REP MAGAZINE 2018–19 · ISSUE 3

A NEW MUSICAL

PS_program.indd 1 12/11/18 4:00 PM PS_program.indd 2 12/11/18 4:00 PM IN THIS ISSUE

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BERKELEY REP PRESENTS Welcome to Berkeley Rep! PARADISE SQUARE · 22 To ensure the best experience for everyone: MEET THE CAST & CREW · 23 You’re free to bring beverages in cans, Late seating is not guaranteed. If you cartons, or cups with lids into the house. are seated late, please follow the house PROLOGUE manager’s instructions about where to sit. Food is prohibited in the house. If you leave during the performance, you A letter from the artistic director · 5 Because, eww! will be reseated at an appropriate break. A letter from the managing director · 6 Please keep Berkeley Rep’s outdoor and This is live theatre, and we’re all in indoor spaces free of cigarette smoke, this together. Join with your fellow REPORTS e-cigarettes, and vaping. theatregoers, and remember that people respond to the show in diff erent ways. Celebrating our 50th: Musicals at Berkeley Rep · 9 Phones that ring during the performance One of the joys of live theatre is the Diamonds in the rough · 11 are a total bummer. For everyone. collective experience! Ensure that phones and other electronic devices will not make noise. Video and/or Enjoy the show! FEATURES photographs of the performance The Origin Story · 14 are prohibited. Questioning and embracing Stephen Foster’s music: An interview with Director Moisés Kaufman and Book Writer Marcus Gardley · 15 CONNECT WITH US ONLINE! THE BERKELEY REP MAGAZINE A sense of place in Five Points · 18 2018–19 · ISSUE 3 facebook.com/ Stephen Foster: Father of American berkeleyrep The Berkeley Rep Magazine is published at least seven popular music · 20 times per season. @berkeleyrep For local advertising inquiries, please contact Pamela Webster at 510 590-7091 or [email protected]. CONTRIBUTORS @berkeleyrep Editor Writers Karen McKevitt Katie Craddock Foundation, corporate, and in-kind sponsors · 42 vimeo.com/ Maddie Gaw Art Director Sarah Rose Leonard Individual donors to the Annual Fund · 43 berkeleyrep Nora Merecicky Madeleine Rostami Michael Leibert Society · 44 Graphic Designer berkeleyrep Kirsten Pribula Visit our website berkeleyrep.org ABOUT BERKELEY REP Contact Berkeley Rep Staff , board of trustees, We’re mobile! Box Offi ce: 510 647-2949 Click berkeleyrep.org Groups (10+): 510 647-2918 Email [email protected] and sustaining advisors · 46 Download our free iPhone or Admin: 510 647-2900 Google Play app. School of Theatre: 510 647-2972

Cover, top row: Christina Sajous, Jacob Fishel, Sidney Dupont, A.J. Shively, Daren A. Herbert, Madeline Trumble Cover, bottom row: Chris Whelan, Kevin Dennis, Gabrielle McClinton, Garrett Coleman, Kennedy Caughell, Chloé Davis 2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 3

PS_program.indd 3 12/11/18 4:00 PM December 2018 Volume 51, No. 3 music dance theater 2018/19 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY Akram Khan XENOS Paul Heppner A Cal Performances Co-commission President Mike Hathaway The legendary Akram Khan’s final solo creation Senior Vice President before his planned retirement as a performer, XENOS explores the shell-shocked dreams Kajsa Puckett of an Indian colonial soldier during the First Vice President, Sales & Marketing World War. Combining classical Indian kathak and contemporary dance, Khan bravely Genay Genereux explores the soldier’s alienation as he finds Accounting & Office Manager himself trapped between two cultures. Production “This is a work of defining greatness, Susan Peterson and a fitting farewell to a stage career Vice President, Production that has illuminated British dance.” Jennifer Sugden —The Guardian, London Assistant Production Manager

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Sales Amelia Heppner, Marilyn Kallins, Terri Reed Quote Unquote Collective San Francisco/Bay Area Account Executives Mouthpiece Devin Bannon, Brieanna Hansen, Ann Manning Created and performed by Seattle Area Account Executives Amy Nostbakken and Norah Sadava Carol Yip Directed by Amy Nostbakken Sales Coordinator A two-woman show acclaimed for its raw honesty and insightful Marketing portrayal of womanhood. Shaun Swick Senior Designer & Digital Lead “A smart show, beautifully put Ciara Caya together and performed, and one Marketing Coordinator that speaks up for all the women who daily bite their tongues” Encore Media Group —The Guardian, London 425 North 85th Street

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4 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 4 12/11/18 4:00 PM PROLOGUE from the Artistic Director

My father was a student of history. He loved to make us think about how diff erent our lives might have been if certain battles had been lost, if important legislation hadn’t been passed, if key decisions hadn’t been made. “What if Hitler had decided to invade England in 1942?” he’d ask us. “What if Lincoln had not been able to get the votes for the Thirteenth Amendment or Roosevelt the New Deal?” He was trying to show us how fragile democracy is, how critical every choice we make, how painstaking the measure of all progress. And conversely, how advanced our society might be if regressive forces had not destroyed certain movements… The fragility of freedom is on full display in Paradise Square, an exciting new musical that dares to embrace a complicated moment in our nation’s history. The play is set during the Civil War, an unlikely time for the nation’s fi rst experiment in volitional racial integration. But alliances sometimes form in the least likely places, among the least likely tribes. Irish immigrants and African Americans, thrust together in the poverty-stricken, disease-riddled slum known as Five Points in New York City, formed a combustible, passionate relationship expressed in language of every variety, and most exuberantly in music and dance. Spontaneous competitions between the two groups broke out in bars and spilled into the streets. The cross-pollination of high-stepping Irish jigs and African-American shuffl es resulted in astonishing com- binations that would form the bedrock of tap dance and foreshadow both jazz and rock ’n’ roll. It was an extraordinary cultural melting pot, one that ended when the demands of the war pitted the two sides against each other and which decimated Five Points. Paradise Square tries to capture the spirit and truth of the people of that time. Using the music and character of Stephen Foster as its rallying cry, it is a seminally American event, reclaiming the struggle embedded in a forgotten part of our history. This is an important story, and the creative team has applied their formidable talents to do it justice. Led by the intrepid Moisés Kaufman, it includes the luminous choreographer Bill T. Jones, musical savants Larry Kirwan and Jason Howland, and wordsmiths Nathan Tysen, Marcus Gardley, and Craig Lucas. The 32-member cast and eight-piece band make this the biggest show in the history of Berkeley Rep. Mas- ter Producer Garth Drabinsky has been the key fi gure in bringing it to life. Together with our staff of seasoned theatre makers, we once again try to produce theatre that diverges from an easy formula for success. Stretching everyone’s boundaries for the chance to create something special…that’s our thing. Thanks for being part of it all.

As always,

Tony Taccone

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PS_program.indd 5 12/11/18 4:00 PM PROLOGUE Proud to from the Managing Director Support Those of you who exercise with any regularity Berkeley Rep already know the value of stretching. (And those of you who don’t exercise actually do know the value of it as well, I’m sure!) It helps keep you limber. It makes you capable of bending, running, swimming, or just doing more. It ultimately makes you able to do things you couldn’t otherwise do. So when we talk about a play or a project stretching us, Personal attention you automatically know something about what that means thoughtful litigation to us. For us, as a theatre, it means that some productions make us more limber, more fl exible. And it makes us able to do some things that are final resolution hard to do. Our goal is to preserve our LAW FAMILY Paradise Square is a production that has stretched us in a way that few shows client’s dignity and humanity. have. In obvious ways it has challenged us with its size and physical complexity. The ambition of this creative team has demanded that all of us reach for solutions that push everyone into new places. All of that is hard but also fantastically good. Yet the hardest part of this project and the one that has stretched us all the most FA M I LYLAW G R OUP, P. C . has been our shared commitment to tackling these most diffi cult of all American topics: the history and legacy of slavery, racism, and class in America. 575 Market Street, Suite 4000 Looking back at the circumstances that gave us the biggest race riots in the San Francisco, CA 94105 history of this country demands that we look at who tells the story. Through whose 415.834.1120 www.sflg.com eyes are we experiencing the world of this play? Who owns the narrative and what do they want you, the audience, to take away from all this? Marcus Gardley, Craig Lucas, Moisés Kaufman, Bill T. Jones, Jason Howland, Nathan Tysen, and Larry Kirwan ask something big of us and of you. They ask that we all stretch. They ask us to do so to melodies both familiar and new, listening to stories we feel we know as well as many that are new. We do it with the faith that by stretching, we will all—artists, artisans, and audi- ences—become better than we were before. To all of our Warmly, 2018–19 subscribers— thank you! Susan Medak Since 1968 we’ve stood for theatre lovers like you.

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PS_program.indd 6 12/11/18 4:00 PM PS_program.indd 7 12/11/18 4:00 PM My legacy. My partner.

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PS_program.indd 7 12/11/18 4:00 PM EAP full-page template.indd 1 7/25/18 1:19 PM “I’m a Rep because you always come away “I’m a Rep because Berkeley Rep is a great thinking something new and interesting. part of what makes the East Bay such a Great theatre makes you think and vibrant and interesting place to live. I like makes you feel. And that feeling gives knowing that we’re helping make sure you insight into a part of the world that this place is here for the long run.” you don’t know or a new way to look at the world that you do know.” —ILANA DEBARE & SAM SCHUCHAT, BERKELEY REP SUBSCRIBERS AND DONORS PHOTO BY KIRSTEN PRIBULA

PS_program.indd 8 12/11/18 4:00 PM Left to right Chic Street Man and Ann Duquesney in Spunk (photo by Jay Thompson); The cast of American Idiot (photo by Alessandra Mello); “I’m a Rep because you always come away “I’m a Rep because Berkeley Rep is a great Caliaf St. Aubyn in Ain’t Too Proud—The Life and Times of The Temptations (photo by Kevin Berne) thinking something new and interesting. part of what makes the East Bay such a REPORT Great theatre makes you think and vibrant and interesting place to live. I like makes you feel. And that feeling gives knowing that we’re helping make sure you insight into a part of the world that this place is here for the long run.” Celebrating our 50th: Musicals at Berkeley Rep you don’t know or a new way to look at the world that you do know.” BY KATIE CRADDOCK

—ILANA DEBARE & SAM SCHUCHAT, Like the moment when a character breaks into out of the music I grew up with. Des McAnuff did Big River and BERKELEY REP SUBSCRIBERS AND DONORS song and dance, musical theatre is high-stakes. As a form, it Tommy; these pieces used musical genres I hadn’t previously requires serious resources to create and produce, but carries thought could be part of theatre. When I started to see some the potential of global recognition and substantial profi t. of my colleagues using music in dynamic ways with material Creators and producers of new musicals with their sights set that I felt was substantial, with emphasis on content as op- on Broadway fi nd it helpful to premiere shows outside New posed to just form, I became interested. York City; this gives them a chance to fi nesse the material, gauge audience response, and build momentum. Berkeley Rep When did we begin producing pre-Broadway musicals has made a name for itself as an ideal theatre for premiering in earnest? musicals, off ering our audiences the opportunity to be the fi rst Our fi rst big foray into the whole megillah was Passing to see exciting new world-class productions. As we prepared Strange. I was serving as a mentor at the Sundance Theatre to start rehearsals for Paradise Square, our largest new musical Lab, and saw a workshop of it there. I was absolutely knocked yet, I asked Artistic Director Tony Taccone about how we came out by it. I loved the music instantly, by Stew and Heidi Rode- to produce these pieces. wald. My friend Oskar [Eustis, The Public Theater’s artistic director] was there, and we literally went straight up to Stew How did you fi rst get excited about programming musicals as soon as the workshop ended and said, “Stew, we want to do at Berkeley Rep? this.” Passing Strange doesn’t function like a traditional musi- I loved two Zora Neale Hurston musical adaptations we cal—there are very few places built in for the audience to clap. produced. The fi rst was in the 1991–92 season, while Sharon The music was woven in and out of Stew’s narrative, more like Ott was artistic director—we did a production of Spunk by a troubadour in a cabaret setting telling you his story. George C. Wolfe that was unbelievably good. Then once I became artistic director, I programmed Polk County, which Kyle What was it like for Berkeley Rep to produce something PHOTO BY KIRSTEN PRIBULA Donnelly adapted and directed. It was a fantastic, music-dom- like that for the fi rst time? inated event—and didn’t bend to a formulaic concept about It was exciting. It’s always hard doing something new, be- how a musical should work; it invented its rules according to cause you’re breaking the formula and learning to provide new the dramatic needs of the text. resources, so there was a learning curve. It helped that Passing People of my artistic generation started to make musicals CONTINUED ON NEXT PAGE

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PS_program.indd 9 12/11/18 4:00 PM Clockwise from top left Colman Domingo, Rebecca Naomi Jones, Chad Goodridge, de’Adre Aziza, and Daniel Breaker in Passing Strange (photo by Kevin Berne); The cast of Polk County; The cast of Monsoon Wedding (photo by Kevin Berne); Samantha Barks and the cast of Amélie (photo by Kevin Berne)

CONTINUED FROM PREVIOUS PAGE Strange has a relatively small cast and band, for a musical. But How did we manage to produce something so then we jumped off the cliff with American Idiot. unprecedentedly large? We worked with Tom and Ira [Pittelman, Broadway How did we come to produce American Idiot? producer], who were willing to go the extra mile with us. We My appetite had been whetted by Passing Strange, which loved working with them; when you have that support, you won the Tony Award for Best Book of a Musical. Passing can conquer a lot of challenges. Michael was a great director Strange’s trajectory was unexpected and thrilling—it went for the project. The Roda Theatre was critical in all this. Once from here to The Public to a workshop to Broadway. I started we had the Roda [which opened in 2001], we suddenly had a actively looking at producers—people I thought would be Broadway-viable space. A lot of people started reaching out to interesting to work with—because the thing about musicals us because we had a space like that—we built the space with is, we can’t often do them on our own. They’re very expensive that in mind; it was conceived to handle big projects. And the for a nonprofit theatre to produce. I read an article about audience here is the best audience in the country. They’re so Spring Awakening and Tom [Hulce, Broadway producer] was damn smart. This audience is not afraid to think in metaphor. quoted, and I was literally looking up his phone number when New work needs incubation; our audience supports the time it he called me. He said he and Michael Mayer, a friend whose takes for artists to dig deep and figure out what story they’re work I admired, wanted to come to Berkeley and pitch some trying to tell and how best to tell it. projects. We met at the Hotel Shattuck and they shared a few ideas; one was American Idiot. I don’t think I even let them Did American Idiot change what our audience expected get the full title out before saying, “We’re doing that.” Oddly from us? enough, years before this, my son Jorma had said, “Dad, you No doubt about it. It was an ecstatic experience. That was guys should do a musical version of the album American Idiot.” the first time I can remember that we had adolescents bringing I knew it was a great album—I didn’t totally know how we’d their parents to a show. It was a monster success. It blew the make a story out of it, but it seemed so right to me. Green roof off the Roda, and put us on the map as a place where you Day is from Berkeley. They found this story inside the songs could do original musicals well. about three guys faced with the decision of whether to go off So I thought, “These are fun.” They’re challenging, but to war; it spoke to a generation of kids facing a certain Amer- worthwhile. We started doing about one a season. We did ican reality. I had been wondering: how do we enter into this Amélie, Monsoon Wedding, and Ain’t Too Proud. They kept get- field with as much originality and beauty as Passing Strange, ting bigger, and this season we’re doing two, which is ridicu- and thought—this is it. lous. And exciting.

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PS_program.indd 10 12/11/18 4:00 PM Asya (left), Anna (center), and Josh (right), attend a Rough Draft playwriting workshop REPORT Diamonds in the rough School of Theatre adds Rough Draft to its plethora of teen programming BY MADDIE GAW

Two seasons ago, the Berke- the theatre is only possible by making ing them a truly immersive experience ley Rep School of Theatre launched that audience truly believe there is a of the new play development process at the Young Writers of Color Collective place for them at theatres like Berkeley a regional theatre. (YWoCC), an intensive year-long play- Rep. In Reggie’s words, YWoCC “opens “The most exciting part about the writing apprenticeship for emerging the doors of theatre to those who never Summer Lab workshop was the amount writers of color in grades 9–12. The saw themselves as theatregoers or of support from other writers that was program was created in partnership theatre makers.” available,” says Fidela, who presented with 2015 Theatre Communications Each year, YWoCC student play- her work last summer. “I learned how Group Fox Fellow Reggie D. White, who wrights workshop their plays during the to hear my writing out loud and how to performed in Berkeley Rep’s produc- Summer Residency Lab, a program of share it with others, which I didn’t have tions of The Last Tiger in Haiti and Party The Ground Floor: Berkeley Rep’s Cen- a platform to do before.” People. Reggie was motivated to create ter for the Creation and Development of After the success of the program’s YWoCC after the audience at a student New Work. They present a final reading first year—and with full funding from matinee for the hyperkinetic play-with- that is attended by Berkeley Rep’s staff, donors Barry Williams and Lalita Tade- music Party People told him they “didn’t the Summer Residency Lab’s visiting my through the 2018–19 season—the know theatre could look like that.” professional artists from around the School of Theatre committed to making YWoCC brings access, mentorship, country, and the students’ communities YWoCC a part of its Teen Council, a and artistic training to Bay Area teens at large. The student playwrights collab- program designed by Bay Area teens for of color and is born from the belief that orate with professional actors, directors, Bay Area teens. As a result, two former getting a diverse and young audience to and a dramaturg during the process, giv- CONTINUED ON NEXT PAGE

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PS_program.indd 11 12/11/18 4:00 PM and produce a full production of a new play themselves, with mentorship from Berkeley Rep professionals. But something was missing. Antho- ny Jackson, the community and training programs manager, explains, “The edu- cation staff wanted to create a program that would offer consistent training to our YWoCC students but also allow other Teen Council students to drop in at any time and take a free playwriting workshop and not have to commit to a yearlong program.” Anthony and the education staff launched Rough Draft in the 2017–18 season. It is a monthly writing workshop open to all Teen Council members and is required for YWoCC students. Each workshop in the 2018–19 season is led by a professional playwright or drama- turg, who each bring their own instruc- tion style. “By providing different paths to approaching the work,” says Anthony, “we hope to help everyone feel like they can leave one, three, or all 10 workshops and know how to write a play.” Anna and Noé, two members of the Berkeley Rep is proud to announce the launch of the GalaPro 2018–19 Teen Core Council, both value system and app that will provide closed captioning for all the Rough Draft workshop for offering performances of subscription season shows. scheduled creative time. “It’s hard to start doing something creative on your own, when you could be working on GalaPro (for both Android and iOS) delivers individual closed captioning sat Prep, or the Common App,” says to your mobile device. Captioning is served in real time, using voice Anna. “It’s good that we can write about recognition technology to sync the content with the action on stage anything,” says Noé, who, being new to allowing the show to be enjoyed from every seat, at every performance. writing, enjoys the freedom to explore. Noé cites the workshop’s length— 90 minutes—as a benefit, stating that if it Download the GalaPro app to your own device and choose Berkeley were longer it might not be feasible for Rep and the show you are seeing and follow the on-screen instructions. his schedule. Anna agrees: “I know I’ll have time to go home, do homework, eat dinner, and still get this experience.” If you don’t have a compatible phone or tablet, limited units are CONTINUED FROM PREVIOUS PAGE “I learned how to hear “It is our hope that by offering available to be checked out for use during the performance. my writing out loud and YWoCC students have joined the Teen consistent workshops,” Anthony says, Core Council—the leadership team “we will also be furthering the develop- For more information, ask in the lobby where you see the GalaPro sign! how to share it with that creates programming for the Teen ment quality of the work of our young Council—for the 2018–19 season, con- playwrights.” Rachel Hull, director of the others, which I didn’t tinuing and deepening their relationship School of Theatre, concurs: “I hope this with Berkeley Rep. will create a culture for our teens to con- have a platform to do The School of Theatre staff realized tinually work on their pieces even after a before.” they now offered two dynamic playwrit- submission or presentation.” Playwright ing programs for teens that emphasized Eugenie Chan, who taught this year’s —FIDELA, different aspects of putting up new second Rough Draft workshop, adds, This program has been made possible with the support of 2018 YWOCC WRITER work: YWoCC, which offers an immer- “It’s vital to nurture young theatre art- sive new play development workshop ists. These are the artists who will keep with teens of color working alongside American theatre vital, fresh, and alive. Top 2018 Young Writers of Color Collective Playwrights professional artists, and the Teen One- If I had access to a program like Rough and Acting Ensemble Bottom Playwright Min Kahng leads a Rough Draft Acts Festival, which offers teens the Draft, I would have had the confidence playwriting workshop chance to write, perform, direct, design, to start writing earlier.”

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PS_program.indd 12 12/11/18 4:00 PM Berkeley Rep is proud to announce the launch of the GalaPro system and app that will provide closed captioning for all performances of subscription season shows.

GalaPro (for both Android and iOS) delivers individual closed captioning to your mobile device. Captioning is served in real time, using voice recognition technology to sync the content with the action on stage allowing the show to be enjoyed from every seat, at every performance.

Download the GalaPro app to your own device and choose Berkeley Rep and the show you are seeing and follow the on-screen instructions.

If you don’t have a compatible phone or tablet, limited units are available to be checked out for use during the performance.

For more information, ask in the lobby where you see the GalaPro sign!

