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Announcing our 2015–16 season 8 · A conversation with Dominique Serrand 20 · The program for Tartuffe 25
THE BERKELEY REP M AGA ZINE
2 014 –15 · I S S U E 5
Elizabeth “Libby” Clark, joined in 2009
Early Morning
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As the East Bay’s most appealing senior living community, we offer spacious apartment homes, wonderfully
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I N T H I S I S SU E
BE R K E L E Y R E P P R E S E N T S TARTUFFE · 2 5
M E E T T H E C A ST & C R E W · 26
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 36
A letter from the managing director · 7
Individual donors to the Annual Fund · 37
Michael Leibert Society · 40
R E P ORT
8
Announcing our 2015–16 season · 8
A BOU T BE R K E L E Y R E P
In memoriam: Berkeley Rep shares
remembrances of two longtime subscribers
and supporters · 11
Staff, board of trustees,
and sustaining advisors · 41
An inside look at Tartuffe auditions · 13
Coming soon: A theatre for the
21st century · 14
15
A new generation of subscribers: Creating a
space for teens in the theatre world · 15
FYI
Everything you need to know about our
box office, gift shop, seating policies,
and more · 42
F E AT U R E S
Banned: Tartuffe and a select history of
western theatrical censorship · 16
Tartuffe production history timeline · 16
Looking for the magic of things:
A conversation with Dominique Serrand · 20
20
Long-term relationship: Two decades with
Steven Epp and Dominique Serrand · 23
T H E B E R K E L E Y R E P M AG A Z I N E
201 4 –15 · I S S U E 5
The Berkeley Rep Magazine is published
at least seven times per season.
Editor
Karen McKevitt
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725 or
efelker@berkeleyrep.org.
Art Director
Nora Merecicky
Cover: Steven Epp in Tartuffe
P H OTO BY M I C H A L DA N I EL
Graphic Designer
Sarah Jacczak
Writers
Lexi Diamond
Rachel Eisner
Julie McCormick
Amy Potozkin
Adam Sussman
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email info@berkeleyrep.org
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3
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P ROL OG U E
from the Artistic Director
“R.Kassman represents the finest quality
pianos and the expertise to provide the
very best of service.”
Robin Sutherland
PRINCIPAL PIANIST, SF SYMPHONY
I once had a professor who liked to say, “In
comedy, a man slips on a banana peel and we laugh. In
tragedy, a man slips on a banana peel and we cry.” His point, I
think, was well taken. The line between tragedy and comedy
is remarkably thin, and the consistent crossing of that boundary is the hallmark feature of the work of the great 17th-century French playwright, Molière. Perhaps because he was an
aspiring tragedian whose life was plagued with obstacles of
every variety, or perhaps because his formative years were
spent in the countryside learning the comic secrets of commedia dell’arte, Molière’s work is a daring blend of the darkest and lightest aspects of
human experience.
There is no better example of this than Tartuffe, a play whose humor was so
threatening to the court of Louis XIV that the king banned the play from being performed for five years. The king himself was allegedly a fan of the play, but the hue and
cry among the clergy and aristocracy was so loud that Louis felt he had no choice but
to declare it censored “in order not to allow it to be abused by others, less capable of
making a just discernment of it.” Translation: Molière’s scathing critique of religious
hypocrisy infuriated many of those in power, who saw themselves as the object of
the author’s derision and the topic of public ridicule. They were being laughed at, and
they weren’t laughing.
No one understands the delicate relationship between comedy and tragedy better than director Dominique Serrand. A lifelong student of Molière, Dominique works
with a unique company of designers and actors capable of fulfilling every aspect of the
texts. Led by the incomparable Steve Epp, who performed the lead roles here in Serrand’s productions of Figaro and The Miser, the ensemble is equally adept at delivering
punch lines and gut punches. They move effortlessly from behavior that’s benign to
brutal. Every slip on the banana peel evokes a different response. The effect is disarming and revealing, and combined with a stunning visual aesthetic, quite beautiful.
It’s important for a company like ours to return to the classics. Very few plays
transcend the period in which they were written. Those that do become the standard
by which we measure ourselves, both culturally and artistically. A great production of
a classic work vivifies the past, illuminates the present, and inspires us to create work
that dares to be important. Welcome to Tartuffe….
R.KASSMAN
Purveyor of Fine Pianos
www.rkassman.com
843-B Gilman Street, Berkeley • 510.558.0765
Sincerely,
E MG
Tony Taccone
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 5
March 2015
Volume 47, No. 5
Paul Heppner
Publisher
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Design & Production Director
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One Week Only! April 14–19, 2015
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to and draw inspiration from the works in the
de Young’s permanent collection.
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Encore Arts Programs is published monthly by Encore Media
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©2015 Encore Media Group. Reproduction
without written permission is prohibited.
P ROL OG U E
from the Managing Director
Early March is always one of the most exciting
times of the year—it’s when we announce the lineup of plays
for the new season! You can read more about our 2015–16
shows in this program and in our lobby, but this year we have
even more news to share with you.
Starting in June, our Thrust Stage will close for
much-needed renovations. Our goal is to preserve the intimacy and cozy unpretentiousness that makes the Thrust such
a perfect space, while bringing it up to 21st-century standards. The Roda Theatre will remain open and will be home
to the world premiere of Amélie in August as well as the 2013 Pulitzer Prize–winning
Disgraced later in the season. We’ll reopen the Thrust Stage in January with a deeply
moving family drama by Julia Cho, directed by Liesl Tommy.
The Thrust construction has provided us with an opportunity to introduce you to
our new black box space: the Osher Studio, conveniently located along the Arts Passage connecting Addison Street and Center Street. (You can see it across the street
from the box office.) The Osher will provide the perfect, informal setting for a Pirates
of Penzance like you’ve never seen before—and one intended for the entire family. So
bring your children, parents, grandchildren, and everyone!
Halfway through next season, the city will begin demolition and reconstruction
of the Addison Street garage across from Berkeley Rep. But never fear! We’ve anticipated this and have made arrangements for you by securing a block of parking spaces
at the garage on Center Street. When you subscribe to the 2015–16 season, you’ll be
able to purchase guaranteed parking spaces for your performance dates. These parking reservations can be exchanged as often as you exchange your tickets, and they
will cost no more than you are currently paying for the Addison Street garage.
Parking in Berkeley will be a challenge for about 18 months. But Berkeley Rep
patrons who purchase parking through our box office will be protected from any inconvenience. You’re guaranteed a space regardless of what else may be happening in town
that night. And your access to the theatres from the Center Street lot will be a short
walk through the Arts Passage. Those with limited mobility can still be dropped off
right in front of our theatres on Addison Street. Look for the opportunity to purchase
your parking in advance when you subscribe to Berkeley Rep’s 2015–16 season.
So next season, you’ll get the chance to experience our sweet and intimate Osher Studio; you’ll enjoy the pleasure of a refurbished and well-preserved Thrust Stage;
and you’ll have the chance to secure guaranteed parking while the city builds a better
and seismically sound new facility.
Warmly,
Susan Medak
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 7
DISCOVER THE
2SUBSCRIPTION
15–16
Amélie
SEASON
Book by Craig Lucas · Music by Daniel Messé
Lyrics by Nathan Tysen & Daniel Messé
Musical direction by Kimberly Grigsby
Choreographed by Sam Pinkleton
Directed by Pam MacKinnon
Limited Season · Roda Theatre
Aug 2015 · World premiere
The Hypocrites’
Pirates of Penzance
Book by W. S. Gilbert · Music by Arthur Sullivan
Directed and adapted by Sean Graney
Co-adapted by Kevin O’Donnell
Co-directed by Thrisa Hodits
Music direction by Andra Velis Simon
Limited Season · Osher Studio · Oct 2015
Join the party in our new Osher Studio on Center
Street with a delightfully immersive, lovingly loopy,
and fantastically eccentric 80-minute take—think
banjos, beach balls, and guitars— on Gilbert and
Sullivan’s preposterous, topsy-turvy world. Frederic
was mistakenly apprenticed as a young boy to a band
of sentimental pirates. Now 21, he falls head-over-heals
for the Major-General’s daughter and forswears the
buccaneer’s life forever, or so he thinks. This buoyant,
award-winning Pirates of Penzance by Chicago theatre
rebels The Hypocrites is “spirited, affectionate, and
nearly irresistible,” says the Boston Globe.
Matt Kahler as the Major-General in The Hypocrites’ Pirates of Penzance
P H OTO BY E VA N H A N OV ER
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Amélie captured our hearts in the five-time Academy Award–nominated
film. Now she comes to the stage in an inventive and captivating new
musical directed by Tony Award winner Pam McKinnon (Who’s Afraid
of Virginia Woolf?) and penned by Craig Lucas (Prelude to a Kiss), with a
stirring score by Daniel Messé (of the acclaimed band Hem) and lyrics by
Nathan Tysen (The Burnt Part Boys) and Messé. Embark on a mesmerizing
journey with inquisitive and charmingly shy Amélie as she turns the
streets of Montmartre into a world of her own imagining, while secretly
orchestrating moments of joy for those around her. After discovering a
mysterious photo album and meeting a handsome stranger, she realizes
that helping others is easier than concocting a romantic story of her own.