This program has been made possible with the support of

PS_program.indd 13 12/11/18 4:00 PM THE ORIGIN STORY

Novelist, playwright, and musician Larry Kirwan reimagined the music of America’s fi rst great songwriter, Stephen Foster, when he dreamed up a musical about Foster’s time in New York City’s Five Points neighborhood. In Five Points, known as the slum of America, a short-lived alliance between newly arrived Irish immigrants and free Blacks created a melting pot of identities. A version of the piece ran off Broadway in an intimate theatre that transformed into the show’s saloon, with tattered fl ags hanging and burlap draped along the walls to evoke the feel of 1863. Producer Garth Drabinsky was excited by Larry’s concept and Larry sold him the rights to the musical. Garth began devel- oping the Five Points story nearly six years ago, aiming to take it to the next level by securing fi nancial support for the project, hiring members of the creative team, and supervising the musi- cal’s evolution on its path to production. Often, a producer will seek to collaborate with a nonprofi t theatre like Berkeley Rep as a partner in developing the work. Members of the creative team reached out to Artistic Director Tony Taccone, whose interest in the story of Five Points and the artists behind it sparked a collab- orative partnership. Tony admired the artists creating Paradise Square: Moisés Kaufman, the director of Berkeley Rep’s productions of The Lara- mie Project and Master Class; Nathan Tysen, the lyricist of Amélie; Jason Howland, the musical arranger and orchestrator behind Beautiful: The Carol King Musical; and the famed choreographer Bill T. Jones. The musical continued to evolve from rewrite to rewrite, and the story deepened, fi nding its current form as the artistic team cohered. In early 2018, book writer Marcus Gardley, Moisés, Garth, Tony, and dramaturg Thulani Davis gathered to hash out each moment of the play, generating ideas for the next iteration. Later that year, the creative team led separate two- week and three-week workshops, both in Toronto, to rehearse new text and test staging and choreography. The next stop would be Berkeley Rep.

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PS_program.indd 14 12/11/18 4:00 PM Moisés Kaufman Marcus Gardley

Questioning and embracing Stephen Foster’s music: An interview with Director Moisés Kaufman and Book Writer Marcus Gardley BY SARAH ROSE LEONARD

While Marcus Gardley and Moisés Kaufman— The musical’s title changed during its development pro- two heavyweights in the theatre world—are masters of their cess. How did you find the new one? craft, mounting a musical adds even more complications to Marcus Gardley: The original title was Hard Times, an already complex art form. When writing the book for a which is a song in the musical. And we didn’t want people musical you have to reveal character, move plot forward, and to think of the musical as a hard time! I believe it was our let the emotional high points be captured in the existing (and lyricist, Nathan Tysen, who came up with Paradise Square usually changing) music, all in support of a singular artistic because it was the name of an actual park in the Five Points vision. It’s like writing a haiku with room for someone to burst neighborhood at the time. into song. And the director’s job is to make that haiku, song, and dance work together to tell a clear, compelling story. Marcus, the book went through many iterations before you Here, Literary Manager Sarah Rose Leonard interviews Mar- came on board. How did you go about making it your own? cus and Moisés about their experience stepping into these MG: Many of the characters were already there in pre- multifaceted roles and how they make a historic moment vious drafts, so one of my tasks coming in was to make them resonate for contemporary times. my own. I really got a sense of the period through the drafts, and filled that in with my own research. Bill T. Jones and Jason

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PS_program.indd 15 12/11/18 4:00 PM AS A WRITER I SEE HOW THERE’S SO MUCH GOING ON POLITICALLY IN OUR COUNTRY AND IN THE WORLD AND I’M NOT TRYING TO RUN FROM IT. I’M TRYING TO USE IT. —MARCUS GARDLEY

Howland inspired me to take a deeper dive into the history ent races were mixing together, drinking together, working when I began. What’s great about this project is that there’s together, dancing together. It was a collection of otherness. In a lot of archaeology. There’s a lot of digging. What I’ve been the creating of this piece we have tried to tell that story that trying to do is bring my own knowledge and poetic sensibility hasn’t been told enough. That there was a place, in Manhattan to it. in 1863, where immigrant Irish women were marrying African American merchants and there was an influx of Chinese, Jew- How did you approach the character of Stephen Foster, a ish, Italian immigrants as well. The question for us was: how do notoriously difficult person to get a clear picture of? What we show that theatrically? role does his biography play in the shaping of his character? Tap dance was born there out of the mixture between Af- MG: What’s interesting about Stephen Foster is that his rican rhythm and Irish step dancing. And so we thought, “Oh, music is also a character. All the songs in Paradise Square are this is emblematic of what’s happening.” Theatrically, we can either inspired by pieces he wrote, or versions of his songs that portray these two dance vocabularies coming together into have been arranged. And Stephen Foster the character is just one. We try to show that over the course of the play. as present as his music. I read some of his writing and loved looking at the language he used. I let that define the charac- How did you think about the mixing of the dance ter. But also, a lot of the fun for a writer is fictionalizing what styles as it relates to present-day conversations about he might have spoken like, and how he would have walked cultural appropriation? through the world. People grapple with some of his music be- MG: There’s no way to avoid it. As a writer I see how cause of the racial connotations. We don’t shy away from that. there’s so much going on politically in our country and in the You could argue that some of it is questionable, especially the world and I’m not trying to run from it. I’m trying to use it. We lyrics, but the music has endured. I love that question of how see in the African American history of music that songs have art can make us grapple with a period, but also make us look at been appropriated in different ways. It’s interesting now to see its beauty and its quality. how a younger generation goes against it. For example, after Bruno Mars won the Grammy, there was an African American Five Points is sometimes considered the original melting activist who said that he was appropriating African American pot, consisting primarily of free-born and emancipated music. Nevertheless, the music he made is his own, so the Black people and newly immigrated Irish. How did you question becomes, if you do a cover of a song, or if you take a decide to include the intersections between these two style that might have come out of African American culture, cultures via dance? does it belong to the culture? All of these are really profound Moisés Kaufman: One of the things that struck us from questions that we’re always grappling with. I think the real the beginning was how little we know about Five Points in issue previously was that African American art and music were this period and this, as you say, original melting pot. In the taken and African Americans were never given appropriate bars, in the apartments, in the tenements, all of these differ- credit. The art that you make defines who you are as an artist,

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PS_program.indd 16 12/11/18 4:00 PM IN THE BARS, IN THE APARTMENTS, IN THE TENEMENTS, ALL OF THESE DIFFERENT RACES WERE MIXING TOGETHER, DRINKING TOGETHER, WORKING TOGETHER, DANCING TOGETHER. IT WAS A COLLECTION OF OTHERNESS. IN THE CREATING OF THIS PIECE WE HAVE TRIED TO TELL THAT STORY THAT HASN’T BEEN TOLD ENOUGH. —MOISÉS KAUFMAN

and if done right your name should be attached to it, but the MG: This has been the most exciting collaboration I’ve art belongs to everybody. It’s for everybody to take and do ever had because all the artists bring an immense amount of what they will, as long as people get the proper credit. wit and brilliance. The energy in the room is always palpable. What’s interesting about what we’re doing, in terms of If the slightest thing feels dishonest or inauthentic, someone appropriation, is that we’re taking Stephen Foster’s music and will say, “Oh no that’s not right. What about this?” In meetings rearranging it so that it is more comfortable for the contem- when we’re grappling with the story, I get energized because porary ear. That way, we can talk about why it’s problematic. I’m used to having to come up with the answers myself, but If I were to be writing a musical and every song has a lyric that with Paradise Square there’s always like 13 ideas! Picking the makes people uncomfortable because it’s racist, then I would best one is really exciting. be shut down. There’s something about Stephen Foster’s mel- I love that we have artists from different age groups. We odies that does qualify, in my mind, him as a great artist. have artists from different parts of the planet. We have artists MK: The play explores appropriation in many different who have worked in different forms of theatre. When all of ways. When you have different races or different cultures in a these different people collide, the story becomes richer. bar and they are dancing together, taking dance moves from When I first started studying musical theatre, my teach- each other, and then together coming up with new movement er said that if it doesn’t have equal parts dance, music, and vocabularies, they are doing it together. What I find fascinating book, you’re dealing with something that’s not a true musical. about this is you can call it cultural appropriation but I think I don’t know if I fully agree with him, but that’s what’s really it is the right way of cultural appropriation, where people are wonderful about working on this musical. Each part is doing using the inspiration from the other to do something together. its own storytelling. And when they come together, it’s the- MG: That’s right. atre at its highest. MK: So in a way, the play talks about how that phenome- MK: I think the thing that’s amazing about this team is it’s non occurs. Stephen Foster was witnessing all of this. The big a group of artists who are at the top of their game and who are question of the piece is, can we use his music and at the same coming together at a very difficult moment in history. time question his character for writing that music? Does that sound self-congratulatory when I say we’re all at the top of our game? Maybe I shouldn’t say that. In a way what you are saying is meta-theatrical, because MG: No, it’s true! we’re talking about people who are very different from MK: Okay, well, let’s put it this way. We’re a group of art- each other creating something new together. Your creative ists who have a great deal of talent and experience and we are team comes from different cultures and corners of the tackling a very interesting and complicated moment in Ameri- performance world. I’d love to hear a little about what that can history. Of course there are butting heads in the rehearsal collaboration has been like. room and you’re like, “This is a mad endeavor!” MG: We’re trying to figure that out! Laughter Laughter

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PS_program.indd 17 12/11/18 4:00 PM A SENSE OF PLACE IN FIVE POINTS BY SARAH ROSE LEONARD

The land under our feet always carries more Yet a silver lining shone in the newly undesirable 20-block stories than we know. The musical Paradise Square places neighborhood: ostracized populations, such as recently arrived location at the center of its story, taking its name from a park Irish immigrants and free-born and newly emancipated African in the historic Five Points neighborhood in New York City. Americans, found themselves at home in Five Points. While Today, where Five Points once fl ourished, Chinatown’s fl urry of the Emancipation Proclamation was not issued until the 1860s, activity swirls and a plethora of municipal and federal buildings slavery in New York ended in 1827, and the number of free cast their shadow. A little digging is required to reveal the life Blacks in the city rose. The population boom in Five Points that once infused this neighborhood. reached a peak in the 1840s, when large numbers of Catholics The earth itself shifted as Five Points changed. There fl ed Ireland’s Potato Famine. The populations lived side by side used to be a hill hovering over Collect Pond, a modest body in relative peace. of water right next to what would become Paradise Square, in This coexistence of cultures resulted in a unique hotbed the 1700s. The pond provided clean drinking water for grazing of creativity: new dance and music forms blossomed in Five cattle from nearby farms. As industrialization emerged, tan- Points. Dance hall competitions in basement bars sprang up as neries and slaughterhouses took over the farmland. Pollution popular forms of entertainment. During one of these competi- from manufacturing poured into the pond. The City obliterat- tions, William Henry Lane, a free-born African-American teen- ed the hill to fi ll in Collect Pond in 1813, attempting to end the ager, combined elements of the Irish jig and African-American cesspool that had formed. shuffl e to create tap dance. His fame grew as patrons wrote However, the earth is not so easily manipulated. As the about his talent, and he eventually went on European tours population of New York expanded in the early 1800s, hasty with his newly minted dance form. construction of houses began on the landfi ll. Due to the rush Five Points earned an international reputation, thanks of construction, the land hadn’t fully settled, causing the to sensationalistic writing by journalists and novelists alike homes to shift and tilt just a few years after their creation. Ad- who were obsessed with how such a poverty-stricken place ditionally, an underground spring kept feeding water into what could exist in one of the most prosperous countries in the was essentially a steaming mud pit. Mosquitoes swarmed in, world. It was dangerous to walk at night in the neighborhood, and disease spread. The middle-class occupants fl ed, and the which was rare at the time. The term “slumming” came into population shifted. Many immigrants and other less-privileged usage in the 19th century, used to describe a trendy pastime tenants moved into these misshapen houses and polluted for upper-class people in which they ventured into the area land. Soon, sex work and crime began to rise and liquor stores as tourists, as spectators of poverty. English author Charles cropped up throughout the neighborhood. The combination Dickens requested a visit to Five Points during a trip to Amer- of diseases swirling around the locale and the poor inhabitants ica. In 1842, he wrote in his American Notes that Five Points gave the neighborhood its reputation as America’s fi rst slum was “reeking everywhere with dirt and fi lth,” and “all that is by the middle of the century. loathsome, drooping and decayed is here.” Indeed, he further

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PS_program.indd 18 12/11/18 4:00 PM noted that Five Points was comparable to impoverished areas FIVE POINTS, 1863 of London’s East End in its population density, disease, infant and child mortality rate, unemployment, and violent crime. The tabloids helped publicize the crime in the neighbor- CANAL ST  th Ward hood and demonstrated a particular obsession with the comin-

gling of the races. Journalists scoured police reports and court WALKER ST CANAL ST

BOWERY ELIZABETH ST ELIZABETH

MULBERRY ST MULBERRY MOTT ST MOTT

cases for evidence of interracial socializing and sex. Incidents ST BAXTER involving prostitution or domestic violence between mixed- race couples received prominent coverage. Journalists often linked the increasing poverty and crime of New York City to race mixing. To the native-born white population, Five Points WHITE ST served as both a warning about the dangers of amalgamation and a threat to New York’s racial and social order. BAYARD ST The neighborhood had long been a destination for those th Ward helping the city’s disenfranchised population. Long before FRANKLIN ST

the riots, Christian missionaries operated alongside abolition- PELL ST ists, founding churches in the area, opening up job training,

and providing free food. Abolitionists also took up residence LEONARD ST DOYERS ST alongside preachers. Churches such as the Mother African BAXTER ST Methodist Episcopal Zion (Sojourner Truth was a member) and MOTT ST MISSION PLACE

the African Bethlehem Church worked in the Underground MULBERRY ST WORTH ST CHATHAM Railroad. People opened their homes as safe havens as well. PARK ST SQUARE The David Ruggles Boarding Home, located at 36 Lispenard Street, provided shelter for some 600 runaways, including FIVE POINTS Frederick Douglass. In 1835, Ruggles helped found the New INTERSECTION

York Committee of Vigilance, a group focused on protecting CENTRE ST runaways and confronting slave catchers. A few blocks away at PEARL ST MANHATTAN 42 Baxter Street, the African Society for Mutual Relief off ered PARK ST Black people health insurance, life insurance, and assistance N with burial costs. The Society also served as a school, meeting CHATHAM ST CENTRAL BROADWAY PARK house, and a stop on the Underground Railroad. CITY HALL PLACE th Ward In January of 1863, Abraham Lincoln issued the Emancipa-

tion Proclamation. In March, he ordered a Federal Draft. And This page Map drawn from Five Points by Tyler Anbinder

BOWERY in the sweltering summer of that year, the Five Points neigh- Left page An engraving depicting looting during the draft borhood changed fundamentally as the New York Draft Riots riots of 1863

unfolded. The riots broke out when angry working-class New CANAL ST Yorkers, most of them Irish, reacted to Lincoln’s draft. Some of the Irish had just moved there, and didn’t identify as American. Why would they be subject to the draft when African Ameri- cans born on American soil were not required to serve? They also feared that freeing more slaves would mean that they often by surprise. In 2006 construction workers found historic had to compete with African Americans for work, which was artifacts while constructing a new federal courthouse within already scarce. Businessmen and politicians with fi nancial ties the neighborhood boundaries. 850,000 items highlighted a to the South stoked these fears. The rioters attacked property less lurid side of Five Points, including thimbles, marbles, a toy and tenement housing, reserving the brunt of their anger for teacup, combs, and medicine bottles. Archeologists housed African Americans. They burned down an orphanage, lynched the artifacts in the basement of 6 World Trade Center as they Black men, and attacked interracial couples. The death toll awaited transfer to a permanent home at the South Street reached about 500, left 3,000 of the city’s Black population Seaport Museum. homeless, and caused millions of dollars in property damage. On September 11, 2001, falling debris tore a hole through The New York Draft Riots remain the deadliest riots in U.S. the eight-story building and obliterated the collection. Mirac- history, worse than the 1967 Detroit Riots or the 1992 Los ulously, the Archdiocese of New York had borrowed 18 pieces Angeles Riots. from the collection for a 2001 exhibition, including a Staff ord- At the time that Five Points thrived, no one chronicled shire china teacup with a portrait of Father Mathew, leader of the lives of the population at large. We know about big events, a temperance movement. The Archdiocese returned the goods but the more personal, intimate stories of Five Points have to the Seaport Museum, where you can visit the physical been lost. New knowledge arrives in bits and pieces, and memories of America’s fi rst slum today.

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PS_program.indd 19 12/11/18 4:00 PM Stephen Foster circa 1860

STEPHEN FOSTER: Father of American popular music BY MADELEINE ROSTAMI

Stephen Foster fundamentally shaped the Stephen Foster was born on July 4, 1826: it seems inevita- American music canon in the late 1800s and forward, penning ble that an attachment to the idea of American brotherhood songs that reached the masses. He built the foundation of would one day fi nd itself at the core of much of his music. The American popular music as a genre; his songs reached larger Fosters, a family of Scots-Irish descent, settled in Pennsylvania. audiences than any composer ever had before, and his melo- The Fosters remained intent on upholding their status in the dies endured long after his death. Behind those famous melo- community and searched for ways to bring joy into their house- dies, however, Foster himself was an incongruous fi gure with hold of nine children, with Stephen himself as the youngest. many talents and fl aws. By piecing together his few surviving Stephen and his siblings created their own backyard minstrel personal letters and manuscripts and connecting these dots show when he was just 9 years old. They would perform for with remarks from Foster’s few friends, we can begin to paint neighbors, sparking his interest in entertaining. In one of his a picture of the man. The creative team behind Paradise Square few surviving letters, a 10-year-old Stephen wrote to his father, embraced this challenge, creating a musical that highlights asking for blank sheet music and black ink so that he might both his demons and his unwavering desire to bridge together begin transcribing the songs he performed. Americans from across the country during a time of deepening The unbridled optimism that ran through the Foster political and social strife. family’s veins informed Stephen Foster’s own choice to leave

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PS_program.indd 20 12/11/18 4:00 PM behind formal schooling, instead choosing to settle in Pitts- further solidifying his position as a key voice in American burgh to follow his childhood passion to be a songwriter. popular culture. But his last four years were also marked by There, his greatest influences were Henry Kleber, his music personal darkness for Foster who, separated from his family, tutor who immigrated from Germany, and Dan Rice, a traveling notoriously abused alcohol and became a recluse. comedian who made his living performing in blackface min- In 1863, chaos overcame the Five Points neighborhood strel shows. This eclectic pair of mentors shaped Foster’s own just as Foster’s health began its rapid decline. As the Civil War sensibility as he left Pennsylvania for Ohio in 1846. In Cincin- intensified, Abraham Lincoln mandated a draft. Men could buy nati, Foster began working as a bookkeeper for the Irwin and themselves out of serving, so the effects of the order dispro- Foster Steamboat Company (managed by one of his brothers), portionately affected the poorest communities in Five Points. and soon found himself artistically inspired by the industrial Anger over the draft quickly turned into a racist fervor as the spirit of the local dockworkers and the convergence of cultures Irish fought against their Black peers, who were excluded from across the city. In 1848, Foster wrote “Oh Susanna” and soon the draft (see pg. 19 for more information on the 1863 Draft after negotiated his first deal with New York publishers. Riots). In many ways, this was the beginning of the end for The next decade saw Foster’s peak, both creatively and Stephen Foster. In the words of biographer Ken Emerson, “the personally. He married Jane Denny McDowell, the muse vast popular audience his work had inspired and united, were behind his acclaimed “Jeanie with the Light Brown Hair,” in dividing and destroying each other: South against North, poor 1850. Around this time Foster left behind the business world against rich, white against black.” Although minstrel shows to pursue music professionally through minstrel shows. Our were rooted in racism, some argued that Foster’s music had contemporary understanding of minstrelsy acknowledges its encouraged sympathy for the hardship that Black individuals racist roots: This musical style perpetuated harmful stereo- faced across the country. Abolitionist Frederick Douglass once types with blackface performance. But in the 1800s, travelling wrote that Foster’s music “awakens sympathies for the slave, in minstrel troupes were popular among the working and middle which antislavery principles take root, grow, and flourish” and classes, bringing musical performances to audiences across the the violence of the riots worked against that aim. country. Foster joined Christy’s Minstrels, the most popular As the world around him delved into violent chaos, Fos- troupe of the 1840s and 1850s, as their primary songwriter, ter’s dreams of a more united America felt increasingly unat- living on the road and crafting new melodies and lyrics which tainable. While it’s impossible to know the exact circumstances he sold for profit. Deviating from other minstrel troupes at of his passing, most accounts suggest that Foster found the time, Foster penned lyrics that were populist, stripping himself alone at the North American Hotel in the Bowery, away the hypersexuality and politically suggestive materials battling a stomach illness. While trying to stand to get a drink that other songwriters used. By blending more contemporary of water, he fell, cutting his neck on a porcelain washbasin. A arrangements with the traditional jigs and reels that had long maid discovered Foster lying in a pool of his own blood and served as the inspiration for minstrel music, his compositions immediately called for his friend and writing partner George similarly appealed to a broad range of audiences, welcoming Cooper. Cooper took Foster to the nearby Bellevue hospital the genteel to the minstrel aesthetic and proving popular where he survived a few more painful days before dying on beyond the stage. January 13, 1864, alone and penniless at the age of 37. When Stephen Foster mastered existing forms and innovated his his family came from Pennsylvania to retrieve his body and few own styles as one of the most prolific writers of the mid-1800s. belongings, they worked diligently to conceal records of his In less than 20 years, Foster had written 286 songs. Much of time in New York, ashamed of the lifestyle he led. his music felt idealistic and nostalgic, painting a picture of a The destruction of nearly all of Foster’s personal artifacts carefree America in which the plantation was the center of renders it impossible to create a robust timeline of his life or a peace and virtue; the fictional slaves at the core of many of his clear picture of his character, and this was further complicated songs were happy-go-lucky—a naïve perspective, and one that by Foster’s aloof personality. Even one of Foster’s most inti- provided white audiences with a sense of escapism. While the mate acquaintances wrote, “He would talk, eat, and drink with roots of this music and of blackface performance are inar- you, and yet always seem distant…. Whether it was a natural guably based in racist stereotypes, Foster, in his own words, bashfulness, or a voluntary reserve, I cannot say, but those sought to create new form of music that united all citizens who knew him most intimately were never familiar.” “in every effort to encourage a taste for this style of music.” Since his lifetime, Stephen Foster’s name and music have In this way, his music offered the public, grappling with the been widely recognized by Americans. Songs like “Oh Susan- deep-seated racism and political turmoil that gave way to the na” feel so intrinsically linked to the American psyche that they Civil War, a path to escape that difficult reality in favor of an became regarded as folk songs. But today, it is impossible to idealized version of their country. separate the dark side of Foster from the lasting resonance of As his minstrel career began to slow, Foster left his wife his music. Our task in the 21st century is to reconcile his per- and child behind to continue writing in Manhattan, looking sonal history and the harm perpetuated by the minstrel aes- for a new sound inspired by the music and culture of immi- thetic with the fact that his work did shape the landscape of grant communities living there. He settled quickly into the American music. As the United States continues to find itself downtown music scene, composing for the bars that lined deeply divided, just as it did at Foster’s peak, the team behind the streets of neighborhoods like Manhattan’s Five Points. Paradise Square seeks to do just that, reinventing his melodies The campy style of songs he wrote during his last years would for a contemporary audience, using music to offer a portrait of eventually give rise to the vaudeville sounds of the early 1900s, a man whose work reached the masses.