After seeing the world through the magical and enchanted eyes of Amélie,
you’ll never look at life the same way again.
The world premiere of Amélie,
Mary Zimmerman’s Treasure
Island, the Pulitzer Prize–winning
Disgraced, a thrilling Macbeth, a
fantastical Pirates of Penzance, and
more—your adventure awaits!
PLUS ONE MORE PLAY TO BE ANNOUNCED!
FOR MORE INFO, CLICK BERKELEYREP.ORG
Disgraced
By Ayad Akhtar
Directed by Kimberly Senior
Main Season · Roda Theatre
Nov 2015 · West Coast premiere
“Bristles with
wit and
intelligence…”
Amir Kapoor is living the American
Dream—an upper East Side
apartment, Italian suits, and the
— N E W YO R K T I M E S
promise of becoming partner at
the law firm. But when he and his
wife Emily, an artist influenced by
Islamic imagery, host a dinner party for
their friends and colleagues, lies and deception threaten
to shatter Amir’s carefully constructed life of cultural
assimilation. Playwright Ayad Akhtar won the 2013 Pulitzer
Prize for this engrossing and combustible drama that probes
the complexity of identity, the place of faith in today’s
world, and the hidden prejudices still alive in liberal society.
Director Kimberly Senior comes to Berkeley Rep to stage
the provocative play that she shepherded from Chicago to
London to its triumphant run on Broadway.
Aubergine
By Julia Cho
Directed by Liesl Tommy
Main Season · Thrust Stage
Feb 2016 · World premiere
An estranged son, a father
who’s ill, a visiting uncle
carrying their memories in
tow, a woman without an
appetite, and a refugee from
a forgotten country—they all
prove potent ingredients in this
bittersweet and moving meditation
on family, forgiveness, and the things that
nourish us. When language fails, when the past fades, the
perfect meal transcends time and culture and says more
than words ever can. Julia Cho’s plays have garnered critical
praise from New York to Los Angeles. Now she pairs with
Obie Award–winning director Liesl Tommy (Ruined and
Party People) on the elegant, poignant, and lyrical Aubergine.
Julia Cho
P H OTO BY J E N N I E WA R R E N
Treasure Island
Written by Robert Louis Stevenson
Adapted and directed by Mary Zimmerman
Main Season · Thrust Stage
Apr 2016
Mary Zimmerman has mesmerized audiences with her exquisite
adaptations of classic tales from the spellbinding Arabian Nights
to the hypnotic White Snake. This spring the Tony Award–winning
director takes us aboard the Hispaniola for a heart-pounding
voyage filled with tales of swashbuckling gentlemen o’ fortune, a
malicious mutiny led by infamous Long John Silver, and a deadly
quest for fabled buried booty. Caught in the middle is cabin boy
Jim Hawkins, who must find uncommon courage as he faces a
murderous plot and navigates the ambiguous tides of morality.
Sail to Treasure Island with Mary Zimmerman for another visually
tantalizing and exhilarating adventure.
Macbeth
By William Shakespeare
Directed by Daniel Sullivan
Main Season · Roda Theatre
Feb 2016
Tony and Obie Award–winning director Daniel Sullivan—
dubbed the go-to guy for Shakespeare—helms a thrilling new
production of the bard’s murderous play about the lust for
power and the fickleness of fate. Driven by an evil prophesy
and his scheming wife, Macbeth kills the king and claims his
crown, thus beginning a moral descent into a reign of terror.
The New York Times has called Daniel Sullivan’s Shakespeare in
the Park productions “absolutely splendid” and rendered with
“passion, expertise and uncommon intelligence.” We can’t wait
to reveal who will play the notorious couple—stay tuned!
Amy Kim Waschke and
Christopher Livingston in
Mary Zimmerman’s
The White Snake
P H OTO CO U R T E S Y
O F M EL LO PI X .CO M
SEASON SPONSORS
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 9
R
U
YO SSION
PA AWAITS
New dynamic theatre classes for
youth, teens, and adults start
March 30—register today!
berkeleyrep.org/classes
Financial aid available for youth/teen classes
Get ready for Summer Theatre Intensive
Session 1 (grades 6–8): Jun 15–Jul 10
Session 2 (grades 9–12): Jul 14–Aug 7
berkeleyrep.org/summerintensive
PHOTO BY JARED OATES
IN MEMORIAM
Berkeley Rep shares remembrances of two longtime subscribers and supporters
Nancy Croley, a member of the Michael Leibert Society
Shirley and Philip Schild celebrating the opening of
The Pianist of Willesden Lane in October 2013
NANCY CROLEY
May 28, 1939–March 23, 2006
SHIRLEY DICHEK SCHILD
March 18, 1926–October 2, 2014
Berkeley Rep subscriber Nancy Croley cared deeply about
many things. Her friends, the environment, and the arts were
paramount in her interests and affections, and she found a
way to honor each of these passions through her estate.
Berkeley Rep, along with four other local arts nonprofits,
was the grateful recipient of an equal share of the proceeds
from the sale of Nan’s Nob Hill condominium in December
2014. We’ve known about Nan’s generosity for years—this gift
became irrevocable when Nan passed away in 2006—but the
terms of her will allowed her friend and walking companion
Patricia Hurley to live in the condo rent free until her death in
May 2014. Thanks to a super-heated real estate market and the
excellent management of the estate’s executor, Nan’s good
friend (and Berkeley Rep subscriber!) Janet Crane, five arts
organizations that Nancy Croley had loved in her lifetime were
able to reap considerable benefit from the sale of her Polk
Street home.
An architect by trade, Nan’s arts interest was apparent
throughout her life. As an undergraduate at Lake Erie College
in Ohio, she studied painting, art history, and theatre, and years
later she returned to the school as a gallery director and instruc-
A longtime and passionate supporter of Berkeley Rep, Shirley
Schild passed away this fall at the age of 88.
Shirley had a Master of Science degree in library science,
and she worked for several years as a school librarian in Los
Angeles. After retiring, she volunteered at the Los Angeles
County Museum of Art’s library. She was married to Leonard
Dichek for 31 years until his death in 1981. Four years later, she
married Philip Schild and moved to the East Bay where she
started volunteering for the Oakland Museum of California’s
library. She and Philip began attending Berkeley Rep as well,
becoming loyal subscribers and supporters.
Their relationship with the Theatre deepened when they
began sponsoring plays 10 years ago. Director of Development Lynn Eve Komaromi remembers, “What I loved about
Shirley was her tremendous appreciation for the work and
her infectious enthusiasm. She wanted to read all of the plays
each season and then share her passion with her friends and
neighbors. Her generosity went beyond financially supporting
the Theatre.”
In fact, Shirley and Philip could be seen regularly at dress
rehearsals and Page to Stage events. An active resident of St.
CO N TIN U E D O N N E X T PAG E
CO N TIN U E D O N N E X T PAG E
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1
N A N C Y CRO LE Y (CO N TIN U E D)
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tor in scenic design. She moved to California with her longtime partner Chet
Ward in 1982, and in 1984 she moved to
San Francisco to practice architecture.
“The quality of life here was very
important to her,” remembers Janet,
who notes laughingly that Nan also
loved spending time at her vacation
home on the Smith River near the
Oregon border and made the six-plushour trip almost every weekend. “She
was an eclectic person,” recalls Janet.
“She enjoyed life in both the city and
the country, and she cared deeply about
so many different art forms.” In addition
to her strong support of the arts, the
politically progressive Croley gave generously to environmental organizations
like the Sierra Club and the Smith River
Alliance, and at the time of her death,
mourners were asked to make gifts to
the latter organization in her honor.
The early deaths of Nan’s parents probably influenced her careful
estate planning, so that when she
died suddenly of a heart attack at age
67, everything was in order, and her
wishes were clearly documented in her
trust and elsewhere. In 2003, a survey
question by the Organization of Women
Architects, of which Nan was an active
member, asked what she most wanted
to be remembered for when she died.
Nan responded, “I don’t really expect
to be remembered. But I’d like to think
I made a difference in some people’s
lives. I have tried to be thoughtful and
responsible. I want to see any resources
I’ve been able to leave behind directed
toward protecting the environment and
enriching the community.”
S H IRLE Y D I CH E K S CH ILD
(CO N TIN U E D)
Paul’s Towers, Shirley organized groups
of her neighbors and friends to join her,
and she took great pride in seeing many
of those friends become subscribers and
supporters themselves. She often spoke
of bringing her daughter Daryl, son David, and three grandchildren to Berkeley
Rep as well.
This season, Shirley and Philip made
their gift in support of Tartuffe. We
are honored to remember Shirley with
this production.
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R E P ORT
An inside look at Tartuffe auditions
BY ADAM SUSSMAN AND AMY POTOZKIN
It’s late morning in early December in down-
town Berkeley as 17 young performers wait outside Studio A
in the Berkeley Central building. They’re assembled in a
group to audition for the ensemble of Tartuffe, directed by
Dominique Serrand.
Berkeley Rep’s Casting Director and Artistic Associate
Amy Potozkin observes, “Since these actors were auditioning
for a purely physical ensemble and they don’t have lines, Dominique felt it was more useful to see how they work in a group
versus individually. Mary Zimmerman is also a director who
incorporates group improv auditions in her casting process.”
She adds, “In addition to observing comic instincts, movement
skills, and improvisational creativity, it can also reveal the degree to which actors can be generous with one another, or not.”
It’s not just the group audition that makes this casting
call unusual, it’s the cryptic instructions that Dominique gave
the performers ahead of time. Prepare a short dark comedic
improv that incorporates, “a thing, a jig, a thingamajig, a trick
or a treat…whatever you like to do.”
Dominique welcomes the group into the audition room,
introduces himself, and instructs the performers to warm up
however they’d like. The room descends into a mosaic of body
rolls, yoga poses, and moaning vocal noises. Dominique watches attentively, taking in each performer’s warm-up routine.
After five minutes, Dominique gives the group the
following instructions: “Stare straight ahead, then when I say
‘one’ look left, when I say ‘two’ look right.” Dominique does
a trial run, watching how the performers move their heads,
correcting those who do not look in either direction fully. After
several seemingly random calls of “one” and “two,” Dominique
delivers a specific sequence: “One, two, one, one.” The result,
when enacted by the performers, is a classic double take.
The actors are then asked to take any object they have
with them, set it on the ground, and perform the following
sequence: See the object, turn to the object, go to the object,
pick the object up to get a closer look, then look out. The simple directions yield a variety of different results: some actors
are stupefied by their object, unsure of what it is, going in for a
closer look. Others endow their object with great value, looking with wonder and excitement at their find, then looking out
to see if anyone else has observed their discovery.
After several more exercises Dominique announces it’s
time to present the short improvisations everyone has been
asked to prepare. The results are similarly diverse. About half
the performers incorporate language into their improvisations
while the other half are silent or use only sounds. One actor
belts out the instructions for the exercise in faux-Broadway
style. Another actor performs a failed suicide attempt that
leaves the room in hysterics. Another tries to capture a small,
imaginary creature hopping around the studio.
Once all the actors have performed their improvisations,
the audition is over. The actors pack up while smiling, laughing,
and discussing the most memorable comedic bits from the
morning. For the performers who tried out, it appears more
than anything that the experience was fun.
Maria Leigh, one of the auditioning actors who was ultimately cast in the ensemble, loved the experience. “I thought
the audition was really fun. It felt like a workshop. I really loved
Dominique’s energy and process. It was thought out very
methodically but it still felt like we could play.”
Top row (left to right): Luverne Seifert, Maria Leigh, Brian Hostenske, Christopher Carley
Middle row (left to right): Sofia Jean Gomez, Suzanne Warmanen,
Becca Lustgarten, Gregory Linington, Lenne Klingaman
Bottom row (left to right): Steven Epp, Michael Manuel, Nathan Keepers,
Michael Uy Kelly, Todd Pivetti
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COMING SOON: A theatre for the 21st century
Construction of a new, more centrally
located box office began in February.
The new box office will be accessible from the street, as well as
from within the Narsai M. David Courtyard.
This marks the first phase in a historic $6 million renovation of
our signature Thrust Stage to provide artists and audiences a
revitalized state-of-the-art theatre. This summer, construction
will continue with a much-needed upgrade of the theatre,
including a refurbished interior and leading-edge technology.
Meanwhile, plans are underway to transform our Harrison
Street campus, home to all of our pre-production activity,
into a vibrant center for new work. We’re raising $14 million
to fund the expansion of the facilities, and to fully support of
The Ground Floor: Berkeley Rep’s Center for the Creation and
Development of New Work.
Berkeley Rep needs your help to realize the renovation
of the Thrust Stage and the expansion of our Harrison
Street campus, the two key initiatives of the Create Campaign,
a $50 million campaign to create a theatre for the 21st century.
I love the intimacy of the Thrust but I’m excited
that the Campaign will provide much-needed updates
to the lighting and sound capabilities, enhancing artists’
and audiences’ theatre experience. Shouldn’t a first
class theatre have state-of-the-art equipment?
Go behind the scenes and see for yourself
Meet our talented production staff and let them show you
the ins and outs of our Harrison Street campus and the Thrust
Stage. See where the magic is created and learn more
about our exciting plans for Berkeley Rep’s future!
I just wanted to thank you all for hosting such a
fun, informative, interesting ‘open house’ at your
Harrison Street campus. I enjoyed and appreciated
getting a (literal) behind-the-scenes glimpse from
some of the skilled and talented members of the
collaborative collective responsible for creating the
artistic greatness that is Berkeley Rep.
I admire the vision of your Create Campaign, and
will be supporting it.
—S U SA N L ., RECE N T TO U R G U E S T
— BA RBA R A PE T E R S O N ,
S U B S CRIB E R & CRE AT E C A M PAIG N S U PP O R T E R
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R E P ORT
A new generation of subscribers
Members of the Teen Council after a
performance at Berkeley Rep
P H OTO BY J A R ED OAT E S
Creating a space for teens in the theatre world
BY RACHEL EISNER
How do we engage younger audiences with theatre
at Berkeley Rep? “Going to the theatre can be intimidating for
a young person,” explains Community Programs Manager Ben
Hanna. “The cost can deter students, but even more important
is feeling a part of the community. They don’t see other young
people in the theatre—and cocktail hour before the show is
not their scene.”
This is particularly concerning because according to “The
Survey of Public Participation in the Arts, 2002–2012,” conducted by the National Endowment for the Arts, being exposed to
the arts as a child has a stronger correlation to participation
in the arts as an adult than age, gender, education, or income.
Studies like this one illustrate the importance of youth engagement with the arts. If we want them as a part of our future audience, we need to open our doors and welcome them in now.
Almost 13 years ago, the Berkeley Rep School of Theatre
developed Teen Council, a theatre engagement program created by teens for teens. The School also introduced Teen Night,
a program that includes a ticket to a Berkeley Rep show, a
locally catered dinner, and an exclusive interview with an artist
involved in the production—all for just $10. Through Teen
Night, teens are able to celebrate their love of theatre with
other peers through a preshow event and a teen-led post-show
discussion, while getting the inside scoop from artists like Liesl
Tommy, Emma Rice, and Tony Kushner.
Each year, more and more teens join the Bay Area arts
community through this program. Five years ago an average
of 30 teens attended each of our Teen Nights; now we have
to cap events at 100 teens from over 25 schools. This rapid
growth clearly demonstrates that teen audiences want to see
theatre. The question arises: how do we engage them with the
rest of our audience?
“Having large groups of teens in our audience creates an
exciting energy,” explains School Director Rachel Fink. “Their
eagerness to engage with the performance is contagious,
and can be felt throughout the entire theatre.” Last year, the
School of Theatre introduced the Teen Night subscriber program to cultivate the habit of theatregoing as a social event.
Maya Simon, a leader in the Teen Council, says being a subscriber asks teens to make a commitment from the beginning
of the season so “we start to see the same people come back
for every Teen Night.”
As subscribers, teens get the chance to experience a wide
range of theatre with a consistent group of peers. “Being a
subscriber at Berkeley Rep was one of the best decisions I ever
made!” exclaimed sophomore Abram Blitz. When asked why,
teens say that when surrounded by their peers, they are more
comfortable taking artistic risks. Being a subscriber “lets me
see plays that I probably otherwise would not know about,”
says Michael Letang. By offering teen subscriptions, the School
of Theatre is educating a new age of literate and sophisticated
theatregoers who will engage with the variety of complex
themes presented on the stage each season.
Being a teen subscriber allows teenagers to be not only a
part of our teen community but also a part of the Berkeley Rep
family. After participating in Teen Council for four years, David
Kaus shares, “As a subscriber, I view Berkeley Rep as basically the coolest place in the world—an institution that looks
towards theatre’s future.” Teen subscribers are part of the
future of their hometown theatre and the next generation of
theatre-educated artists, advocates, and audience members.
Do you have a teen who would be interested in our
next Teen Night: Head of Passes on Friday, April 24?
Email teencouncil@berkeleyrep.org for more information.
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BY JULIE MCCORMICK
Tartuffe
1643 Molière rejects the inheritance of his father’s title and chooses,
instead, to follow his theatrical dreams, cofounding the troupe Théâtre
Illustre with his lover-collaborator, Madeleine Béjart.
September 25 and November 26, 1664
Private performances of the original
Tartuffe are given at Villers-Cotterêtes
and Château du Rancy.
PRODUC TION
HISTORY
BY LEXI DIAMOND
Since its scandalous start in the 1600s,
Molière’s Tartuffe has been translated,
adapted, and produced around the world.
We’ve highlighted some of the most intriguing moments in its production history.
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January 15, 1622 Molière is born
Jean-Baptiste Poquelin, the son
of a wealthy court upholsterer.
May 12, 1664 The original, three-act version of Tartuffe is
performed at the Palace of Versailles for the court of Louis
XIV. Because of its perceived commentary on the Catholic
Church, the Sun King receives pressure the archbishop of Paris to ban the play. No text from this original version survives.
If you sat in this seat 350 years ago, you would
be risking excommunication and arrest.
From 1664 to 1669, Molière’s classic farce Tartuffe was banned from public performances. Now, it is a beloved
part of the Western theatrical canon that finds new relevancy with every generation of artists and audiences.