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PS_program.indd 21 12/11/18 4:00 PM BERKELEY REPERTORY THEATRE TONY TACCONE, ARTISTIC DIRECTOR AND SUSAN MEDAK, MANAGING DIRECTOR

BY SPECIAL ARRANGEMENT WITH GARTH H. DRABINSKY IN ASSOCIATION WITH PETER L eDONNE AND TEATRO PROSCENIUM LIMITED PARTNERSHIP

PRESENTS THE WORLD PREMIERE OF

PARADISE SQUARE A NEW MUSICAL

BOOK BY MARCUS GARDLEY, CRAIG LUCAS, AND LARRY KIRWAN

MUSIC BY JASON HOWLAND AND LARRY KIRWAN

LYRICS BY NATHAN TYSEN

BASED ON THE SONGS OF STEPHEN FOSTER

CONCEIVED BY LARRY KIRWAN

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ALLEN MOYER TONI-LESLIE JAMES DONALD HOLDER JON WESTON

HAIR/WIG DESIGN DR AMATURGY ARRANGEMENTS CASTING MATTHEW B. SYDNE MAHONE AND JASON HOWLAND AND STEWART/WHITLEY ARMENTROUT THULANI DAVIS LARRY KIRWAN

ASSOCIATE CHOREOGRAPHER IRISH AND HAMMERSTEP CHOREOGRAPHY PRODUCTION STAGE MANAGER DELL HOWLETT GARRETT COLEMAN AND CRYSTAL MacDONELL JASON OREMUS

MUSIC SUPERVISION, MUSIC DIRECTION, AND ORCHESTRATIONS BY JASON HOWLAND

CHOREOGRAPHY BY BILL T. JONES

DIRECTED BY MOISÉS KAUFMAN

DECEMBER 27, 2018–FEBRUARY 17, 2019 · RODA THEATRE · MAIN SEASON This show includes a 15-minute intermission. 22 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 22 12/11/18 4:00 PM CAST BAND Ensemble Karen Burthwright Conductor/Keyboard 1 Jason Howland Janey Foster/Ensemble Kennedy Caughell Conductor/Keyboard 1 as of 1/5 Kevin Ramessar Swing Tiff any Adeline Cole Associate Conductor/Guitar 1 Kevin Ramessar Ensemble Garrett Coleman Assistant Conductor/Keyboard 2 Ryan Touhey Ensemble Colin Cunliff e Associate Conductor as of 1/5 Ryan Touhey Ensemble Chloé Davis G u i t a r 1 a s o f 1 / 5 Derek Brooker Mike Quinlan Kevin Dennis Drums Lane Sanders Camp Butler/Ensemble Bernard Dotson Violin/Fiddle Lee Corbie-Wells Ensemble Jamal Christopher Douglas Percussion Greg Messa William Henry Lane Sidney Dupont G u i t a r 2 Steve Danska Ensemble Sam Edgerly Bass Daniel Fabricant Stephen Foster/Milton Moore Jacob Fishel Contractor Sean Kana Ensemble Shiloh Goodin Copyist JoAnn Kane Music/Russell Bartmus Levi Butler/Ensemble Jacobi Hall Rev. Samuel E. Cornish Daren A. Herbert Supplemental Lyrics by Larry Kirwan and George Cooper Swing Erin Lamar Angelina Baker Gabrielle McClinton The actors and stage managers are members of Actors’ Equity Association, the Provost Marshal/Ensemble Ben Michael Union of Professional Actors and Stage Managers in the United States. Ensemble Jason Oremus Musicians in this production are members of Musicians Union Local 6, Ensemble Bridget Riley American Federation of Musicians. Ensemble Clinton Roane Swing Celia Mei Rubin Affi liations

Annabelle “Nelly” Freeman Christina Sajous The director and choreographer are members of the Society of Stage Directors and Cho- Owen Duignan A.J. Shively reographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, Ensemble Erica Spyres and Sound Designers in lort Theatres are represented by United Scenic Artists Local Annie O’Brien Madeline Trumble usa-829, iatse. Elmer Woods Mark Uhre Ensemble Lael Van Keuren Willie O’Brien/Ensemble Brendan Wall Ensemble Sir Brock Warren Patrick Murphy Chris Whelan Ensemble Hailee Kaleem Wright Stage Manager Chris Waters Assistant Stage Manager Betsy Norton

Paradise Square: A New Musical is made possible thanks to the generous support of

SEASON SPONSORS SPONSORS Paradise Square Jack & Betty Schafer Anonymous is the recipient of an Michael & Sue Steinberg Cindy J. Chang, MD & Christopher Hudson Edgerton New Play Award. The Strauch Kulhanjian Family Jill & Steve Fugaro Karen Galatz & Jon Wellinghoff Sandra & Ross McCandless The Laurents/Hatcher Foundation Mechanics Bank Wealth Management Special thanks to the Partners of Paradise Square.

EXECUTIVE SPONSORS ASSOCIATE SPONSORS Michelle Branch & Dale Cook Valerie Barth Jean & Michael Strunsky John Dains Gail & Arne Wagner Helen Marcus Ed Messerly & Sudha Pennathur Dugan Moore & Philippe Lamoise

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PS_program.indd 23 12/11/18 4:00 PM MUSICAL NUMBERS

ACT ONE PREMONITIONS SOME FOLKS DO WAS MY BROTHER IN THE BATTLE THE FIVE POINTS CAMPTOWN RACES WE WILL KEEP A BRIGHT LOOKOUT AH, MAY THE RED ROSE LIVE ALWAYS NELLY WAS A LADY OH, SUSANNA GENTLE ANNIE I WILL NOT DIE IN SPRINGTIME I’D BE A SOLDIER SOMEONE TO LOVE ANGELINA BAKER HARD TIMES COME AGAIN NO MORE

ACT TWO WE ARE COMING FATHER ABRAHAM JANEY WITH THE LIGHT BROWN HAIR I’M NOT THAT MAN RING, RING THE BANJO I WILL NOT DIE IN SPRINGTIME (REPRISE) ANGELINA BAKER (REPRISE) PARADISE CHORALE LET IT BURN BEAUTIFUL DREAMER

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PS_program.indd 24 12/11/18 4:00 PM BERKELEY REP PRESENTS profiles

Karen Burthwright Tiffany Adeline Cole Colin Cunliffe ENSEMBLE SWING ENSEMBLE, U/S ELMER WOODS, Karen is making her Tiffany is thrilled to mak- U/S WILLIE O’BRIEN, U/S PATRICK Berkeley Rep debut. Her ing her Berkeley Rep MURPHY Broadway/off-Broadway debut in Paradise Square. Colin is beyond thrilled credits include Jesus She recently made her to be making his Berke- Christ Superstar (2012 Broadway debut in ley Rep debut. He was revival), Disenchanted Escape to Margaritaville seen on Broadway in (Westside Theatre), as swing, pit singer, and Cats (revival) as well as Tango Rose in Storyville principle understudy. the original Broadway (York Theatre Com- Regionally she per- companies of Finding pany), and Play Like a formed in Dreamgirls Neverland, Pippin (2013 Winner (New York Musical Festival 2017). Her (Theatre Under the Stars) and Rock of Ages Tony Award, best national tours and regional and Canada credits (Las Vegas), her first show, as swing, assistant revival), Evita (revival), include Dirty Dancing, Hairspray, and Mamma dance captain, and principle understudy. The Addams Family, and John Waters’ Cry-Baby. Mia (Toronto and first national tours); Gala Tiffany was most recently seen in the live National tours include Sweet Charity starring Celebration 2018 (Transcendence Theatre televised production of A Capitol Fourth: A 4th Molly Ringwald, The Boyfriend directed by Company); Rosie in Mamma Mia (Neptune of July Spectacular with Jimmy Buffet and the Julie Andrews, Fame, and Cats. Other favorites Theatre); Woman 2 in I Love You, You’re Perfect, cast Margaritaville at Capitol Hill in Washing- include How to Succeed in Business Without Now Change (George Street Playhouse); ton, DC. A California native, Tiffany received Really Trying at the Kennedy Center, West Side Cabaret (Cape Playhouse); Brenda in Smokey her BA in Theater Arts from California State Story (Philly Award nomination), and I Am Joe’s Café (Florida Studio Theatre); Jesus Christ University, Fullerton in 2010. Harvey Milk at Avery Fisher Hall. Film credits Superstar (La Jolla Playhouse/Stratford); Nickie include Do I Sound Gay?, Tales of Poe, Sensei in Sweet Charity (Writers Theatre); Ragtime, Garrett Coleman Do Right, and Folsom Street directed by Aron Hot Mikado, and Aida (Drury Lane Oakbrook); ENSEMBLE Kantor. blm. Sousatzka (Elgin Theatre); Pilar in Legally Blonde Garrett is a two-time (Drayton Entertainment); and Rocky Horror solo World Champion in Chloé Davis (Canadian Stage/Manitoba Theatre Centre). Irish dance and has won ENSEMBLE/DANCE CAPTAIN She’ll be playing Shug Avery in The Color 17 other national and Chloé is excited to make Purple at the Neptune Theatre in 2019. Visit international titles. Gar- her debut at Berkeley karenburthwright.com. rett toured professional- Rep. She is a proud ly with Riverdance, Trini- St. Louis native and Kennedy Caughell ty Irish Dance Company, received her BA from JANEY FOSTER/ENSEMBLE/ Cherish the Ladies, The Hampton University FIGHT CAPTAIN Chieftains, and others. and mthm from Temple Kennedy is thrilled to He performed at the Kennedy Center in 2006 University. Her favorite be making her Berkeley as a Presidential Scholar in the Arts, is a Young regional credits include Rep debut! Kennedy Arts award winner (top 2% of artistic talent in Memphis (Theatre Un- was most recently seen the U.S.), and has twice been named one of der the Stars), Hello, Dolly! (Riverside Theatre), as Betty in Beautiful: the “Top 100 Irish Americans” by Irish America and All Shook Up and The Wiz (Muny). Her The Carole King Musical Magazine. He is the co-founder of Hammer- favorite off-Broadway credits include Randy on Broadway. Ken- step, a nyc-based dance company fusing Irish Weiner and Ryan Heffington’s immersive nedy was also part of step with hip hop, stepping, and martial arts. show, Seeing You and NY City Center Encores the Broadway cast of Garrett has starred in Hammerstep perfor- Cabin in the Sky. Chloé has also worked with Natasha, Pierre & The mances worldwide from nyc’s Lincoln Center Broadway Dance Lab under the artistic direc- Great Comet of 1812. She has been seen in the to London’s West End Palace Theatre to nbc’s tion of Josh Prince, American Dance Spectacu- national tours of Wicked (Elphaba standby) America’s Got Talent. Garrett is the co-creator lar directed by Daniel Levine, the Philadelphia and American Idiot (Heather). Her other nyc of the sci-fi theatre drama Indigo Grey, a nar- Dance Company (Philadanco!) under the credits include Chix6 (Katie) at LaMaMa rative universe presented as episodic content artistic direction of Joan Myers Brown, and is a Theatre and Bernstein’s Mass at Lincoln Center. including an award-winning film and a sold-out current company member of Camille A. Brown She has performed regionally at the Engeman live immersive experience. His work has re- & Dancers under the artistic direction/chore- Theater in White Christmas (Betty) and at New ceived critical acclaim from publications such ography of Camille A. Brown. Chloé’s favorite London Barn Playhouse in Guys & Dolls (Sarah as Rolling Stone, Billboard, Huffington Post, and TV/film credits include Jesus Christ Superstar Brown). Her film/TV credits include Katya in Wired Magazine. @gcoleman412 Live (nbc), Tell Me a Story (cbs Demand), and The Outlier. She is a graduate of Elon Universi- Transmission Jazz Documentary. ty. Insta/Twitter: @KennedyCaughell. Please visit KennedyCaughell.com.

2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 25

PS_program.indd 25 12/11/18 4:00 PM BERKELEY REP PRESENTS profiles

Kevin Dennis Jamal Christopher Douglas Jacob Fishel MIKE QUINLAN ENSEMBLE STEPHEN FOSTER/MILTON MOORE Kevin is a Toronto-based Jamal is thrilled to be Jacob made his Broad- actor and is honored to making his Berkeley way debut in David be making his American Rep debut. His previous Leveaux’s revival of theatre debut at Berke- credits include His Girl Fiddler on the Roof. His ley Rep. He has ap- Friday, A Little More Alive off-Broadway credits in- peared on stages across (Barrington Stage Com- clude King Lear and The Canada, including three pany), and A Wall Apart Broken Heart (Theatre seasons at the Shaw at New York Musical for a New Audience), Festival. His favorite Festival. Thanks to God, The Common Pursuit roles include Frederick my amazing mother, (Roundabout Theatre in Young Frankenstein (Stage West—Calgary), agent, and the Berkeley Rep company. Proud Company), Titus Andronicus (The Public Zangara in Assassins (Talk Is Free Theatre/ Pace University MT alumnus! @iamlamaj Theater), Women Beware Women (Red Bull Royal Manitoba Theatre Centre—Toronto/ Theater), and Macbeth (New York Shakespeare Winnipeg), Pirelli in Sweeney Todd, Benvolio in Sidney Dupont Festival/Shakespeare in the Park). Regionally, Romeo and Juliet (Neptune Theatre—Halifax), WILLIAM HENRY LANE Jacob performed in Henry V and As You Like Touchstone in As You Like It (Citadel Theatre— Sidney is excited to be It (Two River Theater), Our American Hamlet Edmonton), Snail in A Year With Frog and Toad on the West Coast at (Commonwealth Shakespeare Company), (Young People’s Theatre—Toronto), Geoffrey Berkeley Rep. He made Sense and Sensibility (Folger Theatre), and The in The Beard of Avon (Canadian Stage—Toron- his Broadway debut Real Thing (Intiman Theatre). His television to), and Jewell in Floyd Collins (Shaw Festival). with Beautiful: The Car- appearances include Elementary, Cold Case, Kevin’s American screen credits include The ole King Musical back in Medium, Without a Trace, and Numb3rs. His Artful Detective (Ovation), 11.22.63 (Hulu), 2015, and since then has films include A Night Without Armor, Across Reign (CW), Orphan Black (bbc America), The gone on to join both the the Sea, and How I Got Lost. Jacob is a graduate Strain (FX), Warehouse 13 (Syfy), Flashpoint first national tour and of The Juilliard School where he received the (cbs), Air Disasters (Smithsonian), and the Australian company, John Houseman Prize for Excellence in Clas- Queer As Folk (Showtime). Twitter/Insta: respectively. Some other favorite national sical Theatre. In 2013, he received the Linda @GottaBeKDee tours include Memphis: The Musical and A Cho- Gross Playing Shakespeare Award from the rus Line. Sidney has also performed in regional New York Shakespeare Society. Bernard Dotson productions all around the country including CAMP BUTLER/ENSEMBLE, U/S REV. Man of La Mancha (the Shakespeare Theatre Shiloh Goodin SAMUEL E. CORNISH Company), In the Heights (Geva Theatre ENSEMBLE Bernard is thrilled to be Center), Gypsy (North Carolina Theater), and Shiloh hails from making his Berkeley Rep Hairspray (Crown Uptown Theatre). Sidney is Yosemite, CA. Most debut in Paradise Square. currently represented by bloc Talent Agency. recently, she played Bernard’s Broadway For more exciting news and updates, look for Cassie in A Chorus Line credits include Finian’s Sidney on instagram: @SidneyDuPont. (Gallery Players). In Rainbow (George/First nyc, she co-starred in Gospeleer, original Sam Edgerly The Screwtape Letters revival cast); Chicago, ENSEMBLE, U/S OWEN DUIGNAN (Pearl Theatre) and The Musical (Billy Flynn); Sam is making his Berke- joined the ensembles of Imaginary Friends (Leo, ley Rep debut. His New Anthem (Lynn Redgrave original cast); Sweet Smell of Success (Club York credits include A Theatre) and Babes in Toyland (Lincoln Center). Zanzibar Singer, original cast); Jesus Christ Bronx Tale (Broadway) Shiloh often works on creative teams, and was Superstar (original revival cast); and the Tony and The Wild Party (Bar- recently associate choreographer on Twelfth Award-winning musical Ragtime (original cast). row Street Theatre). He Night (The Public Theater), Chess (the Kennedy Some of Bernard’s national, international, toured nationally with Center), and To Wong Foo (American Academy touring, and regional credits include Elf (Store the first national tour of Dramatic Arts). Other favorites include Manager), Joseph and the Amazing Technicolor of Dirty Dancing. His world premiere of Sousatzka (Elgin Theatre), Dreamcoat, Sophisticated Ladies (Gregg Burge regional credits include Rigoletto (Santa Fe Opera), South Pacific (River- role), A Chorus Line (Richie), Five Guys Named Ordinary Days (Round House Theatre, Helen side Theatre), the national tour of Camelot, A Moe (No Moe), Victor/Victoria (Jazz Singer), Hayes Award nomination), Saturday Night Fe- Funny Thing Happened on the Way to the Forum Kiss Me, Kate (Paul), and Smokey Joe’s Cafe. ver (Merry-Go-Round Playhouse), My Fair Lady (Bay Street Theater), Hairspray and Gypsy Bernard received a mac Award nomination and Orphie and the Book of Heroes (the Ken- (Sacramento Music Circus), and Dead End (Ah- for his critically acclaimed one-man show, nedy Center), and Gypsy (Signature Theatre). manson Theatre). Shiloh is an adjunct faculty Unexpected Songs. Bernard can be heard on Sam’s TV credits include Law & Order: svu. He member at amda, and earned her degree at six cast albums, including the live recording of is a graduate of American University with a BA usc. @shilohlovesyou Dreamgirls for the Actors Fund. in Musical Theatre. @samthebellhop

26 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 26 12/13/18 9:19 AM Jacobi Hall ited to Sousatzka, Bring It On, Songs for a New at venues such as London’s Hammersmith LEVI BUTLER/ENSEMBLE World, Lippa’s The Wild Party, Marcus; or The Apollo, Palais des Congrès de Paris, and the Jacobi is delighted to be Secret of Sweet, Shakespeare’s R&J, A Free Man Kremlin State Palace in Moscow, and for nota- making his debut with of Color, August Wilson’s Gem of the Ocean, ble leaders including the Empress of Japan and Berkeley Rep. Most Five Points, Dessa Rose, and many more. Many Australian Prime Minister Julia Gillard. Jason recently Jacobi appeared thanks to the casting, cast, crew, and creatives has produced and starred in international as Nick and Billy Ivy for their relentless dedication to storytelling Hammerstep appearances at New York City’s Zippers in the world and the magic of theatre! Lincoln Center and on London’s West End. premiere of Pamela’s Jason is the co-creator of sci-fi theatre drama First Musical at Two Gabrielle McClinton Indigo Grey—a fictional universe with episodic River Theater. Prior to ANGELINA BAKER, content including an award-winning film and that Jacobi was a nom- U/S / PERFORMS THE ROLE OF sell-out live immersive experiences. He is also inee for the Connecticut Critics Circle Award ANNABELLE “NELLY” FREEMAN ON a former resident artist at Nokia Bell Labs and (Trav’lin) and winner of the Kennedy Center 1/20 2PM, 1/22, 1/29, 2/5, 2/13 New Museum’s New Inc. American College Theater Festival Musical Gabrielle is making her Theatre Award (Single Girl’s Guide). Blessed Berkeley Rep debut. Pre- Bridget Riley to be at Berkeley Rep, Jacobi is determined vious credits include the ENSEMBLE/DANCE CAPTAIN on breaking into show business and leaving a Broadway productions Bridget is thrilled to join mark on the arts and entertainment industry of Pippin and Chicago. the company of Paradise forever. @jacobihall First national Broadway Square in her Berkeley touring credits include Rep debut. She was seen Daren A. Herbert the Leading Player in off Broadway in The Scar- REV. SAMUEL E. CORNISH Pippin and Whatsername let Letter and Freckleface Daren is making his in Green Day’s American Strawberry. She toured Berkeley Rep debut. He Idiot. Regional credits include Molly in Peter the country with the recently appeared as and the Starcatcher at South Coast Repertory national tours of West Harold Hill in The Music and numerous productions at the Oregon Side Story and Seussical. Man at the Stratford Shakespeare Festival, Alliance Theatre, the Her international credits include Nine (Stadss- Festival of Canada. He Muny in St. Louis, and Pittsburgh Civic Light chouwburg Opera, Brugge, Belgium). Regional played Stephen in the Opera. Gabrielle’s TV and film credits include credits include Camelot (Shakespeare Theatre national tour of If/Then, The Mentalist, Won’t Back Down, and Fun Size. Company); Pajama Game and Carousel (Arena and selected regional bfa Carnegie Mellon School of Drama. Stage); 110 in the Shade (Ford’s Theatre); West credits include The Side Story (Studio Tenn); Peter Pan (lmm Musi- Wild Party and Hotel C’est L’amour (the Blank Ben Michael cals); and Les Misérables, All Shook Up, and The Theatre); Onegin (National Arts Centre), The PROVOST MARSHAL/ENSEMBLE, U/S Producers (Maine State Music Theatre); among Wild Party and Once on this Island (Musical STEPHEN FOSTER/MILTON MOORE others. Her film and TV credits include Nurse Stage Co.); The Toxic Avenger Musical (Dancap Ben is making his Berke- Jackie, Something Borrowed, and East of Adin. Productions); St. Joan, Clybourne Park, and ley Rep debut. Last year She has also performed at Carnegie Hall and at Intimate Apparel (Arts Club Theatre); Floyd he played Henri in the the Ted Shawn Theatre at Jacob’s Pillow. Bridget Collins and The Light in the Piazza (Patrick first national tour of received a bfa in Musical Theatre at Pace Uni- Street Productions); Father Comes Home from An American in Paris. versity and trained at Jacob’s Pillow School for the Wars I,II,III and an upcoming appearance Other regional credits Dance. Please visit @missbridgetriley. in The Brothers Size (Soulpepper Theatre). TV include The Beast in credits include Designated Survivor, Baroness Beauty and the Beast at Clinton Roane Von Sketch, Falling Skies, and Private Eyes, with North Carolina Theatre, ENSEMBLE, U/S WILLIAM film roles in This Means War and Dreamgirls. Jervis in Daddy Long Legs HENRY LANE Awards include a Dora Mavor Moore Award, at George Street Playhouse, Cable in South Clinton is excited to LA Drama Critics Circle Award, and a Toronto Pacific at Walnut Street Theatre, and Giorgio return to Berkeley Rep Theatre Critics Award. Training: University of in Passion with Arden Theatre Company. He after appearing in The California, Irvine, mfa Drama and a bfa from is the host of the podcast “So Now What?,” Last Tiger in Haiti. He The University of the Arts, Philadelphia. which has its first season on iTunes, and is a made his Broadway graduate of Syracuse University. debut in The Scottsboro Erin Lamar Boys. Clinton originated SWING Jason Oremus the role of Roy Wright in Erin is ecstatic to be ENSEMBLE the UK premiere of the working at Berkeley Former lead of River- show at the Young Vic Rep! A University of the dance, co-creator of the Theatre and he received a Barrymore Award Arts 2012 graduate (bfa award-winning dance nomination for his portrayal at the Philadel- Theater Arts) and nyc- company Hammerstep, phia Theatre Company. Regionally, he’s also based actor, Erin has had and five-time solo worked at American Conservatory Theater, the privilege of working National Irish Dance La Jolla Playhouse, Center Theatre Group, with some of the indus- Champion, Jason is origi- Geva Theatre Center, Alabama Shakespeare try’s most innovative nally from Sydney, Aus- Festival, Arena Stage, Cleveland Play House, and inspired creators, tralia. His choreography North Shore Music Theatre, Marriott Lincoln- such as Andy Blankenbuehler, Alex Lacamoire, and creative work have shire, Goodspeed, and Radio City Music Hall. Graciela Daniele, Ben Vereen, and Christopher received critical acclaim from publications He was also a background vocalist on Jason d’Amboise. Since graduating he has performed such as Rolling Stone, Billboard, Huffington Mraz’s Mr. A–Z. Clinton holds a bfa from and created in over 26 countries; favorites Post, and Wired Magazine. Jason toured with Howard University and also trained at cap21. include Japan, Germany, England, Sweden, and Riverdance as principal lead dancer for over @IAmClintonian. Visit clintonroane.com. Canada. Some shows include but are not lim- eight years, performing in over 40 countries

2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 27

PS_program.indd 27 12/11/18 4:00 PM BERKELEY REP PRESENTS profiles

Celia Mei Rubin A.J. Shively Madeline Trumble SWING OWEN DUIGNAN ANNIE O’BRIEN Celia is making her A.J. is making his Born and raised in Berkeley Rep debut! Berkeley Rep debut. On Berkeley and an alum- Her Broadway credits Broadway, he originat- nus of its public schools, include Natasha, Pierre & ed the roles of Billy in Maddy is so happy to The Great Comet of 1812 Bright Star, for which be home! She made and Matilda. West End he received a Drama her Berkeley Rep debut credits include Parade, Desk nomination, and at the age of 10 in The Joseph and the Amazing Jean-Michel in La Cage Life of Galileo. Now a Technicolor Dreamcoat, Aux Folles opposite resident of New York and Candide. She ap- Kelsey Grammer. Off City, Maddy has been on peared in the national tours of Chicago, West Broadway he has starred in February House Broadway in Newsies and in the national tours Side Story, Guys and Dolls, and Miss Saigon. Her at The Public Theater, Brigadoon at the Irish of Wicked, The King and I, and as Mary Poppins regional credits include Waterfall (5th Avenue Repertory Theatre, The Suitcase Under the Bed in Mary Poppins. Other theatre credits include: Theatre/Pasadena Playhouse) and Dirty Danc- with Mint Theater Company, Unlock’d with Theatre Under the Stars, the Muny, Zach ing (Flat Rock Playhouse). For Royal Caribbean: Prospect Theater Company, Things to Ruin Theatre, and the Sundance Theatre Lab. She Saturday Night Fever. She is on the original at Second Stage Theatre, and Little Airplanes is a graduate of the University of Michigan’s Broadway cast recordings of Natasha, Pierre & of the Heart at Ensemble Studio Theatre. musical theatre department. The Great Comet of 1812 and Matilda, and she’s In the Bay Area, A.J. recently reprised his also on the original London cast recording of performance in Bright Star at The Curran, Mark Uhre Parade. Celia has appeared in numerous Tony and starred in TheatreWorks Silicon Valley’s ELMER WOODS, U/S PROVOST Awards and Olivier Awards shows, as well as production of Marry Me A Little, for which he MARSHAL, U/S STEPHEN FOSTER/ on Good Morning America and Late Show with received a Theatre Bay Area Award nomina- MILTON MOORE David Letterman. She is a recipient of the Chita tion. A.J. has been seen on television and film Mark is thrilled to be Rivera Award for Outstanding Ensemble in a in Homeland, Madam Secretary, The Blacklist, making his Berkeley Rep Broadway show for Natasha, Pierre & The Great Younger, From Nowhere, Nobody Walks in LA, debut. Selected theatre Comet of 1812. Proud Actors’ Equity Associa- and HairBrained. He received his bfa from credits include Enjolras tion member. @celia_mei The University of Michigan. in the 25th anniversa- ry production of Les Christina Sajous Erica Spyres Misérables (Broadway), ANNABELLE “NELLY” FREEMAN ENSEMBLE, U/S ANNIE O’BRIEN Sky in Mamma Mia! Christina is honored to Erica is making her (Mirvish/Toronto), Tom be back at Berkeley Rep, Berkeley Rep debut. Watson in Parade (Mu- where she made her She was recently sical Stage Company/Studio 180), Marcellus debut as the “aerialist” seen in the Broadway Washburn in The Music Man, Benny South- (Extraordinary Girl) in production of Carousel. street in Guys and Dolls, Ralph Rackstraw in Green Day’s American She has performed H.M.S. Pinafore, and Julius Caesar (Stratford Idiot. Her Broadway throughout the U.S. Festival of Canada). As a company member credits include Sponge- and abroad, appearing with the Shaw Festival of Canada for seven Bob SquarePants (Sandy in the first national tour seasons, Mark’s credits include The Lady from Cheeks), Spider-Man: of Once, in the Parisian the Sea, Sweet Charity, Trouble in Tahiti, The Turn Off the Dark (Arachne), American Idiot premiere of Sondheim’s Passion opposite Millionairess, My Fair Lady, The Cherry Orchard, (Extraordinary Girl), Baby It’s You! (Shirley), Natalie Dessay conducted by Andy Einhorn Sunday in the Park with George, Star Chamber, and Tupac Shakur’s: Holler If Ya Hear Me. Re- (Théâtre du Châtelet), and on tour as a soloist A Little Night Music, Follies: In Concert, Over- gionally she performed in The Prince of Egypt with the Boston Pops. Regional credits ruled, Mack and Mabel, and the world premiere (TheatreWorks), Carmen: An Afro Cuban Jazz include Who’s Afraid of Virginia Woolf?, Com- musicals Maria Severa and Tristan. Also a Musical (Tectonic Theater Project) directed by pany, Peter and the Starcatcher, Into the Woods, published illustrator, Mark’s paintings and Moisés Kaufman, Romeo & Juliet (Baltimore Avenue Q (irne Award), Time Stands Still, The illustrations can be found at markuhre.com. Symphony Orchestra), and Disgraced (Denver Mikado, Big River, and Nicholas Nickleby (Lyric Center for the Performing Arts). She most Stage Company of Boston); Tribes (Elliot Lael Van Keuren recently appeared in this season’s Emmy Norton Award) and The Light in the Piazza ENSEMBLE, U/S JANEY FOSTER, Award-winning Jesus Christ Superstar Live (nbc) (SpeakEasy Stage, irne Award); Camelot (irne U/S ANNIE O’BRIEN starring John Legend and Sara Bareilles. Her Award), Marry Me a Little, and Master Class Lael is delighted to be other TV and film credits include Alpha House (New Repertory Theatre); and Pirates! (Hun- making her Berkeley (Amazon), One Life to Live (abc), Broadway tington Theatre). Erica is also a singer and Rep debut. She was last Idiot (Netflix), and Brazzaville Teenager directed fiddler in the foot-stomping bluegrass band seen starring as Sylvia by Michael Cera. Christina attended New York The Typsy Spyres. Visit ericaspyres.com. Llewelyn Davies on the University’s Tisch School of the Arts and the first national tour of International Theatre Wing in Amsterdam. Finding Neverland. Lael made her Broadway debut in the original cast of Sister Act, and later went on to open the first national tour as Sister Mary Robert. Select regional credits include Mary Poppins and Dirty Rotten Scoun-

28 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 28 12/11/18 4:00 PM drels (North Shore Music Theatre), The Will Sir Brock Warren Playhouse), and Little Shop of Horrors (John W. Rogers Follies (Maltz Jupiter Theatre), True Love ENSEMBLE Engeman Theater). Chris has also appeared (Sharon Playhouse), Hello, Dolly! and Cinderella Sir Brock is making his on The Young and the Restless (cbs, recurring), (Paper Mill Playhouse). Berkeley Rep debut. Guiding Light (cbs, recurring), and All My He has performed Children (abc, guest star). Chris received a bfa Brendan Wall in the The Radio City from the Acting Conservatory at usc. WILLIE O’BRIEN/ENSEMBLE, U/S Christmas Spectacular MIKE QUINLAN for four seasons. His Hailee Kaleem Wright Brendan is an actor and regional credits include ENSEMBLE, musician based in To- The Wiz (the Muny), In U/S / PERFORMS THE ROLE OF ronto, Canada and very The Heights (American ANGELINA BAKER ON 1/20 2PM, 1/22, excited to be making his Stage Theatre Com- 1/29, 2/5, 2/13 Berkeley Rep debut. He pany), and After Midnight as The Mooche Hailee is making her appeared off Broadway (Norwegian Cruise Lines). He is a Doris Duke Berkeley Rep debut. Her in Spoon River and Of Charitable Foundation grant recipient through regional credits include Human Bondage (Signa- Project Gen Yes. The Black Clown (Amer- ture Theatre/Soulpepper ican Repertory Theatre) on 42) and performed Chris Whelan and Hairspray (Jersey on London’s West End in Warhorse (National PATRICK MURPHY Shore Productions), and Theatre). Back home in Canada, some credits Chris has appeared in her international credits include Pilate in Jesus Christ Superstar (Confed- the national tours of include Rent (Sekaikan eration Centre for the Arts) and A Misfortune Flashdance (C.C.), Mam- Theatre, Japan), RnB The (world premiere), Once (Mirvish Productions), ma Mia (Sam), Dirty Mix, Universal Monsters Live (Universal Studios and River: Joni Mitchell (Grand Theatre), as well Rotten Scoundrels (Law- Japan), Elyria, Land of Make Believe (Celebrity as seven seasons with Soulpepper Theatre. rence Jameson), Aida Cruise Line). Her TV/film credits include True A few of Brendan’s film and television credits (Zoser), Ragtime (Willie Life (mtv) and Don’t Forget the Lyrics. Hailee include Boondock Saints II, Chicago, Hairspray, Conklin), and Camelot trained with Mary Rodgers (voice) and Jen Orphan, Hollywoodland, Suits, Reign, Flashpoint, (Sir. Lionel). Off-Broad- Waldman Studio (Acting). All my love to my Murdoch Mysteries, and Degrassi. Brendan way credits include Trolls Mother and Joey. @sapphire_hart trained at York University and was a member (Actors Playhouse) and Ministry of Progress of the Soulpepper Academy. (Jane Street Theatre). Regional theatre credits include Rock of Ages (Casa Manana), Mamma Mia (Pittsburgh clo), The Little Mermaid (Tu- acahn Center for the Arts), Oliver (Paper Mill

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2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 29

PS_program.indd 29 12/13/18 9:19 AM BERKELEY REP PRESENTS profiles

Derek Brooker Steve Danska Greg Messa GUITAR 1 AS OF 1/5 GUITAR 2 PERCUSSION Derek is a San Francis- Steve is a Bay Area Greg is a freelance co-based guitar player native making a living as percussionist and with roots in jazz, blues, a professional guitarist. native of the Bay Area. and rock and roll. He’s His music education He performs regularly been playing music began at a young age with many local groups professionally for two studying classical piano, including Symphony Sil- decades. Derek has a but he later fell in love icon Valley, Opera San Bachelor of Arts in Mu- with the guitar. He grad- Jose, Monterey County sic from San Francisco uated from California Symphony Orchestra, State University. He has State University East Santa Cruz Symphony, supported pit orchestras for musicals in San Bay in 2014 with a BA in jazz guitar perfor- Espressivo Chamber Orchestra, Woodmin- Francisco, San Jose, and the greater Bay Area, mance. Versatility across music genres is one ster Summer Theater, Broadway by the Bay, and has shared the stage with renowned art- of his strongest assets and has ultimately led and many others. Greg has appeared with ists including but not limited to John Popper, to touring nationally and internationally as a orchestras across the country, including the Leo Nocenteli, George Porter Jr., Bill Kreutz- side musician for different artists. Apart from Owensboro Symphony, Evansville Symphony man, and Roosevelt Collier. He has played at playing musicals around the Bay Area, he plays Orchestra, the Columbus Symphony, Capital many festivals up and down the West Coast, guitar for Megan Rose from The Voice, as well City Symphony, and the Columbia Orchestra. including High Sierra Music Festival, Desert as guitar in two original bands, Analog Us and Sponsored by the Steinway Society, he also Rocks, Guitarfish, and For the Funk of It. Warscythe. It’s not uncommon for Steve to performs frequently in public schools through- Derek has been lucky enough to be included play everything from country to heavy metal out Central California introducing thousands in the New Orleans Jazz and Heritage Festival and a musical all in the same week. Steve tries of students to percussion instruments and activities for over 10 years. He has toured to find things he likes about music in every music each year. Gregory holds degrees in extensively in the United States, Europe, and genre he listens to, and he’s thrilled to help music from Cabrillo College, San Jose State North Africa. Visit derekbrookermusic.com. bring the music of this production to life. University, and Indiana University. In addition to performing, he also teaches at West Valley Lee Corbie-Wells Daniel Fabricant College, the San Jose Youth Symphony, VIOLIN/FIDDLE BASS various Bay Area high schools, private lessons, Lee has been playing Daniel may be the and enjoys building and maintaining percus- violin since the age of most versatile bassist sion instruments from around the world. 6. Her father, a music in San Francisco—and teacher in San Francisco the most in demand. Kevin Ramessar (Lee’s hometown) and Playing upright or ASSOCIATE CONDUCTOR/GUITAR 1, her mother, a music electric, he adapts to a CONDUCTOR/KEYBOARD 1 AS OF 1/5 teacher in the Oakland wide range of musical Kevin’s Broadway Public School District, settings, from intimate credits include Beau- taught her Celtic and chamber groups to tiful: The Carole King American tunes by ear. sprawling dance bands Musical, Jesus Christ Lee also sang first soprano in the San Francis- and Latin ensembles. Daniel has performed Superstar (2012 revival), co Girls Chorus for five years. She started per- internationally with Piaf! The Show, Michael and Gettin’ the Band forming solo at Brava Theatre at the age of 14, Feinstein, Betty Buckley, Joan Rivers, Spencer Back Together. He but soon got heavily into Celtic roots music. Day, Ann Hampton Callaway, Petula Clark, appears regularly with At age 18, Lee toured Southern Ireland with and Mary Wilson of the Supremes, among The Doo Wop Project her first band, Drowsy Maggie. Since then, she others. In the Bay Area, he regularly plays with and Frank Wildhorn, has played in numerous Celtic and Americana Lavay Smith and Her Red Hot Skillet Lickers, and recently played/recorded with the Tony bands and also performed at military func- Rupa and the April Fishes, and Redwood Tan- Awards Orchestra (2018). Kevin enjoys per- tions at Air Force bases in Fairfield, CA and go Ensemble. He has appeared at American forming as a singer/songwriter and teaching, in Kuwait. Although she primarily pays Irish, Conservatory Theater, SFJazz, Yoshi’s, Freight and has written three volumes of interactive Scottish, and American fiddle music, Lee has & Salvage, and Feinstein’s, and New York City digital curriculum for the guitar program at taken her years of experience in blues and folk venues including Jazz at Lincoln Center, Café Musicians Institute in Hollywood, CA. Kevin is improvisation and branched out into explora- Carlyle and Carnegie Hall. Daniel is also an thrilled to be making his Berkeley Rep debut, tions of jazz, swing, ragtime, and Latin genres. accomplished music instructor, teaching or- and is overjoyed to share this journey with She currently plays with the band Moonshine chestra, guitar, bass, and ukulele to students Lorna, Tate, and Keziah. Jelly, the Scandinavian-Bluegrass band Kaptain of all ages in private and group settings. Visit Bottletop, and the Rabbit Hole Orchestra, a danielfabricantmusic.com. 10-piece rock orchestra. Lee teaches violin and guitar around San Francisco.