But what was so inflammatory about this play that made archbishops and kings take notice?
CO N TIN U E D O N N E X T PAG E
August 5, 1667 The first revised version, now five acts
and called L’Imposteur, is performed in the Théâtre du
Palais-Royal. This version is also banned. An anonymous letter speculated to be penned by Molière himself is published defending the comedy from its critics.
1670 In London, actor Matthew Medbourne creates an English translation and
adaptation, Tartuffe, the French Puritan, that
focuses its religious message on Puritanism
to more closely suit its British audience’s
own political and social situation.
February 5, 1669 The French Parliament lifts its ban
on public performances of the piece, and another
revised version, now called Le Tartuffe, is performed at
the Palaise-Royal Theatre. This version is published.
1694 Canada’s Catholic clergy attempts
to cancel a Quebec troupe’s production of
Tartuffe by bribing its sponsor and excommunicating and imprisoning the director
and lead actor. This has a profound effect
on Canadian theatre for decades to come.
February 17, 1673 Molière dies, collapsing onstage, ironically, during a production of The Imaginary Invalid in which
he played the hypochondriac, Argan.
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Apart from the usual ire that religious critiques draw,
the fact that Tartuffe was a piece of theatre made it doubly
threatening. In pre-industrialized Europe, the only places that
common people could publicly gather were at church and at
the theatre. This largely illiterate population looked to the
stage not just for entertainment, but also for information and
the news. Contrary to today’s reserved audiences, theatregoers in the 16th and 17th centuries were far more raucous and
participatory, hurling food, insults, and helpful suggestions at
the stage. Mob mentality has the potential to take over any
time a group of people assembles, but throw in alcohol, high
emotion, and political critiques of a repressive government,
and a theatre suddenly turns into a powder keg. Consequently,
new plays met with frequent censorship because they threatened the church and crown’s tenuous social control.
Molière was writing at a unique moment in French history,
when simmering political unrest was about to boil over into
decades of revolution and bloodshed. In the late 17th century
absolute monarch Louis the XIV still governed matters of taste
as well as of state. Opulent dinners and over-the-top events at
the lavish Versailles palace drove fashion across the continent;
his generous patronage allowed artists to thrive. Until the days
of liberté, égalité, fraternité, the king and those who had his ear
controlled what was heard on stages at court and in the public
sphere. As the 1789 French Revolution drew closer and the
aristocracy lost its grip over the people, theatre in Paris grew
increasingly bold and political. Despite his popularity with the
aristocracy, Molière’s blend of impish humor and damning
political critiques captured the revolutionary imagination and
secured a place for his plays as enduring national favorites—a
reputation that has lasted until today.
Tartuffe’s trajectory isn’t unique. Many of the plays we
now consider to be classics were banned at some point in their
histories, whether in their home countries or abroad. The social and artistic environments that produced the likes of Shakespeare, Ibsen, Tennessee Williams, and Lorraine Hansberry
also threatened to obliterate their legacies. The consequences
of limiting theatrical expression in France, England, and the
United States has shaped the Western canon just as much as
evolving artistic trends or ticket sales.
FR ANCE
After the French Revolution won new liberties for the common
people, state censorship of the theatre nevertheless continued
throughout the 18th and 19th centuries. Without the crown’s
proprietary grasp on the industry, the theatre scene flourished—the number of venues went from four to nearly 50—
but rampant paranoia in the new government led to a censorship law in 1792. Napoleon also tightened existing state control
when he formed his empire in the early 1800s: performance
houses could only be in prescribed locations, and all scripts
needed the censor’s approval before production.
Once Napoleon’s empire dissolved and the Charter of
1830 secured the freedom of the press in the newly established
monarchy, the state remained fearful of theatre’s disruptive
power, and immediately closed Victor Hugo’s 1832 production
of L’Roi S’Amuse. Though supposedly a play about François I,
the character of the king more closely resembled the current
ruler Louis-Philippe; the portrait was not particularly flattering.
Despite Hugo’s valiant and impassioned attempts to lift the
ban, L’Roi S’Amuse was not performed for another 50 years.
Apart from laws prohibiting hate speech and restrictions during
the war years, modern France has faced little theatre censure.
ENGL AND
In England, things weren’t much better. Public theatres were
not even allowed in the city of London itself until 1660. While
the upper classes could attend private performances within
the city limits, the general public had to trudge across the
Thames to venues like the Swan, the Globe, and the Rose.
The Master of Revels, who coordinated theatrical entertainment in the Elizabethan Court, had the power to shut down
controversial productions and could imprison or even torture
recalcitrant playwrights. In 1737, the Licensing Act went one
step further, declaring that all plays had to be approved by the
Lord Chamberlain’s office before they could be performed.
1844 German dramatist Karl Gutzkow writes Das Urbild des Tartuffe, a comedy that
depicts the struggles of Molière and his company of actors at the time the play was
originally banned. In the final act of Das Urbild, the company performs Tartuffe.
1924 The first film version, Herr Tartuffe, directed by F.W. Murnau, is produced
as a silent movie by German motion-picture production company ufa.
January 14, 1965 The first Broadway
production of Tartuffe opens at the anta
Washington Square Theatre.
1717 The Nonjuror, Colley Cibber’s adaptation, is even
more Britishized than the previous English incarnation
of Tartuffe in 1670. The character Tartuffe becomes
Doctor Wolf, an English Catholic priest who incites a
rebellion in the home of Sir John and Lady Woodvil.
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1952 The Johannesburg Repertory Players perform Tartuffe
in South Africa.
December 4, 1938 Stanislavski
and Kedrov’s Tartuffe opens at
Moscow Art Theatre.
1968 Die Huigelaar, the first
adaptation of Tartuffe in Afrikaans, translated by Gerhard
J. Beukes, is produced at the
Cape Performing Arts Board
in South Africa.
The censor was not only concerned with restricting treasonous
material; the Lord Chamberlain’s office also fancied itself an
arbiter of good taste and deemed certain words and subject
matters inappropriate for public consumption. This law was
not officially repealed until 1968. The following day, the Broadway production of Hair, nude hippies and all, opened on the
West End.
THE UNITED S TATES
Though the United States Constitution has protected freedom
of speech since the 18th century, a puritanical sense of propriety has been protecting delicate American sensibilities from
bawdy content a lot longer. Aristophanes’ comedy Lysistrata,
in which the women of Athens withhold sex and occupy the
Parthenon to prevent a war, was banned in the U.S. for nearly
60 years under the Comstock Law of 1873. This law, which
kept obscene material from being sent through U.S. mail, also
prohibited pornography, Tom Jones, and birth control. Stories
of schools or communities banning or editing plays because
of sensitive (usually sexual) content are a near daily fixture in
today’s news.
During the Red Scare, censorship of a different sort
abounded. From 1938 until 1975, The House Un-American
Activities Committee (huac) investigated potential communist threats to United States security. Hundreds were called
before the committee, including artists like Bertolt Brecht,
Arthur Miller, Hallie Flanagan, and Charlie Chaplin. They were
questioned about their political activities, personal lives, and
the content of their work in an attempt to ferret out communist connections. Anyone who testified before the committee
was blacklisted in Hollywood and New York—no one wanted
to risk getting swept up in the witch hunt themselves. This
culture of fear not only determined which artists had a public
voice, but also fostered a more conservative aesthetic in the
work that did get produced.
Why do plays endure in spite of the adversity they face?
In part, nothing drives ticket sales like a juicy controversy. At
the first public performance of Tartuffe, the crowd was so large
May 27, 1980 Kirke Mechem’s comic
opera Tartuffe premieres at the San
Francisco Opera. To this day, Mechem’s
Tartuffe is one of the most performed
operas by an American composer.
that members of the audience nearly suffocated, and the production ran for a record 45 nights. Perhaps it is because these
stories capture a deeper truth about their times—a truth that
is too painful, insightful, or incendiary to be forgotten. Art
invites people to think and draw their own connections, which
is the most dangerous form of resistance there is. No one can
control what goes on in an audience. It’s alive, and anarchic.
Our imaginations take us outside of ourselves, our laughter
helps us to remember our humanity, and our shared experience of a moment unites us as one. A group of people sitting
in a room, listening together, and using their imaginations will
always be a powerful and political act.
April 19, 1990 Tara Arts, a South
Asian theatre company in Britain,
creates a production of Tartuffe for
the National Theatre that features
an all-Asian cast and uses techniques
from commedia dell’arte enmeshed
with Indian theatre traditions.
1984 Berkeley Rep produces Tartuffe
as part of its 1984–85 season. This
production of the Richard Wilbur translation is directed by Albert Takazauckas
and stars Charles Dean in the title role.
15 CLASSIC PLAYS THAT
HAVE BEEN CENSORED
OR BANNED :
Angels in America Tony Kushner
The Crucible Arthur Miller
Long Day’s Journey into Night Eugene O’Neill
The Importance of Being Earnest Oscar Wilde
Ghosts and A Doll’s House Henrik Ibsen
Jesus Christ Superstar Andrew Lloyd Weber and Tim Rice
M. Butterfly David Henry Hwang
The Vagina Monologues Eve Ensler
West Side Story Arthur Laurents (book), Leonard
Bernstein (music), Stephen Sondheim (lyrics)
Hamlet, Henry IV part 2, Richard II, King Lear, and
The Merchant of Venice William Shakespeare
January 9, 2003 Tartuffe opens on Broadway at the American Airlines Theatre, directed by Joe Dowling. The very
same year, this historically scandalous show shares Broadway with the newly opened musicals Wicked and Hairspray.
May 30, 1996 Broadway’s Circle in the
Square Theatre produces an adaptation called Tartuffe: Born Again by
Freyda Thomas. This reimagining takes
place in an American television studio,
where Tartuffe the Televangelist
preacher has come to wreak havoc.
May 9, 2014 Director Dominique Serrand’s
Tartuffe, starring Steve Epp, opens at South
Coast Repertory. It’s the first stop on this
co-production’s three-theatre journey, the
next leg of which brings them to Berkeley Rep.
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LOOKING FOR THE MAGIC OF THINGS:
jA conversation with Dominique Serrand
BY LEXI DIAMOND
Tartuffe director Dominique Serrand is a visionary theatre
artist with a long-standing relationship with Berkeley Rep. He
took some time with us to shed some light on his journey with
this production, and his view on making theatre today.
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#
Green Bird was particularly fantastic because of its transformative journey.
A LOT OF THE SHOWS WE DO TAKE SEVERAL STEPS; WE DO A FIRST TAKE AND THEN WE LEARN FROM WHAT WE’VE DONE,
AND WE REFINE.
Lexi Diamond: How did your work with Berkeley Rep begin?
Dominique Serrand: It began with Don Juan, which was
our first attempt as a company to work with an opera and
a play, with opera singers and actors. It came from doing
research on the legend of Don Juan—as you know there are
so many Don Juans. We had our eyes set on Molière’s, and
of course we had to listen again to the opera. After I heard
Giovanni, I realized that there was no way I could ever do Don
Juan without Mozart, because his music is so moving, so tragic,
supernatural at times. So we mixed, very freely, Molière and
Mozart, a fantastic and daunting experience.
It was on the Thrust Stage, and we had an electric car
that actually moved—it was a rope trick—with Don Juan and
Don Giovanni on the front seat, and Sganarelle and Leporello
in the back seat. It was a ’56 Chevy convertible with a rigged
electric motor, thanks to your incredible technical crew who
found the car, gutted it, made it into a convertible, and made it
move. One of the most memorable moments was Steve Eppp
as Sganarelle. When he rants in act three, he was on top of the
hood while we were driving and going wild in circles. It was just
beautiful and haunting.
Can you talk a little bit about your approach to creating
work? I’ve heard it described as devised and physical….
You know, I am not sure what devised means. I think it
means everything I’ve done since I was a kid, which is to go
find a space and create a piece in it that’s relevant to the world
we live in today. So if that’s what devised means, that’s what
we are doing…more specifically we combine artistic elements
so they shape themselves together. Everything arrives at the
room at the same time: the thought, the space, the company.
And everything gets put together because of the particular
people in the room, and always somewhat tied to the society
of artists who are in that room at that time. The starting point
is defined by the vision: why do this piece?
At the time of Don Juan, we felt there was such a level of
political hypocrisy that it was time to do the piece, with the
great threat of the religious right coming back very strongly.
Then once in a while we just say, “Okay, enough of this. Let’s
do a funny thing. Something that brings us joy, something
ridiculous about the stupidity we live in.” And then we look at
the magic of things, and that’s how we did Green Bird.
Green Bird was particularly fantastic because of its transformative journey. A lot of the shows we do take several steps;
we do a first take and then we learn from what we’ve done,
and we refine. Green Bird started at Yale—it was very big.
Too big! And then we reduced. The main element of the stage
was sand. And the sand was trapped. So actors could come
through the sand, which was magnificent. I played in it, I came
through the sand. We had sand in our beds for the entire thing.
By the time it came to Berkeley Rep it had become a
Japanese–influenced Italian buffo of sorts. That was a beautiful,
very magical production. Not just farcical, but very beautiful
as well.
That’s the impression that I get of your aesthetic—that you
mix the dark with the humorous, and throw it all together
in really grand, epic images.
We try. We try. Although it depends on what the production is—some of them are epic and magical. I think that
Tartuffe is more epic and less magical. There’s no set change,
it’s all in one day, one long light cue (it’s made up of 400 cues,
of course, but it should feel like one). It’s more like a tragic epic
piece, with Molière’s vitriolic humor of course.
What drew you to Tartuffe, and what keeps drawing you
back to Tartuffe?
First of all, I love to go back and do a production again,
learning from the first time. You know, we rehearse so little. We
used to rehearse 12 weeks, and now we are down to four and a
half, five weeks, whatever, which is barely enough time to even
touch the piece. So we like to remount and rework a piece.
The first Tartuffe came after Congress went to the republicans. Ha! Really?! And we heard all the horrendous stuff that
they were saying about art and pornography, and the attacks
against Mapplethorpe and all these great artists as pornographers. It was basically an attack on the National Endowment for
the Arts, and an attack on artists in general. And we said, “Okay,
well now it’s time to do Tartuffe.” So that was the first time.
Can you speak a little bit about your relationship with
your actors?
The beautiful thing when you have a company of actors,
which I’ve always had, even now, is that we grow. So Luverne
Seifert, who started playing the young lover, now plays the
father. Others have moved to play different parts over the
years, so they all know how the parts play. And it all comes
from a formidable legacy, the old commedia dell’arte companies where you learn the young parts as you start your career
and then you learn the middle-aged parts and then you learn
the old parts. And by the time you get to be the old ones,
you’ve played all of them, so there’s a familiarity and a language within the company, which is very rare to see.
With such a strong relationship with the members of your
company, what’s it like to add new ensemble members
when you go to a new city?
Well, we’re always looking to replace people. A good
example is when we did The Miser, which toured around the
country, we knew from the first performance at American
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Repertory Theatre that some of the actors would leave and
other actors who were not part of the creation would replace
them. So there would always be someone new on the stage,
someone fresh that could somehow bring some oxygen into
the room, a new interpretation. Then some of the actors would
come back and do it for a while, and learn that the show had
moved and evolved. So we’re very used to bringing in new
people. And we always hope it goes well!
It’s always a bit puzzling for
me when we are in Minneapolis to
hear people wonder, “You’re done.
This was part of the past.” And we
say: No, we’ve moved on, but we’re
still here! We’re in a different place and
we pursue the work. It’s not about brick
and mortar, it’s about human capital.
And what’s your relationship like with designers, whom
you mentioned you work with very closely in the room?
Well, my relationship, for instance, with Marcus [Dilliard],
who’s the lighting designer and whom I’ve worked with for
decades, is quite simple. We talk at length about the vision, the
space, the purpose of the production. We talk at really great
depth about how it should work rhythmically with, and how
we create an image, a picture—I hate to say picture because
I’m not a director who works with pictures—how we create
a movement and an emotion with lights. And then I sit in the
room and he lights it. And we rarely tech. I go through the
show and he lights it and he times it. And we have more conversations and the next day we come back and he makes some
changes. But we don’t actually stop and tech, step by step. Of
course, if a light is particularly tricky, we have to make sure the
actors are aware of that light so they know how to live in it.
So that’s my relationship. We have long conversations,
we’re very close, but I never stop, I never ask for a light, I never
say, “I think that’s too dark.” I say “You’re making me look like
I’m doing something so somber, so intellectually complex.”
And he adjusts and comes up with some beautiful adjustment
that I barely notice, actually. I just look at the scene and say,
“It’s the same as yesterday, only now I can see it beautifully.”
Of course, this would not be possible if we did not know
each other very well. There is friendship and a lot of trust
involved, besides enormous talent.
How does farce play a role in
this production?
Well, yes, Tartuffe was created, in its first
version, as a farce in three acts. The production we’re doing is a production that is a result
of all the censorship and all the rewrites—a
production in five acts, the final one that he
wrote. And so we looked at it very differently.
We said, “Well, if the first one was a farce about
devouts and bigots, the last iteration is one that is
absorbed with the pain caused by the censorship and
the absolute meanness that surrounded the production.” So our production reflects the fight that Molière
was going through. It’s not at all a farcical interpretation.
It’s more of a tragic approach. But at the same time, of course,
the funny scenes, comedy scenes between lovers and servants
are funny because they are.
Is that the same way that you made work with Jeune Lune?
Absolutely. The operation closed, unfortunately, because it
was in debt. A very sad story indeed. But the artists remained.
What is the appetite like for farce in today’s audiences?
I’ve been distancing myself from farce for some time, at
least a decade. I pursue the humor, of course, which is necessary. A part of me is funny, and that’s the way we are. But
I think it takes different tones with maturity.
I think you can see it reflected in the older artists, where
it becomes more muscular. The farce was more present in
the younger years as a company. Of course when you’ve
done it for many years, it’s part of your muscle, so it’s always
there somewhere.