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PS_program.indd 30 12/13/18 9:20 AM Lane Sanders DRUMS Coldwell Banker Berkeley Lane is a San Francisco Bay Area drummer/ Locally Grown, Globally Known percussionist, with a BM 1495 Shattuck Ave. | 1901 4th St. | Berkeley and MA in Percussion 510.486.1495 | 510.488.6120 Performance from San ColdwellBankerHomes.com Jose State University. His primary work and californiahome.me | /coldwellbankerberkeley area of expertise is in musical theatre, with recent credits including Ain’t Too Proud—The Life and Times of The Temptations (Berkeley Rep, world premiere), CalRE #01908304 ©2018 Coldwell Banker. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Million Dollar Quartet (Broadway by the Bay), Real Estate LLC. An Equal Opportunity Company and Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office is Owned by a Subsidiary of NRT LLC. Real Estate Licensees affiliated with Coldwell Banker Seth Rudetsky’s Concert for America, Peter Residential Brokerage are Independent Contractor Sales Associates and are not employees of NRT LLC., Coldwell and the Starcatcher (Hillbarn Theatre), and Banker Real Estate LLC or Coldwell Banker Residential Brokerage. CalBRE License #01908304. Altar Boyz (Center Rep). In addition to musical theatre, Lane has a strong background in ru- dimental percussion. He was a member of the Santa Clara Vanguard, as well as an instructor for the sjsu Marching Band, and has written arrangements, as well as been on staff , for STARTS JAN 25 many high school marching band percussion sections all over the Bay Area. Orchestrally, GET TICKETS TODAY! he has been a guest musician with Symphony Silicon Valley, San Francisco Opera, Air Force Band of the Golden West, and the Monterey County Pops. Lane proudly endorses Inno- vative Percussion and Dream Cymbals and Gongs. Visit lanesanders.com. Ryan Touhey ASSISTANT CONDUCTOR/KEYBOARD 2, ASSOCIATE CONDUCTOR AS OF 1/5 Ryan is making his Berkeley Rep debut. Broadway: King Kong (orchestration assistant). His regional credits By August Strindberg include Mother Courage & Her Children (Arena Stage), Sheryl Crow’s Diner (Delaware Theatre Company), Tell Me On “A roller-coaster of sex, lies and revenge.” — TIME OUT NY A Sunday (Walnut Street Theatre), Fun Home (Arden Theatre Company), Ragtime (Bristol Riverside Theatre), The Uncivil War (Adiron- A new version by DAVID GREIG AURORATHEATRE.ORG dack Theatre Festival), and All the King’s Men Directed by BARBARA DAMASHEK 510.843.4822 directed by Trinity Rep founder Adrian Hall. Ryan worked on Rock & Roll Hall of Fame 2081 ADDISON STREET singer Darlene Love’s album Introducing DOWNTOWN BERKELEY Darlene Love produced by Steve Van Zandt. He is a seven-time Barrymore Award nominee in Philadelphia, and an Audelco Award winner in New York City. Love to Rebekah. Marcus Gardley BOOK Marcus is a proud Bay Area-born play- wright-poet whom the New Yorker calls “the heir to Garcia Lorca, Pirandello and Tennessee Williams.” His play The House that will not Stand was commissioned by and premiered at Berkeley Rep in 2014, won the 2015 Will Glickman Award for best new play to premiere in the region, and opened off Broadway in the summer of 2018 to rave reviews and a sold-out extension. His play X Or The Nation V. Betty Shabazz was a New York Times Critic’s Pick and was remounted off Broadway in the spring

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of 2018. He is a 2019 Library Laureate of San Jason Howland Moisés Kaufman Francisco, the recipient of the 2018 Guiding MUSIC/MUSIC DIRECTOR/ DIRECTOR Light Award presented by California Shake- MUSIC SUPERVISOR/ Moisés is the founder and artistic director speare Theater, and won the 2017 Special Cita- ORCHESTRATOR/ARRANGER of Tectonic Theater Project, a Tony- and tion Theater Award for his play black odyssey, Jason, an honors graduate of Williams College Emmy-nominated director and playwright, and which swept the Theatre Bay Area Awards, (1993), is a Grammy Award-winning producer, a 2015 recipient of the National Medal of Arts. garnering six other prizes including Best Emmy Award-winning arranger, and Tony His play The Laramie Project (which he wrote Production. He is the 2013 usa James Baldwin Award-nominated producer. He is the compos- with the members of Tectonic Theater Project) Fellow and the 2011 pen Laura Pels Award er of Broadway’s 2005 Tony Award-nominated is among the most performed plays in Amer- winner for Mid-Career Playwright. His latest Little Women, the musical. Jason was nominat- ica, and received its West Coast premiere at play, A Wonder in My Soul, opened at Baltimore ed for a Tony Award in 1999 for co-producing Berkeley Rep in 2001. He also directed Master Center Stage in November. Currently, Marcus the The Lonesome West by Martin McDonagh Class, starring Rita Moreno, for Berkeley is writing a film adaptation of Twelve Angry and won an Emmy Award in 2007 for creating Rep in 2004. His Broadway directing credits Men for hbo and developing a TV show for and composing the Christmas special Handel’s include the revival of Harvey Fierstein’s Torch the own network as well as a TV series based Messiah Rocks for the Boston Pops. He is the Song, The Heiress with Jessica Chastain, 33 on Ralph Ellison’s Invisible Man for Hulu. arranger and music supervisor for the smash Variations (which he also wrote) starring Jane hit Beautiful: The Carole King Musical (Broad- Fonda (five Tony Award nominations), Rajiv Craig Lucas way, West End, U.S. national tour, Tokyo, Joseph’s Pulitzer Prize finalist Bengal Tiger BOOK Australian national tour, UK national tour), at the Baghdad Zoo with Robin Williams, and Craig’s previous work at Berkeley Rep includes for which he won a Grammy Award; Bonnie Doug Wright’s Pulitzer and Tony Award-win- Amélie, A New Musical; Blue Window; Prelude & Clyde; Wonderland; Jekyll & Hyde; The Civil ning play I Am My Own Wife with Jefferson to a Kiss; Reckless; and Missing Persons. His War; and The Scarlet Pimpernel, in addition to Mays. Moisés also co-wrote and directed the other plays include God’s Heart, The Dying music directing the mega-hit Les Misérables, hbo film adaptation of The Laramie Project, Gaul, Stranger, Prayer for My Enemy, The Singing Boy George’s Taboo, and the Broadway musical which received two Emmy Award nominations Forest, I Was Most Alive With You, and Ode To sensation Spider-Man: Turn Off the Dark. Inter- for Best Director and Best Writer. He is an Joy. His movies include Longtime Companion, national projects as an arranger and orchestra- Obie Award winner and a Guggenheim Fellow The Secret Lives of Dentists, and The Dying Gaul, tor include Frank Wildhorn’s stage adaptation in Playwriting. which he also directed. He wrote the libretti of the Japanese anime sensation Death Note for The Light in the Piazza, An American in for HoriPro, and two new shows Mata Hari and Bill T. Jones Paris, Three Postcards, and the opera Two Boys The Man Who Laughs. Recent theatre projects CHOREOGRAPHER (Metropolitan Opera). He directed the world include composing and orchestrating the orig- Bill T. Jones is the artistic director/co-found- premiere of The Light in the Piazza, Harry Kon- inal score for Ikiru, a new musical based on the er of Bill T. Jones/Arnie Zane Company and doleon’s Saved or Destroyed and Play Yourself, Kurosawa film, that premiered in Tokyo, Oct founding artistic director of New York Live and the film Birds of America. Craig has received 2018, and Last Days of Summer (Kansas City Arts. He is the recipient of the 2014 Doris three Tony Award nominations, the New York Repertory Theatre). Duke Award; the 2013 Presidential Medal of Film Critics Circle Best Screenplay Award, the the Arts, the 2010 Kennedy Center Honors; Sundance Audience Award, the Excellence in Nathan Tysen Tony Awards for Best Choreography for fela! Literature Award from the American Academy LYRICIST and Spring Awakening; Obie Award and Stage of Arts and Letters, the Steinberg Award, three Nathan is overjoyed to be back at Berkeley Directors and Choreographers Foundation Obie Awards (one for direction), and the Laura Rep where he most recently collaborated on Callaway Award for his choreography for Pels Mid-Career Achievement Award from pen, Amélie, A New Musical with Daniel Messé and Spring Awakening; the 2010 Jacob’s Pillow and he has been a Pulitzer Prize finalist. Craig Lucas. Broadway credits include Amélie Dance Award; the 2007 usa Eileen Harris Nor- (Drama League Award nomination) and Tuck ton Fellowship; the 2006 Lucille Lortel Award Larry Kirwan Everlasting (Outer Critics Circle and Drama for Outstanding Choreography for The Seven; CONCEIVER/BOOK/MUSIC/ League Award nominations). Off-Broadway the 2005 Wexner Prize; the 2005 Samuel H. ARRANGER credits with composer Chris Miller include Scripps American Dance Festival Award for Larry was leader of the political rock band The Burnt Part Boys (Playwrights Horizons and Lifetime Achievement; the 2005 Harlem Re- Black 47 for 25 years. He has written 15 plays Vineyard Theatre, Lucille Lortel Award nomi- naissance Award; the 2003 Dorothy and Lillian and musicals, five of which were published in nation) and Fugitive Songs (Drama Desk Award Gish Prize; and the 1994 MacArthur “Genius” the book, Mad Angels. An early incarnation nomination). Nathan also contributed songs to Award. In 2010, Bill T. Jones was recognized of Paradise Square, Larry’s musical Hard Times the revue Stars of David with both Miller and as Officier de l’Ordre des Arts et des Lettres ran twice off Broadway at the Cell Theatre. Messé. Regional credits include Stillwater (Kan- by the French government, and in 2000, the Paradise Square continues its evolution with sas City Repertory Theatre with his band Joe’s Dance Heritage Coalition named Mr. Jones this world premiere at Berkeley Rep. He Pet Project), The Mysteries of Harris Burdick “An Irreplaceable Dance Treasure.” collaborated with novelist Thomas Keneally (Barrington Stage Company), and two circuses on Transport, a musical that premiered at the for Ringling Bros. Barnum & Bailey. Television Allen Moyer Irish Repertory Theatre in New York City. His credits include songs for Sesame Street and The SCENIC DESIGNER political drama, Rebel in the Soul, was recently Electric Company. Nathan is a writer/director Allen’s Broadway credits include The Lyons, performed at the Irish Rep. He was written for Lovewell Institute, creating original musi- Lysistrata Jones, After Miss Julie, Grey Gardens three novels, a memoir, Green Suede Shoes, cals with young adults. He holds an mfa from (Tony/Drama Desk nominations, Henry and A History of Irish Music. His latest novel, New York University and a bfa from Missouri Hewes Award), Thurgood, The Little Dog A Raving Autumn, will be published by Cornell State University. Visit nathantysen.com. Laughed, The Constant Wife, and Twelve Angry University Press in 2019. He writes a bi-weekly Men. Off-Broadway credits include Log Cabin, column for the Irish Echo and is host of Celtic Far From Heaven, and the premiere of Lobby Crush on SiriusXM Satellite Radio. He is presi- Hero (Playwrights Horizons); Giant (The Public dent of Irish American Writers & Artists. Theater); the premiere of This Is Our Youth

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PS_program.indd 32 12/13/18 9:19 AM (the New Group); and A Minister’s Wife and The New Century (Lincoln Center Theater). Ex- tensive opera credits include Orfeo Ed Euridice for the Metropolitan Opera and productions for New York City Opera, Santa Fe Opera, Canadian Opera Company, English National Opera, Welsh National Opera, Scottish Opera, Houston Grand Opera, San Francisco Opera (including Dolores Claiborne, Il Trittico, The Mother of Us All), Washington National Opera, and Opera Theatre of Saint Louis. Allen also designed Sylvia (San Francisco Ballet), Romeo and Juliet, and On Motifs of Shakespeare (with the Mark Morris Dance Group), choreo- graphed by Mark Morris. Toni-Leslie James COSTUME DESIGNER Toni-Leslie is thrilled to return to Berke- ley Rep after designing for Spunk in 1991. Toni-Leslie’s Broadway credits include Bernhardt/Hamlet; Come From Away; August Wilson’s Jitney; Amazing Grace; Lucky Guy; The Scottsboro Boys; Finian’s Rainbow; Chita Rivera: The Dancer’s Life; Ma Rainey’s Black Bottom; King Hedley II; One Mo’ Time; The Wild Party; Marie Christine; Footloose; The Tempest; Twilight: Los Angeles, 1992; Angels in America: Millennium Approaches & Perestroika; Chronicle of a Death Foretold; and Jelly’s Last Jam. Off-Broadway she has designed for The Public Theater, Playwrights Horizons, Second Stage, Soho Rep, Lincoln Center Theater, New York Theatre Workshop, Manhattan Theatre Club, and the Roundabout Theatre, among others. Regionally her work was seen in productions for La Jolla Playhouse, Steppenwolf, Hartford Stage, Long Wharf Theatre, the Old Globe, Mark Taper Forum, Arena Stage, Cleveland Playhouse, Cincinnati Playhouse, Seattle Rep, and international- Representing fine homes in Berkeley, Oakland and Piedmont ly on the West End in the UK. She has 38 costume design nominations and awards for her contributions to various theatrical productions, including two Tony Award nominations, five Drama Desk nominations, two Hewes Design Awards, the Irene Sharaff The GRUBB Co. Young Masters Award for Costume Design R E A L T O R S Excellence, and an Obie Award for Sustained G Costume Design Excellence. Donald Holder GRUBBCO.COM LIGHTING DESIGNER Donald previously designed Zora Ne- ale Hurston’s Spunk, Maurice Sendak’s Brundibar, and the world premiere of Mira Nair’s Monsoon Wedding at Berkeley Rep. His recent work on Broadway includes Anastasia, Oslo, In Transit, She Loves Me, Fiddler on the Roof, The Father, The King and I, On the Twentieth Century, The Bridges of Madison County, Golden Boy, Spider-Man: Turn Off the Dark, Ragtime, Movin’ Out, The Boy from Oz, Thoroughly Modern Millie, and many others. He has designed over 50 Broadway productions, received two Tony Awards (The Lion King and South Pacific) and 13 Tony nominations. Opera credits include Samson et Delilah, Otello, Two Boys, and The Magic Flute (New York Metropol- itan Opera), and Porgy and Bess for the

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English National Opera and the Dutch production company based in nyc. The orig- Dirty Dancing, The Sound of Music, Into the National Opera. He designed the theatrical inal Hammerstep dance form fuses formerly Woods, The Bodyguard, Chicago The Musical, lighting for seasons one and two of Smash rebellious movement disciplines, including Once, Shrek, Elf, Flashdance, Anything Goes, (nbc DreamWorks) and for the Warner Irish dance, tap, hip hop, stepping, and martial Bullets Over Broadway, and We Will Rock You. Bros. film Ocean’s 8. Donald is a graduate of arts. The company specializes in live theatrical Upcoming projects include August Rush, Reefer the Yale School of Drama and is a Professor shows, film and video content, community Madness, Other World, The Man in the Ceiling, of Lighting Design at Rutgers University. engagement, and site-specific immersive Back Home Again, and Waterfall. Regional experiences in a mission to challenge how credits include American Repertory Theater, Jon Weston dance is presented and to create space for Alley Theatre, Bay Street, Goodspeed, Theatre SOUND DESIGNER different cultures to engage in rhythmic Under the Stars, Asolo Rep, Hollywood Bowl, Jon’s Broadway credits include Prince of Broad- dialogue. Hammerstep has toured worldwide TheatreWorks, For the Record, and Royal way, She Loves Me, An American in Paris, On the to international acclaim, from community Caribbean. Members of the Casting Society of Twentieth Century, You Can’t Take It With You, work with orphans in South Africa to one of America. An Artios Award-winning office. Visit The Bridges of Madison County, Big Fish, How to the top 10 most successful viral flash mobs stewartwhitley.com. Succeed in Business Without Really Trying, The of all time in Sydney Australia, to the stages Color Purple, The Glass Menagerie, Nine, On of London’s Palace Theatre and nyc’s Lincoln Crystal MacDonell the Town, Bring in da’ Noise, Bring in da’ Funk, Center, to the cameras of nbc’s America’s PRODUCTION STAGE MANAGER and Company in concert at Lincoln Center. Got Talent. Hammerstep’s latest endeavor is Crystal is thrilled to be joining Berkeley Rep Other theatre: A Little Night Music (L.A. Drama a sci-fi immersive theatre drama called Indigo for this exciting new musical. Originally from Critics Award) and Blue Man Group. Grey, told through a choice-based narrative near Montreal, she has worked as a stage and a unique blend of live performance and manager for nearly 20 years in many cities and Matthew B. Armentrout interactive technology. While developing the towns across Canada. Some of her most mem- HAIR/WIG DESIGNER project, Hammerstep recently completed dual orable credits include Elf—The Musical and The Matthew is thrilled to be working with Berke- artist-in-residencies at the New Museum and Wizard of Oz for Neptune Theatre in Halifax, ley Rep for the first time. Broadway hair and at the Nobel Prize-Winning Nokia Bell Labs, The Million Dollar Quarter and Anne of Green wig design credits include Bernhardt/Hamlet. released an award-winning short film Indigo Gables—The Musical for the Charlottetown Matthew was the wig supervisor for the Grey: The Passage, and produced a 2018 sold- Festival, Grease at the Wintergarden Theatre in recent revival of Angels in America, Come From out run at Mana Contemporary Museum. For Toronto, and seven years of new work for the Away, Cats, and Amazing Grace. Other credits more info, visit hammerstep.com. Blyth Festival. Crystal also works on numerous include Othello (Shakespeare in the Park), and film festivals including the Hot Docs Canadian London Rocks and A Christmas Carol (Busch Thulani Davis International Documentary Festival and the Gardens Williamsburg). DRAMATURG Toronto International Film Festival. She would Thulani’s plays include Everybody’s Ruby: Story like to thank her family and friends for their Dell Howlett of a Murder in Florida, Where the Mississippi love. She would also like to thank everyone on ASSOCIATE CHOREOGRAPHER Meets the Amazon, Ava & Cat in Mexico, and this show for their hard work, laughter, and for Dell is full-time professor and associate the musical The Sojourner Washing Society. Her giving her a great excuse to avoid the winter head of dance at nyu/Tisch School of the adaptations include Brecht’s The Caucasian snow back home. Enjoy the show! Arts in the Department of Drama’s New Chalk Circle and Du Bois’ The Souls of Black Studio on Broadway. He is the recent winner Folk: An Oratorio for Five Actors. She wrote the Chris Waters of the prestigious Suzi Bass Award for his libretti for Anthony Davis’ Amistad and X: The STAGE MANAGER choreography for The CA Lyons Project at Life & Times of Malcolm X, Anne Le Baron’s The Chris was the stage manager for Berkeley the Alliance Theater. Choreography high- E & O Line, the in-progress Little Rock Nine, and Rep’s production of Office Hour last season, lights include Guys and Dolls (the Guthrie texts for other composers. She was drama- and was the assistant stage manager for last Theater), The Wiz (Ford’s Theatre, Helen turg on Fires in the Mirror and Twilight: Los season’s Ain’t Too Proud—The Life and Times Hayes Award nomination), WigOut (Studio Angeles, 1992. Thulani wrote Charles Stone’s of The Temptations and Hand to God (2017). Theatre, Helen Hayes Award nomination), film,Paid in Full, and Louis Massiah’s W.E.B. Du Favorite credits include Fire in Dreamland (The The Legend of Georgia McBride (Marin Theatre Bois: A Biography in Four Voices (1996), and In Public Theater); Sweat (American Conser- Company, Bay Area Theatre Critics Award Ragtime. Her poetry, fiction, and journalism vatory Theater); As You Like It, Othello, and nomination), YoungArts Presidential Scholars are widely published. She has received a Lila King Lear (California Shakespeare Theater); Show (Kennedy Center for Performing Arts), Wallace-Reader’s Digest Writers Award, a Safe House, Talley’s Folly, and Rapture, Blister, Connecticut Yankee in King Arthur’s Court (the Pew National Theatre Artist Residency, and a Burn (Aurora Theatre Company); James and Acting Company), Broadway Inspirational Grammy, among others. the Giant Peach (Bay Area Children’s The- Voices (Foxwoods Theater), and Is Anybody ater and Shanghai Children’s Art Theatre); Listening? (Sheen Center). Performance Stewart/Whitley Orlando (TheatreFirst); pen/man/ship (Magic highlights include Aida (Broadway), Andrew CASTING Theatre); and A House Tour of the Infamous Lloyd Webber’s Bombay Dreams (Broadway), Duncan Stewart csa & Benton Whitley csa. Porter Family Mansion with Tour Guide Weston Pippin (national tour), and West Side Story Broadway and New York credits include Ludlow Londonderry (Z Space). Chris holds an (international tour/La Scala Opera House). Hadestown (2019), Natasha, Pierre & The Great MA in theatre management from University of Dell would like to thank Mr. Bill T. Jones for Comet of 1812, A Clockwork Orange, As You Like California, Santa Cruz and is a proud member his time, collaboration, and genius. It, On The Town, Pippin, Chicago The Musical, La of Actors’ Equity Association. Cage Aux Folles, and The Radio City Christmas Garrett Coleman & Jason Oremus Spectacular, Carnegie Hall West Side Story, Betsy Norton IRISH & HAMMERSTEP The Band Wagon, and Pageant. West End/UK ASSISTANT STAGE MANAGER CHOREOGRAPHY credits include Hadestown, Thriller Live, Menier Betsy is thrilled to be returning to Berke- Garrett and Jason are co-founders of Chocolate Factory, and West Side Story. Tours ley Rep, having previously served as stage Hammerstep, an award-winning dance and include The Lightning Thief, Finding Neverland, manager for What the Constitution Means to

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PS_program.indd 34 12/11/18 4:00 PM Me and Mike Birbiglia: The New One and as production assistant for Monsoon Wedding and Amélie, A New Musical (Berkeley Rep and Center Theatre Group). Other work includes six seasons (and over 15 shows) at Marin Theatre Company. Betsy is a proud member of the Actors’ Equity Association. Tony Taccone ARTISTIC DIRECTOR After more than 30 years at Berkeley Rep, Tony is celebrating his fi nal season with the company. During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award-win- ning nonprofi t has earned a reputation as an international leader in innovative theatre. In these years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 24 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 plays in Berkeley, including new work from Julia Cho, John Leguizamo, Daniel Handler, Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, and Itamar Moses. He directed the shows that transferred to London, Continen- tal Divide and Tiny Kushner, and three that landed on Broadway: Bridge & Tunnel, Wishful Drinking, and Latin History for Morons. Prior to working at Berkeley Rep, Tony served as artis- tic director of Eureka Theatre, which produced the American premieres of plays by Dario Fo, Caryl Churchill, and David Edgar before focus- ing on a new generation of American writers. TURN OUR While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. He has collab- orated with Kushner on eight plays at Berkeley STAGE Rep, including The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, INTO YOUR the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The Public Theater, and Seattle Repertory Theatre. As a playwright, he debuted Ghost Light, PLATFORM Rita Moreno: Life Without Makeup, Game On, written with Dan Hoyle, and It Can’t Happen Here, written with Bennett S. Cohen. In 2012, Tony received the Margo Jones Award for “demonstrating a signifi cant impact, under- BE A STUDENT. BE A REP. standing, and affi rmation of playwriting, with a commitment to the living theatre.” Most WINTER CLASSES START JANUARY 7 recently, Tony directed the revival of Angels in America at Berkeley Rep, and this season he will direct the world premiere musical, Kiss My BERKELEYREP.ORG/CLASSES Aztec!, written with John Leguizamo. Susan Medak MANAGING DIRECTOR Susan has served as Berkeley Rep’s managing director since 1990, leading the administra- tion and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Com- munications Group (tcg), organizations that represent the interests of nonprofi t theatres across the nation. Susan chaired panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, PHOTO BY KIRSTEN PRIBULA