I think a great example is Luverne, who plays Orgon, the
patriarch. Luverne has worked with me for years. He is a natural
comic actor, extremely funny. And I
asked him to not be funny at all. And it’s
beautiful: really naturally funny actors,
when they turn to tragedy, are often
CO N TIN U E D O N PAG E 4 0
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Dominique Serrand and Brian
Baumgartner in Green Bird
P H OTO BY K E N F R I ED M A N
Steven Epp and Dominique Serrand in Figaro
P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
LONG-TERM
RELATIONSHIP:
j
Two decades with Steven Epp � Dominique Serrand
BY LEXI DIAMOND
Bay Area audiences have enjoyed a steadfast
romance with Steven Epp and Dominique Serrand, and this
year’s production of Tartuffe marks 20 years since they began
their celebrated liaison with Berkeley Rep.
These theatre-makers originally came to Berkeley as
members of Theatre de la Jeune Lune, a beloved Minneapolis–based theatre company. Serrand co-founded Jeune Lune
in France in 1978 shortly after graduating from École Internationale de Théâtre Jacques Lecoq. Epp joined the company in
1983, and in 1985 Jeune Lune moved permanently to the Twin
Cities. Jeune Lune served as a force of challenging, nontraditional works of drama for 30 years, winning the Regional
Theatre Tony Award in 2005.
Jeune Lune was known for creating innovative works of
highly physical theatre. They built original pieces and adaptations by exploding and exploring source material to find
new and relevant stories. Imaginative, absurd, and visually
rich, Jeune Lune’s work was infused with elements of acrobatics, clowning, mime, and commedia techniques that the
company’s founders studied under Jacques Lecoq, renowned
physical theatre pioneer. They performed their pieces not only
in their warehouse space in Minneapolis (where the company
members were affectionately known by the community as
“Luneys”), but also in regional theatres across the country.
Though Jeune Lune shut down in 2008, Serrand and Epp have
continued to create work together as co-artistic directors of
the Moving Company.
Berkeley Rep’s relationship with Jeune Lune began in
1994. Tony Taccone—then Berkeley Rep’s associate artistic
director—recalls, “I flew out to see their production of Green
Bird and was knocked out.” Taccone brought them to the West
Coast, where they performed Don Juan Giovanni, their operatic
mash-up of Mozart’s Don Giovanni, Molière’s Don Juan, and
other classical texts. Over the next several years, Jeune Lune
affiliated artists have graced Berkeley Rep’s stages many more
times, bringing us Green Bird (2000), Haroun and the Sea of Stories (2002), The Miser (2006), Figaro (2008), A Doctor in Spite of
Himself (2012), and Accidental Death of an Anarchist (2014). On
each visit, these artists wore many different hats, sometimes
serving as adaptors, directors, performers, designers, or combinations of these roles.
In the two decades since Serrand and Epp began sharing
their work here, they’ve established a relationship with the
Berkeley Rep community. Epp celebrated this bond in an
interview with SFGate, saying, “I feel like I’ve built up a
nice little history with the audience, a relationship…. Work
becomes more rewarding when you have that. They see a
range of your work and get to know you.” This familiarity
provides an opportunity for the artists and audiences
alike to take bigger risks with each piece. What’s more,
every show that Serrand and Epp bring to the bay
becomes part of a larger conversation with Berkeley
Rep’s audiences. This conversation is deepened and
made more complex with each visit, giving each
return, each new chapter, a unique dynamism.
Such a vital connection between audience and
artists is so rare and so special in theatre today.
Dominique Serrand and Steven
Epp in Don Juan Giovanni
Steven Epp and David Rainey in The Miser
P H OTO BY K E N F R I ED M A N
P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3
N E X T AT B E R K E L E Y R E P
“Unbelievably powerful…beautiful…
an extraordinary play.” —WBEZ RADIO
By Tarell Alvin McCraney
Directed by Tina Landau
STARTS APRIL 10
Cheryl Lynn Bruce
PHOTO BY MICHAEL BROSILOW
S E A SO N S P O N SO R S
Berkeley Repertory Theatre, in a coproduction with South
Coast Repertory and Shakespeare Theatre Company, presents
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R
SUSAN M E DAK , M ANAGIN G D IREC TO R
CAST
ADAP TE D BY
David Ball
D IREC TE D BY
Dominique Serrand
M ARCH 13–APRIL 12 , 2015
RO DA TH E ATRE · LIM ITE D S E A SO N
Tartuffe is made possible thanks to the generous support of
SEASON SPONSORS
Jack & Betty Schafer
The Strauch Kulhanjian Family
Valere Christopher Carley*
Tartuffe Steven Epp*
Elmire Sofia Jean Gomez*
Damis Brian Hostenske*
Laurent Nathan Keepers*
Mariane Lenne Klingaman*
Cleante Gregory Linington*
Madame Pernelle/Officer Michael Manuel*
Orgon Luverne Seifert*
Dorine Suzanne Warmanen*
Ensemble Michael Uy Kelly, Maria Leigh,
Becca Lustgarten, Todd Pivetti
LE A D S P O N S O R S
Bruce Golden & Michelle Mercer
E XECU TIV E S P O N S O R S
Shirley D. & Philip D. Schild
Guy Tiphane
SPONSORS
Thalia Dorwick
David Hoffman & Joan Sarnat
Dugan Moore
A S S O CIAT E S P O N S O R S
Hitz Foundation
Dale & Don Marshall
Pat Rougeau
Cynthia & William Schaff
PRO D U C TI O N S P O N S O R
PRODUC TION S TAFF
Scenic Design Dominique Serrand &
Tom Buderwitz
Costume Design Sonya Berlovitz
Lighting Design Marcus Dilliard
Sound Design Corinne Carrillo
Casting Joanne DeNaut, csa
Amy Potozkin, csa
Production Stage Manager Michael Suenkel*
* Denotes a member of Actors’ Equity Association, the Union of Professional Actors
and Stage Managers in the United States.
David Ball’s adaptation of Tartuffe is presented in arrangement with Graham
Agency, New York (grahamacynyc@aol.com)
Affiliations
Partial support of open captioning is provided by
Theatre Development Fund.
The director is a member of the Society of
Stage Directors and Choreographers, Inc., an
independent national labor union. The Scenic,
Costume, Lighting, and Sound Designers in
lort Theatres are represented by United
Scenic Artists Local usa-829, iatse.
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5
BE R K E L E Y R E P P R E S E N T S
Christopher Carley
VA L E R E
Christopher is pleased
to be working at
Berkeley Rep for the
first time. His New
York credits include, on
Broadway, The Beauty
Queen of Leenane (dir.
Gary Hynes); off Broadway, A Skull in Connemara (Roundabout Theatre
Company) and Once in a Lifetime (Atlantic Theater Company); and off off Broadway, On the
Nature of Religion (Atlantic Theater Company)
and Suspicious Package (Wordmonger Productions). Regionally, he has appeared in The Cripple of Inishman (Portland Center Stage) and
Poor Beast in the Rain (dir. Wilson Milam). In
film and television, some of his credits include
Gran Torino (dir. Clint Eastwood), Lions for
Lambs (dir. Robert Redford), Garden State (dir.
Zach Braff), Agent Orange (dir. Tony Scott),
The Sopranos, House, csi: NY, The Crazy Ones,
Law & Order: svu, Studio 60 on the Sunset Strip,
Numb3rs, Veronica Mars, Ro, Ed, and Campus
Ladies. Christopher received his bfa from New
York University’s Tisch School of The Arts.
Follow him on twitter @carleychristoph.
Steven Epp
TA R T U F F E
Steven has appeared
at Berkeley Rep in
Accidental Death of an
Anarchist, A Doctor in
Spite of Himself, Figaro,
The Miser, Don Juan
Giovanni, and he adapted The Green Bird. He
is an actor, writer, and
co-artistic director of
the Moving Company, based in Minneapolis,
where his acting/writing credits include The
House Can’t Stand, Come Hell and High Water,
Out of the Pan Into the Fire, and Imaginary
Invalid at Playmakers, Massoud for Center Theatre Group, Tartuffe at South Coast Rep, and
Love’s Labour’s Lost at Actors Theatre of Louisville. His regional credits include productions
at the Guthrie Theater, Ten Thousand Things,
Yale Repertory Theatre, the Jungle Theater, La
Jolla Playhouse, Trinity Repertory Company,
Spoleto Festival, American Repertory Theatre,
the Alley Theatre, Intiman Theatre, Center
Stage, the Shakespeare Theatre Company, Seattle Repertory Theatre, and the New Victory
Theater off Broadway. Steven was an actor,
writer, and co-artistic director at Theatre de la
Jeune Lune, winner of the 2005 Tony Award
for Best Regional Theatre, from 1983–2008.
Acting credits include title roles in Tartuffe,
Crusoe, Hamlet, Gulliver, Figaro, and The Miser.
Steven has co-authored numerous plays including Children of Paradise, winner of the 1993
Outer Critics Circle Award for Best New Play.
26 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
profiles
He was a 1999 Fox Fellow, a 2009 McKnight
Theatre Artist Fellow at Playwrights’ Center,
and a 2013 Beinecke Fellow at Yale University,
and won the 2012 Helen Hayes Award for Best
Actor as Truffaldino in Servant of Two Masters.
Steve holds a degree in Theatre and History
from Gustavus Adolphus College. He lives
in Minneapolis with his wife, and has three
grown children.