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the Joyce Foundation, and the National was previously at the Brooklyn Academy of the Mark Taper Forum, La Jolla Playhouse, Endowment for the Arts. Closer to home, she Music (2006–14). During her time at bam, she Seattle Repertory Theatre, Arena Stage, and is the founding chair of the Berkeley Arts in had the pleasure of working with a wide range New York Theatre Workshop. Lisa and Denis Education Steering Committee for Berkeley of international artists across all performing are working on a new play about faith called Unified School District and the Berkeley arts genres such as Robert Lepage, William The Good Book and a commission for McCarter Cultural Trust, and served on the board of the Kentridge, Moisés Kaufman, Geoffrey Rush, Theatre Center titled The Song of Rome. Lisa Downtown Berkeley Association. Susan serves Catherine Martin, Sam Mendes, Paul Simon, is also writing a new music-theatre piece with on the faculty of Yale School of Drama and is a John Turturro, and Elaine Stritch. Audrey is Todd Almond called The Idea of Order, co-com- member of the International Women’s Forum also an alumni of the Weston Playhouse, Santa missioned by La Jolla Playhouse, Berkeley Rep, and the Mont Blanc Ladies’ Literary Guild and Fe Opera, and Williamstown Theatre Festival. and Seattle Rep. Trekking Society. She was awarded the 2012 Audrey holds an mfa in Technical Direction Benjamin Ide Wheeler Medal by the Berkeley from the University of North Carolina School Amy Potozkin, csa Community Fund and the 2017 Visionary of the Arts. DIRECTOR OF CASTING/ Leadership Award by tcg. During her time in ARTISTIC ASSOCIATE Berkeley, Susan has been instrumental in the Madeleine Oldham This is Amy’s 29th season at Berkeley Rep. construction of the Roda Theatre, the Nevo RESIDENT DRAMATURG/DIRECTOR, Through the years she has also had the plea- Education Center, the renovation of the Peet’s THE GROUND FLOOR sure of casting plays for act (Seattle), Arizona Theatre, and in the acquisition of the Harrison Madeleine is the director of The Ground Floor: Theatre Company, Aurora Theatre Company, B Street campus. She also worked with three Berkeley Rep’s Center for the Creation and Street Theatre, Bay Area Playwrights Festival, consecutive mayors to help create Berkeley’s Development of New Work and the Theatre’s Dallas Theater Center, Marin Theatre Com- Downtown Arts District. resident dramaturg. She oversees commis- pany, the Marsh, San Jose Repertory Theatre, sioning and new play development, and Social Impact Productions Inc., and Traveling Theresa Von Klug dramaturged the world premiere productions Jewish Theatre. Amy cast roles for various GENERAL MANAGER of Fairview, Aubergine, The House that will independent films, including Conceiving Ada, Before joining Berkeley Rep, Theresa had not Stand, Passing Strange, and In the Next starring Tilda Swinton; Haiku Tunnel and Love over 20 years of experience in the New York Room (or the vibrator play), among others. As & Taxes, both by Josh Kornbluth; and Beyond not-for-profit performing arts sector where literary manager and associate dramaturg at Redemption by Britta Sjogren. Amy received she has planned and executed events for Center Stage in Baltimore, she produced the her mfa from Brandeis University, where she dance, theatre, music, television, and film. Her First Look reading series and headed up its was also an artist in residence. She has been previous positions include the interim general young audience initiative. Before moving to an audition coach to hundreds of actors and a manager for The Public Theater; general Baltimore, she was the literary manager at presentation/communication coach to many manager/line producer for Theatre for a New Seattle Children’s Theatre, where she oversaw businesspeople. Amy taught acting at Mills Audience, where she opened its new state-of- an extensive commissioning program. She also College and audition technique at Berkeley the-art theatre in Brooklyn and filmed a major acted as assistant and interim literary manager Rep’s School of Theatre, and has led work- motion picture of the inaugural production at Intiman Theatre in Seattle. Madeleine shops at numerous other venues in the Bay of Julie Taymor’s A Midsummer Night’s Dream, served for four years on the executive com- Area. Prior to working at Berkeley Rep, she released June 2015; production manager at mittee of Literary Managers and Dramaturgs was an intern at Playwrights Horizons in New the New Jersey Performing Arts Center and of the Americas and has also worked with York. Amy is a member of csa, the Casting New York City Center, including the famous act (Seattle), Austin Scriptworks, Crowded Society of America, and was nominated for Encores! Great American Musicals in Concert; Fire, the Eugene O’Neill Theatre Center, the Artios Awards for Excellence in Casting for The and field representative/lead negotiator for Kennedy Center, New Dramatists, Playwrights Intelligent Homosexual’s Guide to Capitalism the Association of Theatrical Press Agents and Center, and Portland Center Stage. and Socialism with a Key to the Scriptures; One Managers. She holds a MS in Labor Relations Man, Two Guvnors; and An Octoroon. and Human Resources Management from Lisa Peterson Baruch College. ASSOCIATE DIRECTOR Michael Suenkel Lisa is a two-time Obie Award-winning writer PRODUCTION STAGE MANAGER Audrey Hoo and director whose previous projects at Berke- Michael began his association with Berkeley PRODUCTION MANAGER ley Rep include Office Hour (2018); Watch on Rep as the stage management intern for the Audrey is pleased to make her Berkeley Rep the Rhine (2017); It Can’t Happen Here (2016); 1984–85 season and is now in his 25th season debut this season. Prior to this, Audrey served Madwoman in the Volvo (2016); An Iliad (2012), as production stage manager. He has also as the production manager at American Con- which Lisa co-wrote with Denis O’Hare and worked with the Huntington Theatre (Boston), servatory Theater in San Francisco. Highlights which won Obie and Lortel Awards for Best The Public Theater and New Victory Theatre of her time there include A Thousand Splendid Solo Performance; Mother Courage (2006); (New York), La Jolla Playhouse, Yale Repertory Suns (dir: Carey Perloff, by Ursula Rani Sarma), The Fall (2001); and Antony & Cleopatra (1999). Theatre, and many others. Internationally A Walk on the Moon (dir: Sheryl Kaller, by Paul Other recent West Coast productions include he has stage managed shows in Hong Kong, Scott Goodman and Pamela Gray), and John You Never Can Tell (California Shakespeare the United Kingdom, and Canada. Among (dir: Ken Rus Schmoll, by Annie Baker). Audrey Theater), Hamlet (Oregon Shakespeare Fes- his favorite Berkeley Rep productions are has also served as the production manager tival), and Chavez Ravine (Ovation Award for last season’s Angels in America, The Intelligent at the La Jolla Playhouse. Highlights of her Best Production—Center Theatre Group). She Homosexual’s Guide to Capitalism and Socialism time there include working on Junk (dir: Doug has directed world premieres by many major with a Key to the Scriptures, Eurydice, Fêtes de la Hughes, by Ayad Ahktar), Come from Away American writers, including Tony Kushner, Nuit, The Beaux’ Stratagem, and Mad Forest. (dir: Christopher Ashley, by Irene Sankoff and Beth Henley, Donald Margulies, José Rivera, David Hein), Hunchback of Notre Dame (dir: David Henry Hwang, Luis Alfaro, Marlane Garth H. Drabinsky Scott Schwartz, by Alan Menken, Peter Par- Meyer, Naomi Wallace, Basil Kreimendahl, Garth Drabinsky is the only Canadian to have nell, Stephen Schwartz), and Up Here (dir: Alex and many others. She regularly works at the achieved international success in almost Timbers, by Bobby and Kristen Lopez). Audrey Guthrie Theater, Actors Theatre of Louisville, every facet of the entertainment business.

36 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 36 12/11/18 4:00 PM His Broadway productions include Kiss of the Spider Woman, Show Boat, Candide, Barry- more, Parade, Fosse, and the internationally acclaimed Ragtime, and have collectively won 19 Tony Awards (out of 61 nominations), in- cluding two for Best Musical and one for Best Musical Revival. Mr. Drabinsky also produced the North American production of Joseph and the Amazing Technicolor Dreamcoat and the legendary Canadian production of The Phan- tom of the Opera. A recipient of two Honorary Doctorate Degrees, Mr. Drabinsky is an ardent spokesman on behalf of individual liberty. Peter LeDonne A successful advertising/marketing executive, Peter was owner of one of the world’s most prominent entertainment marketing fi rms, Ash/LeDonne. He completely redefi ned theatrical advertising by making the fi rst live action television commercial for a Broadway MEET US IN THE BAR! musical (Pippin). He has written, produced, and directed literally hundreds of radio and television commercials for theatre, movies, hotels, casinos, sports venues, and major rock and pop stars, including Frank Sinatra. He is the recipient of many industry honors, includ- ing the Clio and International Broadcasting Award. Peter and producing partner and wife, Kellie, own Stonybrook Productions. With Join us for signature cocktails, wines, craft beer, and delectable treats. Steve Kalafer, they have made several fi lms, Open before and after the show, and during intermission which have won honors at fi lm festivals, been nominated for Academy Awards, and aired on hbo, Cinemax, and pbs. They are proudest, however, of their grandson, Miles. Teatro Proscenium Limited Partnership Teatro Proscenium Limited Partnership is a live theatre production company focused on the development of world-class musicals by experienced Broadway professionals. Teatro owns and controls the rights to a portfolio of innovative, entertaining, and socially relevant musical and dramatic properties. Paradise Square is the second musical that Rick Chad is executive producing in association with Garth Drabinsky and Ambassador Entertainment. Rick is a partner in both Teatro and Roller Coaster Entertainment, which produces the Netfl ix Series Trailer Park Boys as well as feature fi lms. Some of Rick’s productions include Casino Jack, Chapter 27, Fighting Man, Swearnet, Breakout, Compulsion, A Dark Truth, and No Man’s Land. Teatro is proud to join NEW MARKDOWNS For Her Berkeley Repertory Theatre in producing the Beluva • Brodie • Byron Lars world premiere of Paradise Square. 20 - 30% off Cambio • Cat’s Pajamas • Ecru ALL Clearance* items Elana Kattan • Equestrian Jack & Betty Schafer Georg Roth • MAC jeans • Majestic SEASON SPONSORS EXTRA 50% off Nanette Lepore • Only Hearts Betty and Jack are proud to support Berkeley Accessories Pashma • Repeat • Rosemunde Rep. Jack just rotated off the Theatre’s board Alarte Silks • Ben-Amun • Brodie Samantha Sung • White + Warren and is now on the boards of San Francisco Dana Herbert • Dupatta Designs For Him Opera and the Straus Historical Society. He Konplot • Leaders in Leather Agave Denim • Georg Roth is an emeritus trustee of the San Francisco Majestic • Shupaca Ted Baker • Majestic Art Institute and the Oxbow School. Betty Streets Ahead • Ted Baker *clearance items are previously marked down, and will is on the board of EarthJustice, the Jewish Theia • White + Warren have a sale price on a red tag. Valid Jan 2 - 31, 2019 Community Center of San Francisco, and Sponsors for Educational Opportunity. In 2928 College Ave Berkeley • 510.529.4774 San Francisco, Betty is involved with Wise Personal Pizazz www.personalpizazz.biz • Tues-Sat 10-7 Sun 12-6 Aging, a program for adults addressing the For Clothing That Fits Your Style

2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 37

PS_program.indd 37 12/11/18 4:00 PM BERKELEY REP PRESENTS profiles

challenges of growing older. They have three DC, the Ira Gershwin Gallery at the Disney her column, The Matzo Chronicles, in Jweekly. daughters and eight grandchildren. Concert Hall in LA, and the annual Gershwin com. Longtime residents of Nevada and Wash- Prize for Popular Song. Mike is a sustaining ington, D.C., they now happily call Berkeley Michael & Sue Steinberg advisor to Berkeley Rep and serves on the home. Jon and Karen have two children. SEASON SPONSORS board of the Michael Feinstein Foundation. Michael and Sue have been interested in the He is a past member of the boards of the Jill & Steve Fugaro arts since they met and enjoy music, ballet, Goodspeed Opera House, the Jewish Home of SPONSORS and live theatre. Michael, who recently retired San Francisco, and the San Francisco Sym- Jill is co-chair of Berkeley Rep’s Ovation gala as chairman and chief executive officer of phony. Jean and Mike co-manage the Ira and committee, co-chair of the transition commit- Macy’s West, served on Berkeley Rep’s board Leonore S. Gershwin Philanthropic Fund and tee for the new artistic director, and a member of trustees from 1999 to 2006 and currently a Trust for the Music Division of the Library of of the trustee and executive committees serves on the board of directors of the Jewish Congress. They are members of the Library of on the board of trustees. She is the retired Museum. Sue serves on the board of the Congress’ James Madison Council. Jean is an co-founder and ceo of Murlin Apparel Group, World of Children. The Steinbergs have always active Berkeley Rep trustee and has served as Inc., the Jill Martin and Maggi sportswear de- enjoyed regional theatre and are delighted to co-chair of the annual gala multiple times. She sign and manufacturing company. She is part sponsor Berkeley Rep this season. is a former board member of jvs. of Marin Humane’s animal-assisted therapy program doing ambassador visits with seniors The Strauch Kulhanjian Family Gail & Arne Wagner and end-of-life visits for Hospice of the Bay, is SEASON SPONSORS EXECUTIVE SPONSORS UC Marin master gardener literary editor for Roger Strauch has served on the Berkeley Arne retired from the law firm of Calvo Fisher the weekly Marin Independent Journal horti- Rep board of trustees for the last 22 years as a & Jacob in San Francisco. In his retirement, culture column, and co-chair of the Mill Valley member and as an executive officer, includ- he teaches high school math part-time and Outdoor Art Club’s 2019 garden tour. Steve ing president. He is chair of The Roda Group serves as treasurer for Tiba Foundation. Gail is a primary care internist practicing in San (rodagroup.com), a high technology venture recently retired from Kaiser in San Leandro Francisco, affiliated with both cpmc and ucsf. development company based in Berkeley. where she was a hematologist and oncologist. He is chairman of the board of the San Francis- Roda incubated the search engine Ask.com, She is the founder of Tiba Foundation (tiba- co Health Plan and past president of the San now located in Oakland, and Cool Systems foundation.org), an organization investing in Francisco-Marin Medical Society. Steve is the (gameready.com), a medical technology com- community healthcare in an underprivileged president of the Sausalito Presbyterian Church pany recently acquired by Avanos Medical. He district of western Kenya, in partnership with congregation and Steve and Jill are both trust- is currently on the board of three cleantech Matibabu Foundation. She is also on the ees and choir members. companies in which Roda is a major investor. board of Africa Cancer Foundation usa. Gail Roger is chair of the board of the Mathemat- has been a Berkeley Rep trustee for six years Sandra & Ross McCandless ical Sciences Research Institute and leads the and, together, Gail and Arne have been at- SPONSORS Mosse Art Restitution Project, which searches tending the Theatre since they were students Sandra is a long-standing Berkeley Rep board for family art illegally confiscated during Ger- in 1972. member who has served as co-chair of the many’s Third Reich. He is a board member of corporate committee and as a member of the the Northside Center, a mental health services Cindy J. Chang, MD & executive and compliance committees. Sandra agency based in Harlem, NY, and a member of Christopher Hudson is a partner of the law firm Dentons where she UC Berkeley Engineering Dean’s college advi- SPONSORS practices employment law and acts as a liaison sory board. Roger is the founder and chair of Cindy and Chris have lived in Berkeley since for clients with international operations in The Paros Foundation (parosfoundation.com), 1995 and are happy to support the Berkeley managing their global business needs. She is a philanthropic organization serving thou- Rep. They have both dedicated their time to also a neutral arbitrator for the American Ar- sands in the country of Armenia. His wife, Julie other local organizations including the Berke- bitration Association. Sandra has been named Kulhanjian, is an attending physician at Benioff ley Public Schools Fund, the Berkeley Athletic one of the Most Influential Women in Bay ucsf Children’s Hospital, Oakland. They have Fund, the Downtown Berkeley Association, Area Business by the San Francisco Business three adult children. and Racing Hearts. Cindy also serves as the Times. She is also a leader of the American Bar medical liaison for Berkeley Rep, and she Association, the largest professional services Michelle Branch & Dale Cook works to ensure that the actors receive timely organization in the world, and has served on EXECUTIVE SPONSORS care for any illnesses and injuries that could af- its board of governors and chair of its finance Michelle is a trustee of Berkeley Rep and Dale fect their ability to perform. Now that they are committee. Ross teaches science and mathe- is a trustee by association. In the last two empty-nesters, Cindy and Chris have found matics at Mount Diablo High School and is an seasons, they helped underwrite What the even more time to enjoy the theatre. avid dancer and birdwatcher. The McCandless’ Constitution Means to Me and An Octoroon. love of theatre dates back to Sandra and Ross’ They are thrilled to sponsor this production of Karen Galatz & Jon Wellinghoff joint performance at Harvard College in Wil- Paradise Square. SPONSORS liam Saroyan’s Hello Out There. Their daughter Jon and Karen are proud supporters of Berke- Phyra McCandless, son-in-law Angelos Kottas, The Ira and Leonore S. Gershwin ley Rep. Karen is a member of the company’s and granddaughter Hyonia are also enthusias- Philanthropic Fund/Jean & board of trustees, and Jon has been helping tic members of the Berkeley Rep family. Michael Strunsky the Theatre advance its green initiatives in EXECUTIVE SPONSORS all its buildings. They are pleased to sponsor The Laurents/Hatcher Foundation Michael and Jean Strunsky have a long history Paradise Square. Former chairman of the SPONSOR with the arts. Mike manages the estate of Federal Energy Regulatory Commission, Jon is Established in 2010, The Laurents/Hatcher his late uncle, Ira Gershwin, and promotes the ceo of GridPolicy Inc., an internationally Foundation provides over $1 million in grants Gershwin music worldwide. He helped recognized energy policy consultancy. Karen annually supporting new work at theatres facilitate the Gershwin Room in The Library is an award-winning journalist and writer. Look throughout the country. In addition, The Lau- of Congress Jefferson Building in Washington, for her blog, Muddling through Middle Age, and rents/Hatcher Foundation award is an annual

38 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 38 12/11/18 4:00 PM prize given to an unproduced, full-length play years, the Edgerton Foundation has awarded Berkeley Rep for its dedication to the highest by an early career American playwright. One $13,010,900 to 421 productions, enabling artistic standards and diverse programming. of the country’s largest grants for new work, many plays to schedule subsequent produc- Peet’s is honored to support Berkeley Rep’s The Laurents/Hatcher Foundation Award is the tions following their world premieres. Thirty renovation with the new, state-of-the-art fi rst major award for playwriting to be named have made it to Broadway, and 15 plays were Peet’s Theatre. In 1966, Alfred Peet opened his in honor of a gay couple: Tony Award-winning nominated for Tony Awards, with All the Way, fi rst store on Vine and Walnut in Berkeley and playwright and director Arthur Laurents and Vanya and Sonia and Masha and Spike, Hamil- Peet’s has been committed to the Berkeley his partner of 52 years, Tom Hatcher. ton, Dear Evan Hansen, and Oslo winning the community ever since. As the pioneer of the best play or musical awards. Ten plays were craft coff ee movement in America, Peet’s is Mechanics Bank nominated for the Pulitzer Prize for Drama, dedicated to small-batch roasting, superior Wealth Management with wins for Cost of Living (2018), Hamilton quality beans, freshness and a darker roasting SPONSOR (2016), The Flick (2014), Water by the Spoonful style that produces a rich, fl avorful cup. Peet’s For more than a century, Mechanics Bank (2012), and Next to Normal (2010). is locally roasted in the fi rst leed® Gold has been committed to helping people build certified roaster in the nation. prosperous communities as a trusted fi nancial BART partner, forging lasting relationships through SEASON SPONSOR Wells Fargo teamwork, respect, and integrity. The $5.6 Bay Area Rapid Transit (bart) is the backbone SEASON SPONSOR billion independent bank, headquartered of the Bay Area transit network and serves Wells Fargo is proud to support the in the East Bay, with locations in Northern more than 100 million passengers annually. award-winning Berkeley Repertory Theatre as and Southern California, off ers personal bart’s all-electric trains make it one of the a season sponsor for the last 13 years because banking, business banking, trust, and wealth greenest and most energy-effi cient transit of its dedication to artistic excellence and management services throughout Northern systems in the world. Visit bart.gov/bartable community engagement. Founded in 1852 and California. For more information, please visit to learn more about great destinations and headquartered in San Francisco, Wells Fargo mechanicsbank.com. events that are easy to get to on bart (like provides banking, insurance, investments, Berkeley Rep!). At bart.gov/bartable, you can mortgage, and consumer and commercial Edgerton Foundation fi nd discounts, enter sweepstakes off ering fi nance. The bank is committed to building The Edgerton Foundation New Plays Program, fantastic prizes, and fi nd unique and exciting better every day to meet our customers’ directed by Brad and Louise Edgerton, was things to do just a bart ride away. While fi nancial goals. For more information, please piloted in 2006 with Center Theatre Group you’re there, be sure to sign up for bartable visit wellsfargo.com. in Los Angeles by off ering two musicals in This Week, a free, weekly email fi lled with the development an extended rehearsal period latest and greatest bartable fun! for the entire creative team, including the playwrights. The Edgertons launched the Peet’s Coff ee program nationally in 2007 and have support- SEASON SPONSOR ed 421 plays to date at over 50 diff erent Art Peet’s Coff ee is proud to be the exclusive cof- Theatres across the country. Over the last 12 fee of Berkeley Repertory Theatre and salutes

JOIN THE EAST BAY WRITERS’ ROOM Looking for a quiet, concentrated place to write? Join us at the East Bay Writers’ Room, where we off er space for artists to gather and write in companionable silence at Berkeley Rep’s Harrison campus every Monday. Reserve your spot online: berkeleyrep.org/groundfl oor/writersroom The East Bay Writers’ Room is one of the programs of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. The Ground Floor comprises year-round commissions, workshops, and a Summer Residency Lab, all dedicated to supporting artists developing new work for the theatre.