Sofia Jean Gomez
ELMIRE
Sofia is thrilled to be
back at Berkeley Rep.
Her theatre acting credits include Argonautika
and Arabian Nights at
Berkeley Rep, Shakespeare Theatre Company, McCarter Theatre
Center, and Kansas City
Repertory Theatre. She
has also performed at Yale Repertory Theatre,
the Goodman Theatre, Denver Center Theatre
Company, Oregon Shakespeare Festival, Arizona Theatre Company, and the Shakespeare
Theatre of New Jersey. Sofia has performed off
Broadway at Signature Theatre Company (Angels in America), Manhattan Theatre Club, New
Georges, Page 73, and Lake Lucille. Her TV
credits include Unforgettable. She graduated
from Yale School of Drama. She has received
nominations or awards from the Lucille Lortel
Foundation, San Francisco Bay Area Theatre
Critics Circle, Helen Hayes Awards, and the
Denver Post. Most recently Sofia received Best
Performances of 2014 in DC for The Tempest at
the Shakespeare Theatre.
Brian Hostenske
DA M I S
Brian’s theatre credits
include Bloody Bloody
Andrew Jackson at Center Theatre Group, Edith
Can Shoot Things and
Hit Them with Artists
at Play (Los Angeles
Ovation and glaad
Media Award nominations), Playboy of the
Western World at A Noise Within, The Winter’s
Tale and Twelfth Night at Shakespeare Santa
Cruz, Mother Courage at La Jolla Playhouse,
and Tartuffe at South Coast Repertory. Brian
received his bfa from the University of Evansville (Indiana) and his mfa from University of
California, San Diego.
Nathan Keepers
L AU R E N T
Nathan is returning to
Berkeley Rep, where he
was seen as La Flèche
in The Miser. Nathan,
along with Steven
Epp and Dominique
Serrand, co-runs the
Moving Company in
Minneapolis, where
he has co-conceived,
written, directed, and performed (respectively) in For Sale, Out of the Pan Into the Fire,
Werther and Lotte, All’s Fair, and Come Hell and
High Water. For 11 seasons, Nathan was with
Theatre de la Jeune Lune, where he co-created
and performed in many productions including
Chez Pierre, The Little Prince, Amerika, Fishtank,
The Deception, The Miser, Tartuffe, and others.
In Minneapolis, he has been seen on stage at
the Jungle Theater (Waiting for Godot, Fully
Committed, The Swan), Ten Thousand Things,
the Guthrie Theater, and Children’s Theatre
Company. Nationally, Nathan has worked at
South Coast Repertory, PlayMakers Repertory
Company, American Repertory Theatre, Actors
Theatre of Louisville, the Alley Theatre, La Jolla
Playhouse, and the Folger Theatre in Washington, DC. He has studied with Pierre Byland in
Switzerland and Philippe Gaulier in London.
Michael Uy Kelly
ENSEMBLE
This is Michael’s first
role with Berkeley Rep.
Other previous credits
include Mutt: Let’s All
Talk About Race with Impact Theatre and Ferocious Lotus Theatre, 410
[Gone] with Crowded
Fire Theater, and Tenderloin with the Cutting Ball
Theater. Michael earned his BA in Theatre Arts
from San Francisco State University, focusing
on acting, directing, and stagecraft.
Lenne Klingaman
MARIANE
Lenne is making her
Berkeley Rep debut.
She grew up in San
Francisco in the Mission
and is thrilled to be back
in the Bay Area. Her
recent credits include
the world premiere of
James Still’s Appoggiatura and Juliet in Romeo &
Juliet (Denver Center Theatre Company); Anna
in Anna Karenina (Capital Stage); Mariane in
Tartuffe (South Coast Repertory); Viola in
Twelfth Night, The Three Musketeers, and A
Midsummer Night’s Dream (Shakespeare Santa
Cruz); Richard III (Intiman Theatre); Flight (P3/
east); The Rehearsal, Richard III, and Noises Off
(A Noise Within); and Measure for Measure and
The Fantasticks (Colorado Shakespeare Festival). Lenne’s television and film credits include
Cold Case, Twenties (a web production from
the creators of Dear White People), Love: As
You Like It, The Exchange, and various 5-Second
Films. She recently starred in The Lizzie Bennett
Diaries spin-off Welcome to Sanditon. Lenne
received her mfa in Acting from the University
of Washington.
Maria Leigh
ENSEMBLE
Maria is a Bay Area actor
who has worked locally
and internationally with
many companies. Her
recent credits include
Late: A Cowboy Song at
Custom Made Theatre
Company, Macbeth
at Fort Point and The
Odyssey on Angel Island
with We Players, ‘Tis Pity She’s a Whore with the
Breadbox, and Chamber Macbeth and Tartuffe
with Rapid Descent Physical Performance
Company. Maria has also collaborated and performed with foolsfury, San Francisco Theater
Pub, Centro Estatal de las Artes (Mexicali, MX),
the Cutting Ball Theater, Ragged Wing, La Tropa, and the Thunderbird Theatre Company. For
more information, please visit marialeigh.com.
Gregory Linington
CLEANTE
Gregory’s New York
credits include The Unfortunates at Joe’s Pub
at the Public Theater
and Throne of Blood
at Brooklyn Academy
of Music. He has also
appeared in The Tempest
at the Shakespeare Theatre Company, Romeo
& Juliet at Shakespeare Center of Los Angeles,
Tartuffe at South Coast Repertory, End of the
Rainbow at Center Theatre Group, Equivocation at Arena Stage, and Welcome Home, Jenny
Sutter at the Kennedy Center. He is a 12-year
company member of the Oregon Shakespeare
Festival, where he has performed in Love’s
Labor’s Lost, Julius Caesar, Merchant of Venice,
King Lear, The Tempest, The Cherry Orchard,
Equivocation (world premiere), and Oedipus
Complex (world premiere), among others.
Gregory is also a company member of Misery
Loves Company in Prague, appearing in As You
Like It, Cloud Nine, Angels in America, and The
Age of Reason (world premiere), among others.
His film and TV credits include Heat of Deeds,
Persuasion, Harrison’s Flowers, Grey’s Anatomy,
Shameless, Major Crimes, and The West Wing.
He has taught at Southern Oregon University,
Oregon Shakespeare Festival, and Los Angeles
High School Shakespeare Project. Gregory
received his training from the Groundlings,
siti Company at Skidmore College, and Pacific
Conservatory for the Performing Arts. Visit
gregorylinington.com.
Becca Lustgarten
ENSEMBLE
Becca is thrilled to be
making her Berkeley
Rep debut. Her recent
credits include Tartuffe
and Death of a Salesman
(South Coast Repertory). Her other favorite
credits include Three
Sisters at Williamstown
Theatre Festival, directed by Michael Greif; Joseph and the Amazing
Technicolor Dreamcoat at the Hangar Theatre,
directed by Kevin Moriarty; and a number of
new plays developed and produced by the Actors Studio (nyc) and Primary Stages Einhorn
School of Performing Arts. She received her
bfa in Theatre Arts from Boston University
and studied at the Accademia dell’Arte in
Arezzo, Italy. In addition to her theatrical work,
Becca is a writer and musician. Extraordinary Performance.
Proudly serving Berkeley, Albany, Kensington, El Cerrito, Emeryville,
Oakland and Piedmont
Lorri Arazi
Leslie Avant
Milton Boyd
Norah Brower
Carla Buffington
Jackie Care
Stina Charles-Harris
Chris Cohn
Carla Della Zoppa
Francine Di Palma
Debra Dryden
Leslie Easterday
Gini Erck
Debi Fitzgerrell
Jennie A. Flanigan
Wendy Gardner Ferrari
Toni Hanna
Nancy Hinkley
Maureen Kennedy
Jack McPhail
Denise Milburn
Bob & Carolyn Nelson
Nancy Noman
Sandy Patel-Hilferty
Amy Robeson
Ira & Carol Serkes
Geri Stern
Diane Verducci
1625 Shattuck Avenue | Berkeley, CA 94709 | 510.982.4400
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2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
BE R K E L E Y R E P P R E S E N T S
Michael Manuel
Luverne Seifert
Michael is happy to be
making his Berkeley
Rep debut. He was
most recently seen in
Impro Theatre’s Western
Unscripted at the Falcon
Theatre in Los Angeles.
Michael has worked in
regional theatres across
the country including
Seattle Repertory Theatre, the Empty Space
Theatre, South Coast Repertory, Yale Repertory Theatre, Theatre for a New Audience, New
Jersey Shakespeare Festival, Manhattan Theatre Club, the Mark Taper Forum, Cornerstone
Theater Company, Shakespeare Center of Los
Angeles, A Noise Within (Dramalogue and LA
Critics Circle awards), the Geffen Playhouse,
Upright Citizens Brigade, Ojai Playwrights
Conference, InterAct Theatre Company (LA
Weekly and Ovation awards), the Pasadena
Playhouse, Main Street Theatre, Playwrights
Horizons, About Productions, and Parson’s
Nose. His television and movie credits include
Without a Trace, Medium, National Treasure,
Los Americans, and the upcoming feature The
Millionaires’ Unit. Michael is a graduate of the
Yale School of Drama.