2018 Summer Residency Lab playwright Erin Courtney

2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 39

PS_program.indd 39 12/11/18 4:00 PM Additional staff NEXT AT BERKELEY REP Assistant director Electricians Scene shop Amy Marie Seidel Desiree Alcocer Jennifer Costley Assistant choreographer Kirsten Cunningham Carl Martin Talli Jackson Spencer Dixon Sean Miller Zach Fischer Shawn Olney “Shows that theater can provide not just escape Associate music director Ann Christine Hartzell Isaac Jacobs Kevin Ramessar Gabriel Holman Seth Gutierrez but sometimes a glimpse of the divine” Assistant musical director Bradley Hopper Chase Potter Ryan Touhey Francesca Muscolo-Arlt Scenic artists —TIME MAGAZINE Associate scenic designer Chase Potter Kristen Augustyn Warren Karp Melissa Ramirez Chrissy Curl Minerva Ramirez Associate costume designer Lassen Hines Sarina Renteria Katie Holmes “Entrancing... an evening of almost magical changes, Michael Magaraci Emma Satchell Associate lighting designer Ericka Sokolower-Shain Sound technicians wrought through the unique imagery of theater” Karen Spahn Matt Sykes Dan Adamsky Joshua van Eyken Jermaine Battle —CHICAGO TRIBUNE Associate sound designer Lauren Wright Gabriel Holman John Millerd Bradley Hopper Followspot operators/Deck electricians Production assistant Sarah Jacquez Desiree Alcocer Sofi e Miller Michael Kelly “Zimmerman at her most cheerfully ingenious” Spencer Dixon Electronic music design Wardrobe Costume shop —NEW YORK TIMES Billy Jay Stein and Hiro Iida for Suzann Cornelison Julie Barner Strange Cranium Productions Claire Griffi th Breanna Bayba Anna Slotterback Casting Ava Childs Kennedy Warner Stewart/Whitley Nelly Flores Duncan Stewart, €‚ƒ; Benton Whitley, €‚ƒ; Milena Geary Scenery by Hamilton Scenic Specialty Inc Paul Hardt; Christine McKenna-Tirella, €‚ƒ; Alea Gonzales Allie Carieri Sophie Hood Automation and scenic deck by  Dialect coach Emma Lehman Scenic Technologies Jessica Berman Andrea Marlo Phillips Anna Slotterback Additional lighting equipment by  Fight consultant Kennedy Warner Dave Maier Deck crew Additional sound equipment by Masque A1 Bradley Hopper Additional properties by Hamilton Scenic Carin M. Ford Isaac Jacobs Specialty Inc Production sound associate Miranda Ketchum Stephen Dee Kourtney Snow (Automation operator) Rehearsed at NEW „ ND STREET® Studios Production carpenter Karen Szpaller Based on the myths of Ovid Gerald Frentz Props Special thanks:  Automation specialist Kate Fitt U.S. immigration representation provided Written and Directed by Mary Zimmerman Isabella Stadler Noah Kramer Zoe Gopnik-McManus by McCown & Evans ‹‹. Additional Automation support Garner Takeshi Morris from the translation by David R. Slavitt Sean Sweeney Samantha Visbal Physical therapy injury prevention and Moving light programmer Baz Wenger rehab by Neil Claveria, Patricia Commer, CO-PRODUCTION WITH THE GUTHRIE THEATER Kevin Wilson Mara Ishihara Zinky Brenton Dowdy, Center for Sports Medicine, Walnut Creek.

Medical consultation for Berkeley Rep provided by Cindy J. Chang, MD, ”•–— Clinical Professor, and Steven Fugaro, MD. STARTS JAN 24 PEET’S THEATRE

Senior resident director and Executive assistant to Garth H. Drabinsky associate producer Jessie Saunders-Drutz For Teatro Proscenium Anne Allan Executive producers Limited Partnership International production supervisor Rick Chad and Arthur M. Kraus Peter W. Lamb Technical and management associate Associate producer Barry Burns Zachary Florence SEASON SPONSORS

™š · THE BERKELEY REP MAGAZINE · œšžŸ¡ž¢ · ISSUE ¤

PS_program.indd 40 12/13/18 9:21 AM NEXT AT BERKELEY REP

“Shows that theater can provide not just escape but sometimes a glimpse of the divine” —TIME MAGAZINE

“Entrancing... an evening of almost magical changes, wrought through the unique imagery of theater” —CHICAGO TRIBUNE

“Zimmerman at her most cheerfully ingenious” —NEW YORK TIMES

Based on the myths of Ovid Written and Directed by Mary Zimmerman from the translation by David R. Slavitt

CO-PRODUCTION WITH THE GUTHRIE THEATER

STARTS JAN 24 PEET’S THEATRE

SEASON SPONSORS

PS_program.indd 41 12/11/18 4:00 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 September 2017 and October 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 Ann and Gordon Getty Foundation The Shubert Foundation BayTree Fund Kenneth Rainin Foundation The Ira and Leonore S. Gershwin Philanthropic Fund Reinhold Foundation GIFTS OF $50,000–99,999 The Laurents/Hatcher Foundation Edgerton Foundation Walter & Elise Haas Fund GIFTS OF $1,000–4,999 The Reva and David Logan Foundation Woodlawn Foundation Anonymous Jonathan Logan Family Foundation Joyce & William Brantman Foundation Koret Foundation GIFTS OF $10,000–24,999 Civic Foundation National Endowment for the Arts Berkeley Civic Arts Program Karl & Alice Ruppenthal Foundation for the Arts The Bernard Osher Foundation jec Foundation rhe Charitable Foundation The Harold and Mimi Steinberg Charitable Trust Miranda Lux Foundation The Tournesol Project Ramsay Family Foundation

CORPORATE SPONSORS

SEASON SPONSORS SPONSORS PERFORMANCE SPONSORS The Andreason Group at Morgan Stanley Bayer Mechanics Bank Wealth Management BluesCruise.com The Morrison & Foerster Foundation Gallagher Risk Management Services Macy’s CORPORATE PARTNERS Armanino llp CHAMPIONS LEAD SPONSOR AT&T Perforce Foundation Deloitte McCutcheon Construction Panoramic Interests Schoenberg Family Law Group ubs

EXECUTIVE SPONSORS American Express

Is your company a corporate sponsor? Berkeley Rep’s Corporate Partnership program off ers 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 contact your company’s HR offi ce to fi nd out if your company matches gifts. SPONSORS Aurora Catering La Note Accenture · Adobe Systems Inc. · Apple · Applied Hugh Groman Catering Autumn Press Lucia’s of Berkeley Materials · Autodesk Inc. · Bank of America · Chevron Latham & Watkins llp Babette at bampfa Maison Bleue Corporation · Clorox · Dolby · Electronic Arts Mayer Brown llp Barco ocho Candy Outreach · Farallon Capital Mangement · Fremont Ramsay Wines Bare Picante Group Foundation · Gap Foundation · Genentech · Rhoades Planning Group Bobby G’s Pizzeria Platano Salvadoran Cuisine GE Foundation · Google · ibm Corporation · Intel Corporation · John & Maria Goldman Foundation · Robert Meyer’s Mangia/Nosh Cancun Sabor Mexicano Revival Bar + Kitchen Johnson & Johnson · Kresge Foundation · Lawrence Catering Company Comal Rush Bowls Berkeley Livermore National Laboratory · Levi Strauss & Co. · Semifreddi’s Corison Winery SoulCycle Microsoft · Morrison & Foerster · norcal Mutual Donkey & Goat Winery Zino Insurance Company · Oracle Corporation · Pixar PARTNERS East Bay Spice Company Animation Studios · Salesforce · S.D. Bechtel, Jr. act Catering Eureka! Hotel Shattuck Plaza is the Foundation · Shell Oil · Sidley Austin llp, San Almare Gelato Gather Restaurant offi cial hotel of Berkeley Rep. Francisco · Union Bank, The Private Bank · Varian Angeline’s Louisiana Kitchen Gio’s Pizza & Bocce Medical System · visa u.s.a., Inc. · The Walt Disney Ann’s Catering Hafner Vineyard Company · Workday Au Coquelet Jazzcaff è

42 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 42 12/11/18 4:00 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 September 2017 and October 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 SPONSORS Joan Sarnat & David Hoff man Eileen & Hank Lewis Jack & Betty Schafer Anonymous Ed & Liliane Schneider Susan & Moses Libitzky Michael & Sue Steinberg Edward D. Baker Laura & Nicholas Severino Dixon Long The Strauch Kulhanjian Family Maria Cardamone & Paul Matthews Barry Lawson Williams & Peter & Melanie Maier Cindy J. Chang, MD & Lalita Tademy Helen M. Marcus LEAD SPONSORS Christopher Hudson K Linda & Steven Wolan Phyra McCandless & Angelos Kottas Bruce Golden & Michelle Mercer David & Vicki Cox Felicia Woytak & Steven Rasmussen Martin & Janis McNair Frances Hellman & Warren Breslau Robin & Rich Edwards Ed Messerly & Sudha Pennathur Jonathan Logan Family Foundation David & Vicki Fleishacker ASSOCIATE SPONSORS Steven & Patrece Mills M Jane Marvin/Peet's Coff ee Paul Friedman & Diane Manley Anonymous Dugan Moore & Philippe Lamoise Stewart & Rachelle Owen Jill & Steve Fugaro Shelley & Jonathan Bagg Norman & Janet Pease Mary Ruth Quinn & Scott Shenker Karen Galatz & Jon Wellinghoff Edith Barschi Peter Pervere & Georgia Cassel Kelli & Steff an Tomlinson Paul Haahr & Susan Karp Neil & Gene Barth Barbara L. Peterson Scott & Sherry Haber Valerie Barth Gary & Noni Robinson EXECUTIVE SPONSORS James C. Hormel & Michael P. The Battle Family Foundation Cynthia & William Schaff Barbara Bakar Nguyen, in honor of Rita Moreno Ben Brown & Louise Rankin Emily Shanks M Michelle Branch & Dale Cook Jerry & Julie Kline Brook & Shawn Byers Pat & Merrill Shanks Susan Chamberlin Jack Klingelhofer Lynne Carmichael Shirlen Fund, in memory of Bill Falik & Diana Cohen Michael H. Kossman John Dains Shirley and Philip Schild Kerry Francis & John Jimerson Suzanne LaFetra Collier Paul Daniels, in honor of Stephen & Cindy Snow Wayne Jordan & Quinn Delaney Ken Lamb Peter Yonka Karen Stevenson & Bill McClave Marjorie Randolph Sandra & Ross McCandless Narsai & Venus David K Lisa & Jim Taylor Jean & Michael Strunsky Ken & Gisele Miller Cynthia A. Farner Susan West Guy Tiphane Pam & Mitch Nichter Steven Goldin Wendy Williams Gail & Arne Wagner Leonard X & Arlene B. Rosenberg Ms. Wendy E. Jordan Martin & Margaret Zankel Sheli & Burt Rosenberg, in honor of Fred Karren, in memory of Len & Arlene Rosenberg Beth Karren Jack & Valerie Rowe Rosalind & Sung-Hou Kim Patricia Sakai & Richard Shapiro Ted & Carole Krumland

ARTISTIC DIRECTOR’S CIRCLE

PARTNERS Pure Dana Fund Richard & Anita Davis Wanda Kownacki Monica Salusky & Anonymous Sue Reinhold & Corinne & Mike Doyle John Kouns & John K. Sutherland Tarang & Hirni Amin Deborah Newbrun Merle & Michael Fajans Anne Baele Kouns Jeane & Roger Samuelsen Stephen Belford & Joe Ruck & Donna Ito Tracy & Mark Ferron Woof Kurtzman & Liz Hertz Jackie Schmidt-Posner & Bobby Minkler Jaimie Sanford & Ted Storey Lisa & Dave Finer Randy Laroche & Barry Posner Jennifer Chaiken & Sam Joyce Schnobrich Thomas & Sharon Francis David Laudon Linda & Nathan Schultz Hamilton Ed & Ellen Smith Lisa Franzel & Rod Mickels Ellen & Barry Levine Brenda Buckhold Shank, Barbara & Rodgin Cohen Audrey & Bob Sockolov Herb & Marianne Friedman Elsie Mallonee M.D., Ph.D. Constance Crawford Vickie Soulier Kevin & Noelle Gibbs Lois & Gary Marcus Sherry & David Smith Thomas W. Edwards & Sheila Wishek Dennis & Susan Johann Rebecca Martinez Valerie Sopher Rebecca Parlette-Edwards Gilardi Henning Mathew & Sally & Joel Spivack William Espey & BENEFACTORS Daniel & Hilary B. Goldstine Michelle Deane Deborah Taylor Barrera Margaret Hart Edwards Anonymous (5) Nelson Goodman Kirk McKusick & Eric Allman Alison Teeman & Michael Nancy & Jerry Falk Nina Auerbach Mary & Nicholas Graves Stephanie Mendel Yovino-Young Kimberley Goode Linda & Mike Baker Robert & Judith Greber Toby Mickelson & Susan Terris Karen Grove & Michelle L. Barbour Garrett Gruener & Donald Brody Beth Weissman Julian Cortella David Beery & Amy Slater Andy & June Monach Patricia & Jeff rey Williams Ms. Teresa Burns Gunther & Norman Abramson Bob & Linda Harris Scott Montgomery & Steven Winkel & Dr. Andrew Gunther Cynthia & David Bogolub Vera & David Hartford Marc Rand Barbara Sahm Earl & Bonnie Hamlin Broitman-Basri Family Ruth Hennigar Jerry Mosher Sam & Joyce Zanze Bonnie & Tom Herman Tracy Brown & Greg Holland Richard N. Hill & Judith & Richard Oken Jane & Mark Zuercher Kathleen & Chris Jackson Don Campbell and Family M Nancy Lundeen Sheldeen Osborne Barbara E. Jones, in memory Ronnie Caplane Elaine Hitchcock Judy O’Young, MD & of William E. Jones Terrence & Deborah Carlin K Hilary & Tom Hoynes Gregg Hauser Duke & Daisy Kiehn Leslie Chatham & Paula Hughmanick & Sandi & Dick Pantages Louise Laufersweiler & Kathie Weston Steven Berger Mary Ann Peoples, Warren Sharp Betsey & Ken Cheitlin Lynda & Dr. J. Pearce Hurley in memory of Lou Peoples Dale & Don Marshall Barbara & Rodgin Cohen Seymour Kaufman & Paula B. Pretlow LEGEND Sumner & Hermine Marshall Paul Collins K Kerstin Edgerton Linda Protiva Erin McCune Julie & Darren Cooke Bill & Lisa Kelly Bill Reuter & Ruth Major K in-kind gift Miles & Mary Ellen McKey Karen & David Crommie Stephen F. Kispersky Audrey & Paul Richards M matching gift Susan Medak & James Cuthbertson Jean Knox, in memory of David S. H. Rosenthal & We are pleased to recognize fi rst-time donors to Berkeley Rep, whose names appear in italics. Greg Murphy Barbara & Tim Daniels M John T. Knox Vicky Reich

2018–19 · ISSUE 3 · THE BERKELEY REP MAGAZINE · 43

PS_program.indd 43 12/11/18 4:00 PM BERKELEY REP THANKS SAVE THE DATE! Individual Donors

CHAMPIONS George Leitmann, in memory of Helen ADVOCATES Lofstrom · Larry & Nancy Ludgus · Jane & Bob Anonymous (4) · Pat Angell, in memory of Barber · Henry Lerner, in honor of Joanne Anonymous (12) · Abbey Alkon & Jonathan Lurie · Gerry & Kathy MacClelland · Paul Gene Angell · Marcia & George Argyris · Levene Lerner · Marcia C. Linn · Tom Lockard Leonard · Emily Arnold · Steven & Barbara Mariano · Charles Marston & Rosa Luevano · Martha & Bruce Atwater · Naomi Auerbach & & Alix Marduel · Sidne J. Long · Jay & Eileen Aumer-Vail · Marian Baldy · Susan & Barry Igor Maslennikov · Caroline McCall & Eric Ted Landau · Leslie & Jack Batson · Lois A. Love · Naomi & Bruce Mann · Charlotte & Baskin · Stephanie Beach · Don & Gerry Martin · Janet & Michael McCutcheon · Daniel Battuello · Caroline Beverstock · Linda Adolph Martinelli · Match Vineyards · Ruth Beers M · Richard & Kathi Berman · Steve & Beverlee McFadden · Karen & John Brandenburger · Eric Brink & Gayle Vassar · Medak · Dan Miller · Geri Monheimer, in Bischoff · Nancy Blachman & David McGuinn · Brian McRee · Jeff Miner · Ronald John Carr · Paula Carrell · Terin Christensen · honor of Sharon Kinkade · Brian & Britt-Marie desJardins · Naomi Black · The Blackman Morrison · Aki & Emi Nakao · Ron Nakayama · Richard & Linnea Christiani · Robert Council & Morris · Marvin & Neva Moskowitz · Daniel Family · Marc Blakeman M · Ed & Kay Blonz · Christina & Geoff rey Norman, in memory of Ann Parks-Council · Ed Cullen & Ann Murphy · Jane & Bill Neilson · Pier & Barbara Bob & Barbara Brandriff · Marilyn Bray · Peter John & Carol Field M · Sharon Noteboom · Judy O'Connor · Ilana DeBare & Sam Schuchat · Oddone · Suzette S. Olson · Carol J. Ormond · Brock · Don & Carol Anne Brown · Jane Ogle · Eddie & Amy Orton · Frederick Oshay · David Deutscher · Francine & Beppe Di Janet & Clyde Ostler · Lynette Pang & Michael Buerger · Robert & Margaret Cant · Carolle J. Brian D. Parsons · P. David Pearson & Barbara Palma · Karen & David Dolder · Burton Peek Man · Gerane Wharton Park · Bob & MaryJane Carter & Jess Kitchens · Lea Chang · Laura Schonborn · Bob & Toni Peckham, in honor of Edwards · Susan English & Michael Kalkstein · Pauley · Regina Phelps & Dave Kieff er · Chenel · John & Izzie Crane M · Pam & Mike Robert M. Peckham, Jr. · Lewis Perry · James F. Paul Feigenbaum & Judy Kemeny · Martin & Malcolm & Ann Plant · David & Bobbie Pratt · Crane · Lori & Michael Crowley · Kathleen Pine · F. Anthony Placzek · Ronnie Plasters K · Barbara Fishman · Linda Jo Fitz · Patrick David & Mary Ramos · Kent Rasmussen & Damron · Harry & Susan Dennis · Jacqueline Roxann R. Preston · Laurel & Gerald Flannery · James & Jessica Fleming · Dean Celia Ramsay · Helen Richardson · Maxine Desoer · Thalia Dorwick · Kathy Down & Greg Przybylski · Sheldon & Catherine Ramsay · Francis · Donald & Dava Freed · Chris R. Risley, in memory of James Risley · John & Kelly · Sue J. Estey · Mary & Ben Feinberg · Teresa L. Remillard · Deborah Dashow Ruth, Frostad M · Marjorie Ginsburg & Howard Jody Roberts · Deborah Romer & William Martin Fleisher · Frannie Fleishhacker · Mary & in memory of Leo P. Ruth · Dorothy R. Saxe · Slyter · Anne & Peter Griff es · Richard & Lois Tucker · Galen Rosenberg & Denise Barnett · Stan Friedman · David Gaskin & Phillip Kenneth & Joyce Scheidig · Laurel Scheinman · Halliday K · Migsy & Jim Hamasaki · Ann Boyard & Anne Rowe · The Karl and Alice McPherson · Karl & Kathleen Geier · Diana Seiger Family Foundation · Glenn & Lori Harriman, in memory of Malcolm White · Dan Ruppenthal Foundation for the Arts · Dace P. Graham & Jack Zimmermann · Rico & Maya Shannon · Sarah E. Shaver · Steve & Susan & Shawna Hartman Brotsky · Christina Rutland · Lisa Salomon · Dr. David Schulz M · Green · Don & Becky Grether · Paula Shortell · Arlene & Matthew Sirott · Carra Herdell, in memory of Vaughn & Ardis Teddy & Bruce Schwab · Andrew & Marva Hawthorn & Michael Ubell · Irene & Robert Sleight · Suzanne Slyman · Jerry & Dick FRIDAY, JUNE 7, 2019 Herdell · Howard Hertz & Jean Krois · Bill Seidl · Beryl & Ivor Silver · Dave & Lori Hepps · Cliff ord Hersh ·Doug & Leni Herst, in Smallwood · Sigrid Snider · Robert & Naomi Hofmann & Robbie Welling M · Don & Janice Simpson · Cherida Collins Smith · Alice & honor of Susie Medak · Fran Hildebrand · Alice Stamper · Lillis & Max Stern · Ruthann Taylor · THE RITZ-CARLTON, SAN FRANCISCO · 600 STOCKTON STREET, SAN FRANCISCO Holve, in memory of Daisy & Paul Persons · Scott So · Gary & Jana Stein · Monroe W. Hill & Peter Starr · Al Hoff man & David Prof. Jeremy Thorner & Dr. Carol Mimura · The Hornthal Family Foundation, in honor of Strickberger · Samuel Test · Pate & Judy Shepherd · George & Leslie Hume · Mr. & Mrs. Mike & Ellen Turbow · Sarah Van Roo · Louise Susie Medak · Marilyn & Michael Thomson · Henry Timnick · Michael Tubach & Harold M. Isbell · Reese & Margaret Jones · & Larry Walker · Robert & Sheila Weisblatt · Jensen-Akula · Corrina Jones · Dennis Kaump · Amrita Singhal · William van Dyk & Margi Claudia & Daly Jordan-Koch · Kaarel Kaljot · Robert T. Weston · Dick & Beany Wezelman · Toast Tony Taccone as he concludes his extraordinary tenure as artistic HONORARY COMMITTEE Lynn Eve Komaromi, in honor of the Berkeley Sullivan · Pamela Gay Walker/Ghost Ranch Helmut H. Kapczynski & Colleen Neff · Peter Wiley · Sharon & Kenneth Wilson · Moe The Honorable Tom Bates & Rep Staff · Janet Kornegay & Dan Sykes · Productions · Jonathan & Kiyo Weiss · Christopher Killian & Carole Ungvarsky · Jeff & Becky Wright · Margaret Wu & Ciara Cox Susilpa Lakireddy · Helen E. Land · Jane & Elizabeth Werter & Henry Trevor · Charles Klingman & Deborah Sedberry · Susan Kolb · director of Berkeley Rep. During Tony’s 22 seasons of leadership, the the Honorable Loni Hancock Mike Larkin, in memory of Jerry & Marilyn Wolfram & Peter Wolfram · Sally Woolsey · Robert Lane & Tom Cantrell · Carol P. LaPlant · ® Jennifer Bielstein Ungar · Sherrill Lavagnino & Scott McKinney · Ron & Anita Wornick · Mark Zitter & Jessica Glennis Lees & Michael Glazeski · Julius R. Tony Award–winning Berkeley Rep has earned a reputation as an James & Cass Carpenter Andrew Leavitt & Catherine Lewis · Nancy & Nutik Zitter Leiman-Carbia · Jennifer S. Lindsay · Dottie international leader in innovative theatre, presenting more than 70 world, Kathleen Chalfant Julia Cho American, and West Coast premieres and sending scores of shows to New Charles Dean York and beyond, including London and Hong Kong. Colman Domingo We gratefully recognize Paul Dresher & Philippa Kelly Rich & Robin Edwards Rebecca Martinez Guy Tiphane the following donors whose Eve Ensler Thomas W. Edwards & Sarah McArthur LeValley Phillip & Melody Trapp Berkeley Rep’s OVATION—A Tribute to Tony Taccone— is a night of contributions were received Rebecca Parlette-Edwards Suzanne & Charles Janis Kate Turner Steven Epp from August 23 to Bill & Susan Epstein McCulloch Gail & Arne Wagner celebration. As we raise a glass to an exceptional artist, we also honor Oskar Eustis William Espey & John G. McGehee Dorothy Walker Daniel Handler & Lisa Brown November 11, 2018: Margaret Hart Edwards Miles & Mary Ellen McKey Barry & Holly Walter Tony’s legacy by supporting the Theatre’s innovative work both on and Geoff Hoyle Dr. Stephen E. Follansbee & Margaret D. & Winton McKibben Weil Family Trust—Weil Family off stage, from its productions and new play development program Moisés Kaufman SUPPORTERS Dr. Richard A. Wolitz Ruth Medak Susan West Tony Kushner Anonymous · Peggy & Don Alter · Beverly Kerry Francis Susan Medak & Greg Murphy Karen & Henry Work to nurturing the next generation of theatre-makers and theatregoers. The Honorable Barbara Lee Blatt & David Filipek · Pamela & Christopher Dr. Harvey & Deana Freedman Stephanie Mendel Martin & Margaret Zankel Cain · Paula Champagne & David Watson · Joseph & Antonia Friedman Toni Mester John Leguizamo Michael & Denise Coyne · Anders Glader · Reconnect with luminary artists and friends over a celebratory feast. Get Paul T. Friedman Shirley & Joe Nedham Sharon Lockwood Dorothy & Michael Herman · Ray Riess · The society welcomes the Gifts received by Joshua & Ruth Simon, in honor of Maya following new members: Dr. John Frykman Theresa Nelson & Bernard Smits Berkeley Rep: ready to bid on one-of-a-kind getaways and VIP experiences. And be Pam MacKinnon Simon Anonymous Laura K. Fujii Pam & Mitch Nichter Anonymous Rita Moreno David Gaskin & Sheldeen G. Osborne Estate of Suzanne Adams prepared for a surprise or two during this theatrically festive evening. Jonathan Moscone CONTRIBUTORS Sustaining members Phillip McPherson Sharon Ott Estate of Helen Barber Mira Nair Anonymous · Kate & Monroe Bridges · Ann as of November 2018: Marjorie Ginsburg & Amy Pearl Parodi Estate of Fritzi Benesch Sharon Ott Buechner · Muriel Kaplan & Bob Sturm · Trudy Anonymous (7) Howard Slyter Barbara L. Peterson Estate of Carole B. Berg & Rolf Lesem · Liz Long · Suzanne McCombs · Bill Rauch Norman Abramson & Mary & Nicholas Graves Regina Phelps Estate of Nelly Berteaux Christina Miller · Liz Varnhagen David Beery Elizabeth Greene Margaret Phillips Estate of Jill Bryans Emma Rice FRIENDS Sam Ambler Sheldon & Judy Greene Marjorie Randolph Estate of Paula Carrell TICKETS START AT $750 PER PERSON Mitzi Sales Anonymous · Erin Badillo & Jonathan Fearn Carl W. Arnoult & Don & Becky Grether Gregg Richardson Estate of Nancy Croley Proceeds from OVATION support the work of Berkeley Rep, from its Anna Deavere Smith Badillo · Harry Chomsky & Amy Apel · csc Aurora Pan Richard & Lois Halliday Bonnie Ring Living Trust Estate of Carol & John Field Michael Tilson Thomas & Joshua Robison Consulting, Inc · Francisco DeVries · Jana Ken & Joni Avery Julie & Paul Harkness Tom Roberts Estate of Rudolph Glauser productions to its comprehensive arts education programs, which serve Stephen Wadsworth & Francesca Faridany Good · Rick Hopelain · Joe & Ann Jensen · Nancy Axelrod Linda & Bob Harris David Rovno Estate of Zandra Faye LeDuff Susan Kaplan · Ashok Katdare · Brenda Kienan · Alice Waters Edith Barschi Fred Hartwick Tracie E. Rowson Estate of Ines R. Lewandowitz thousands of Bay Area students each year. Lewis Kraus · David Lindsay · Suzanne & Les Waters & Annie Smart William Lingo · Jamie Miller, in memory of Neil & Gene Barth Ruth Hennigar Deborah Dashow Ruth Estate of John E. & Mary Zimmerman Helene Sabin · Dana M. Paniagua · Tony Susan & Barry Baskin Douglas J. Hill Patricia Sakai & Helen A. Manning Politopoulos · Bettina Rosenberg · William & Linda Brandenburger Hoskins/Frame Family Trust Richard Shapiro Estate of Richard Markell Committee list as of December 5, 2018 Lee Rust · Ed & Jenifer Schoenberger · Joseph Broitman-Basri Family Lynda & Dr. J. Pearce Hurley Betty & Jack Schafer Estate of Gladys Sturkey · Marianne Tanner · Nicholas Virene Bruce Carlton & Robin C. Johnson Brenda Buckhold Shank, Perez-Mendez Richard G. McCall Janice Kelly & D. Carlos Kaslow M.D., Ph.D. Estate of Margaret Purvine RSVP Special thanks to Marjorie Randolph for Stephen K. Cassidy Bonnie McPherson Killip Kevin Shoemaker Estate of Leigh & Ivy Robinson establishing The Marjorie Randolph Julia Starr at 510 647-2901 or [email protected] Professional Development Fund, which Paula Champagne & Lynn Eve Komaromi Valerie Sopher Estate of Stephen C. Schaefer, in supports the Berkeley Rep staff . David Watson Michael H. Kossman Michael & Sue Steinberg honor of Jean and Jack Knox Or visit berkeleyrep.org/ovation Terin Christensen Scott & Kathy Law Dr. Douglas & Anne Stewart Estate of Peter Sloss Sofi a Close Dot Lofstrom Jean Strunsky Estate of Harry Weininger Andrew Daly & Jody Taylor Helen M. Marcus Mary, Andrew & Estate of Grace Williams M. Laina Dicker Dale & Don Marshall Duncan Susskind Thalia Dorwick Sumner & Hermine Marshall Henry Timnick

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 specifi es otherwise, planned gifts become a part of Berkeley Rep’s board-designated endowment funds, where they will provide the fi nancial 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].

44 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 44 12/11/18 4:00 PM SAVE THE DATE!

FRIDAY, JUNE 7, 2019 THE RITZ-CARLTON, SAN FRANCISCO · 600 STOCKTON STREET, SAN FRANCISCO

Toast Tony Taccone as he concludes his extraordinary tenure as artistic HONORARY COMMITTEE The Honorable Tom Bates & director of Berkeley Rep. During Tony’s 22 seasons of leadership, the the Honorable Loni Hancock ® Jennifer Bielstein Tony Award–winning Berkeley Rep has earned a reputation as an James & Cass Carpenter international leader in innovative theatre, presenting more than 70 world, Kathleen Chalfant Julia Cho American, and West Coast premieres and sending scores of shows to New Charles Dean York and beyond, including London and Hong Kong. Colman Domingo Paul Dresher & Philippa Kelly Eve Ensler Berkeley Rep’s OVATION—A Tribute to Tony Taccone— is a night of Steven Epp celebration. As we raise a glass to an exceptional artist, we also honor Oskar Eustis Daniel Handler & Lisa Brown Tony’s legacy by supporting the Theatre’s innovative work both on and Geoff Hoyle off stage, from its productions and new play development program Moisés Kaufman Tony Kushner to nurturing the next generation of theatre-makers and theatregoers. The Honorable Barbara Lee John Leguizamo Reconnect with luminary artists and friends over a celebratory feast. Get Sharon Lockwood ready to bid on one-of-a-kind getaways and VIP experiences. And be Pam MacKinnon Rita Moreno prepared for a surprise or two during this theatrically festive evening. Jonathan Moscone Mira Nair Sharon Ott Bill Rauch Emma Rice TICKETS START AT $750 PER PERSON Mitzi Sales Proceeds from OVATION support the work of Berkeley Rep, from its Anna Deavere Smith Michael Tilson Thomas & Joshua Robison productions to its comprehensive arts education programs, which serve Stephen Wadsworth & Francesca Faridany thousands of Bay Area students each year. Alice Waters Les Waters & Annie Smart Mary Zimmerman Committee list as of December 5, 2018 RSVP Julia Starr at 510 647-2901 or [email protected] Or visit berkeleyrep.org/ovation

PS_program.indd 45 12/11/18 4:00 PM BERKELEY REP STAFF BOARD OF TRUSTEES Artistic Director Managing Director Tony Taccone Susan Medak President General Manager Theresa Von Klug Stewart Owen Vice Presidents ARTISTIC First Hand Audience Development Manager Greene · Susan-Jane Harrison · Carrie Avery Director of Casting & Janet Conery Samanta Cubias Gendell Hing-Hernández · Scott Haber Artistic Associate Wardrobe Supervisor Webmaster Melissa Hillman · William Hodgson · Treasurer Amy Potozkin Barbara Blair Christina Cone Andrew Hurteau · Anthony Jackson · Kasey Klem · Krista Knight · Julian Richard M. Shapiro Director, The Ground Floor/ Video & Multimedia Producer López-Morillas · Dave Maier · Reid Secretary Resident Dramaturg ELECTRICS Benjamin Michel McCann · Patricia Miller · Alex Madeleine Oldham Master Electrician Program Advertising Moggridge · Edward Morgan · Jack Leonard X Rosenberg Literary Manager Frederick C. Geffken Pamela Webster Nicolaus · Slater Penney · Greg Chair, Trustees Committee Sarah Rose Leonard Pierotti · Lisa Anne Porter · Diane Production Electricians Front of House Director Rachel · Rolf Saxon · Elyse Shafarman · Michelle Branch Artistic Associate Christine Cochrane · Kenneth Coté Kelly Kelley Katie Craddock Arje Shaw · Joyful Simpson · Cleavon Chair, Audit Committee Front of House Manager Smith · M. Graham Smith · Elizabeth Kerry L. Francis Associate Director SOUND AND VIDEO Debra Selman Vega · James Wagner · Dan Wolf Lisa Peterson Sound Engineers House Managers Teaching Artists Board Members Artists under Commission Angela Don · Annemarie Scerra Elizabeth Anne Bertolino · Aleta Miriam Ani · Nicole Apostol Bruno · Berit Ashla Todd Almond · Christina Anderson · Video Supervisor George · Kimberly Harvey-Scott · Michael Curry · Shannon Davis · Edward D. Baker Lisa Peterson · Sarah Ruhl · Tori Will McCandless Tuesday Ray · Debra Selman · Adrian Gebhart · Clara Kamunde · David Cox Sampson · Joe Waechter Derek Stern Rebecca Longfellow · Dave Maier · Amar Doshi Robin Edwards ADMINISTRATION Lead Concessionaires Carla Pantoja · Bryan Quinn · Radhika Rao · Lindsey Schmeltzer · Adam Lisa Finer PRODUCTION Controller Molly Conway · Angelica Foster · Smith · Teddy Spencer · Zoe Jill Fugaro Production Manager Suzanne Pettigrew Nina Gorham · Kimberly Harvey-Scott · Karen Galatz Audrey Hoo Emily Weiss Swenson-Graham · Joshua Associate Managing Director/ Waterstone · Elena Wright · Noelle Bruce Golden Assistant Production Manager Manager, The Ground Floor Concessionaires Viñas · Alejandra Wahl Steven Goldin Zoey Russo Sarah Williams April Ancheta · Chloe Auletta-Young · David Hoffman Jessica Bates · Nicole Bruno · Philippe Teen Core Council Michael Kossman Company Manager Associate General Manager Dela Cruz · Will Flanagan · Lorenz Milo Bailey · Fidela Bisseret-Martinez · Jonathan C. Logan Jean-Paul Gressieux Amanda Williams O’Steen Gonzales · Katie Holmes · Johnny Eleanor Boes · Sonia Bot · Marina Jane Marvin Executive Assistant Lloyd· Nichelle Pete · Krista Posell · Carlstroem · Noé Castrejón · Mirabel Henning Mathew STAGE MANAGEMENT Kate Horton Nicholas Stillman · Win Wallace Connor · Lilly-Karin Dandenell · Emielyn Sandra R. McCandless Production Stage Manager Das · Miya Drain · Dina Fukunaga- Susan Medak Bookkeeper Ticket Services Manager Brates · Zeke Gerwein · Anna Michael Suenkel Kristine Taylor Dora Daniels Pamela Nichter Granados · Kayla Hansen · Zoe Larkin · Sudha Pennathur Stage Managers Associate Controller Subscription Manager Nandi Maunder · Zohar Naaman · Roan Laura Severino Chris Armond · Bradley Hopper · Eric Ipsen Laurie Barnes Pearl · Madeleine Riskin-Kutz · Avelina Tony Taccone Amanda Mason · Megan McClintock · Rivezzo-Weber · Asya Stephens · Kelli Tomlinson Lisa McGinn · Betsy Norton · Leslie M. Payroll Administrator Box Office Supervisor Lucy Urbano Gail Wagner Radin · Chris Waters Katie Riemann Julie Gotsch Steven C. Wolan Tessitura User Interaction Box Office Agents Docent Co-Chairs Production Assistants Felicia Woytak Administrator Gabrielle Boyd · Jordan Don · Matty Bloom, Content Tait Adams · James McGregor · Joy Lancaster, Recruitment Destiny Askin Katherine Gunn · Ariana Johnson · Past Presidents Sofie Miller Selma Meyerowitz, Off-Sites Oliver Kampman · Victoria Phelps · Helen C. Barber Information Technology Manager and Procedures Jaden Pratt· Alina Whatley A. George Battle STAGE OPERATIONS Dianne Brenner Paradise Square Docents Carole B. Berg Stage Supervisor Rebecca Woolis, Lead Docent Robert W. Burt DEVELOPMENT OPERATIONS Julia Englehorn Ted Bagaman · Matty Bloom · Dee Shih-Tso Chen Facilities Director Director of Development Kursh · Mark Liss · Thomas Sponsler · Narsai M. David Mark Morrisette PROPERTIES Lynn Eve Komaromi Susan Wansewicz Thalia Dorwick, PhD Facilities Manager Properties Supervisor Associate Director of Development Nicholas M. Graves Ashley Mills Jillian A. Green Daria Hepps 2018–19 BERKELEY REP Richard F. Hoskins Building Engineer FELLOWSHIPS Jean Knox Associate Properties Supervisor Director of Individual Giving Thomas Tran Bret C. Harte Directing Fellow Robert M. Oliver Amelia Burke-Holt Laura Fichtenberg Marjorie Randolph Building Technician Emilia (Emi) Lirman Props Artisan Stewardship Officer Harlan M. Richter Kevin Pan Dara Ly Woof Kurtzman Company Management Fellow Richard A. Rubin Leah Mesh-Ferguson Institutional Giving Manager Facilities Assistants Edwin C. Shiver SCENE SHOP Julie McCormick Lemont Adams · Theresa Drumgoole · Costume Fellow Roger Strauch Sophie Li · Guy Nado · Jesus Rodriguez · Suzann Cornelison Martin Zankel Technical Director Individual Giving Manager LeRoy Thomas Jim Smith Kelsey Scott Development Fellow Sustaining Advisors Nina Feliciano Special Events Manager Rena Bransten Associate Technical Director BERKELEY REP Diana Cohen Matt Rohner Lauren Shorofsky SCHOOL OF THEATRE Education Fellow Si Mon’ Emmett William T. Espey Shop Foreman Development Database Director of the School of Theatre William Falik Sam McKnight Coordinator Rachel Hull Graphic Design Fellow David Fleishhacker Jane Voytek Kirsten Pribula Master Carpenter Associate Director Paul T. Friedman Jamaica Montgomery-Glenn Development Coordinator MaryBeth Cavanaugh Harry Weininger Sound Fellow Nicholas M. Graves Julia Starr Courtney Jean Richard F. Hoskins Carpenters Program Manager, Training and Dale Rogers Marshall Patrick Keene · Read Tuddenham Development Associate Community Programs Lighting/Electrics Fellow Rae Lynn Crocker Helen Meyer Maddie Gaw Anthony Jackson Dugan Moore SCENIC ART Education Communications and Marketing/Digital Peter Pervere Communications Fellow Charge Scenic Artist M ARKETING & Partnerships Manager Marjorie Randolph COMMUNICATIONS Brooke Vlasich Lisa Lázár Marcela Chacón Patricia Sakai Director of Marketing and Data and Tessitura Analyst Peter F. Sloss Literary/ Jack Schafer Communications William Schaff COSTUMES Katie Riemann Dramaturgy Fellow Peter Yonka Madeleine Rostami Michael Steinberg Costume Director Community Programs Administrator Roger Strauch Director of Public Relations Production Management Fellow Maggi Yule Modesta Tamayo Jean Z. Strunsky Tim Etheridge Jossue Gallardo Associate Costume Director/ Education and Youth Programs Michael Strunsky Hair and Makeup Supervisor Art Director Associate Properties Fellow Martin Zankel Amy Bobeda Nora Merecicky Maya Herbsman Hayley Parker Tailor Communications & Digital Faculty Scenic Art Fellow Kathy Kellner Griffith Content Director Bobby August Jr. · Erica Blue · Jon Serena Yau Karen McKevitt Draper Burnett · Rebecca Castelli · Eugenie Scenic Construction Fellow Star Rabinowitz Senior Marketing Manager Chan · Iu-Hui Chua · Jiwon Chung · Heather Moosher FOUNDING DIRECTOR Seth Macari Sally Clawson · Deborah Eubanks · Stage Management Fellow Michael W. Leibert Susan Garner · Christine Germain · Symone Paige Crews Producing Director, 1968–83 Nancy Gold · Gary Graves · Marvin 46 · THE BERKELEY REP MAGAZINE · 2018–19 · ISSUE 3

PS_program.indd 46 12/11/18 4:00 PM Psst!

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PS_program.indd 48 12/11/18 4:01 PM