Luverne last performed
at Berkeley Rep in Don
Juan Giovanni. His performance credits include
The 39 Steps, Servant of
Two Masters, The Government Inspector, and The
Ugly One (the Guthrie
Theater); Music Man,
Measure for Measure,
Vasa Lisa, Man of La Mancha, My Fair Lady,
Othello, Raskol, Richard the Third, Little Shop of
Horrors, and Antigone (Ten Thousand Things);
and For Sale (the Moving Company). His other
theatre credits include Polonius in Hamlet (off
Broadway, New Victory Theater); Tartuffe,
Amerika, The Three Musketeers, Chez Pierre,
Children of Paradise, Gulliver, Twelfth Night, The
Hunchback of Notre Dame, Yang Zen Froggs, and
Germinal (Theatre de la Jeune Lune, where he
was an artistic associate); The 39 Steps (Arizona
Repertory Theatre); Tales of a West Texas Marsupial Girl, Antigone, and The Lion, the Witch and
the Wardrobe (Children’s Theatre Company);
and productions at La Jolla Playhouse, South
Coast Repertory, Trinity Repertory Company, ArtsEmerson, and Spoleto Festival. He is
currently a teaching specialist at the University
of Minnesota. He received a 2003 McKnight
Theater Artist Fellowship and a 2009 Ivey
Award. Luverne trained at Augsburg College
and Burlesque Center for Clown, Switzerland.
M A DA M E P E R N E L L E /O F F I C E R
A Berkeley Institution Since 1985
Our seasonal menu is based on
local produce, sustainable
seafood and meats.
Join us for a
pre-theatre dinner
Tuesday to Sunday.
1329 Gilman Street, Berkeley
510-527-9838
www.lalimes.com
follow us on
facebook, twitter and instagram
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2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
profiles
Todd Pivetti
ENSEMBLE
Todd is thrilled to be
making his Berkeley
Rep debut. He has most
recently appeared in The
Balcony with Collected
Works at the Mint in
San Francisco, Cock at
the New Conservatory
Theatre Center, The
Speakeasy with Boxcar
Theatre, Threepenny Opera with San Jose Stage
Company, Julius Caesar (tour) with the San
Francisco Shakespeare Festival, A Midsummer
Night’s Dream and The Imaginary Invalid with
Pacific Repertory Theatre, Twelfth Night and
The Mandrake at Shakespeare Santa Cruz, and
he played Peer Gynt in Peer Gynt at UC Santa
Cruz as his master’s thesis. Todd has also done
numerous readings and workshops with Playwrights Foundation, Crowded Fire Theater,
and the Playwrights’ Center of San Francisco. ORGON
Suzanne Warmanen
DORINE
Suzanne is making her
Berkeley Rep debut.
Her theatre credits
include Vanya and Sonia
and Masha and Spike,
Pride and Prejudice, The
Winter’s Tale, Macbeth,
The Importance of Being
Earnest, A View from the
Bridge, Lost in Yonkers,
Pirates of Penzance, Hedda Gabler, The Playboy
of the Western World, Summer and Smoke, A
Midsummer Night’s Dream, Much Ado About
Nothing, The Rover, A Doll’s House, Top Girls,
Tone Clusters, Naomi in the Living Room, and
A Christmas Carol all at the Guthrie Theater;
Vanya and Sonia and Masha and Spike at
Arizona Theatre Company; A Lovely Sunday for
Creve Coeur at Gremlin Theatre; All’s Fair/The
War Within at the Moving Company; Amerika,
or the Man Who Disappeared at Theatre de la
Jeune Lune; and Measure for Measure at Ten
Thousand Things. Her recordings include the
vocal CD All Around Woman. She appeared
in the film Herman, u.s.a. Suzanne earned
her mfa at the University of Minnesota, Twin
Cities, and her bfa at the University of Minnesota, Duluth. She is the recipient of the 2009
Society of Promethians award.
David Ball
A DA P T E R
David is an award-winning playwright,
director, novelist, and drama theoretician who
wrote Backwards and Forwards, the standard
script analysis textbook for the past quarter
century. He was dramaturg and playwright at
Minneapolis’s Guthrie Theater in the 1970s;
professor of acting, directing, playwriting, and
dramaturgy at Carnegie Mellon University in
the early 1980s; artistic director of Pittsburgh’s
Metro Theater; and director of Duke University Drama through 1991. His plays and adaptations have been staged at major regional
theatres and off Broadway, including The Miser
and Tartuffe for Tony Award–winning Theatre
de la Jeune Lune. His Swamp Outlaw, a Civil
War–era novel of Lumbee Indian Henry Berry
Lowery and his outlaw raiders, is a Kindle
favorite. He has had the privilege of working
with director Dominique Serrand for 25 years.
In a baffling (even to himself) career change,
for 15 years, David has been America’s most
influential jury consultant. His favorite job
ever: taxi driver in 1961.
The Academy of St Martin in the
Fields featuring Jeremy Denk
M A R 1 5 -1 6
Conductor and pianist Jeremy Denk
performs works of Bach and Stravinsky
while touring with the Academy of St
Martin in the Fields, one of the world’s
most highly regarded chamber orchestras.
Dominique Serrand
DIREC TOR/SCENIC DESIGNER
Dominique has directed several shows at
Berkeley Rep, including Figaro, The Miser,
Haroun and the Sea of Stories, The Green
Bird, and Don Juan Giovanni. He is co-artistic
director of the Moving Company, with Steven
Epp, a company dedicated to creating new
work and reimagining work from the past. A
Paris native, Dominique was artistic director
and one of the co-founders of Theatre de la
Jeune Lune from 1978 to 2008. He studied
at the National Circus School and the Ecole
Jacques Lecoq in Paris. Dominique has acted,
conceived, directed, and designed for most
Jeune Lune productions for more than 30
years, concentrating primarily on directing.
His directing credits include The Kitchen, Lulu,
The Bourgeois Gentleman, Romeo and Juliet,
Red Noses, 1789, Children of Paradise: Shooting a
Dream, 3 Musketeers, The Pursuit of Happiness,
Queen Elizabeth, Tartuffe, Gulliver, The Seagull,
The Miser, The Little Prince, and Amerika, or
the Disappearance. He staged several operas
including The Magic Flute, Cosi Fan Tutte, Don
Juan Giovanni, Figaro, Carmen, Maria de Buenos
Aires, and Mefistofele. Dominique has directed
on numerous stages including PlayMakers
Repertory, La Jolla Playhouse, Yale Repertory
Theatre, American Repertory Theatre, Actors
Theatre of Louisville, the Guthrie Theater, Alley Theatre, and Children’s Theatre Company,
amongst others. He is a usa/Ford and Bush
fellow. In 2005, Theatre de la Jeune Lune received a Tony Award for best regional theatre.
Dominique has been knighted by the French
government in the order of Arts and Letters.
Tom Buderwitz
CO -SCENIC DESIGNER
Tom has designed for South Coast Repertory,
Center Theatre Group, the Geffen Playhouse,
the Pasadena Playhouse, the Goodman
Theatre, Intiman Theatre, Portland Center
Stage, the Denver Center Theatre Company,
Handel & Haydn featuring
principal trumpet Mark Inouye
M A R 1 8 , 2 0 -2 1
Ton Koopman conducts Haydn’s
Symphony No. 98 and the Suite No. 1 from
Handel’s graceful Water Music. SFS
principal trumpet Mark Inouye shines in
Haydn’s Trumpet Concerto.
INOUYE
Bychkov conducts Bruckner
M A R 2 5 -2 7
Semyon Bychkov leads Bruckner’s colossal
Eighth Symphony, hailed in its time by
composer Hugo Wolf as “the absolute
victory of light over darkness.”
BYCHKOV
TICKETS
S TA R T AT
sfsymphony.org
(415) 864-6000
$15*
Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. *Subject to Availability Box Office Hours
Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin
SECOND CENTURY
PARTNERS
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Partner
SEASON
PARTNERS
Official
Airline
INDIVIDUAL
GIVING
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Wine
SFS 020915 denk 1_2v.pdf
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9
BE R K E L E Y R E P P R E S E N T S
the Laguna Playhouse, Chautauqua Theater
Company, Arizona Theatre Company, San
Diego Repertory Theatre, Artists Repertory
Theatre, the Antaeus Company, Reprise Theatre Company, the Theatre @ Boston Court,
pcpa Theaterfest, Riverside Theatre, Florida
Studio Theatre, Rubicon Theatre Company,
Rogue Machine Theatre, Deaf West Theatre,
Ensemble Studio Theatre/Los Angeles, and A
Noise Within, among many others. Tom has
been honored with four LA Stage Alliance
Ovation Awards (26 nominations) and three
LA Drama Critics Circle Awards. For television,
Tom has designed specials and series for every
major broadcast and cable network and has
three Emmy Award nominations and an Art
Directors Guild Award nomination. Please visit
tombuderwitz.com.
Sonya Berlovitz
COSTUME DESIGNER
Sonya previously designed The Green Bird,
Haroun and the Sea of Stories, and The Miser at
Berkeley Rep. She designed Hamlet for New
Victory Theatre, and her regional credits have
included the Moving Company, South Coast
Repertory, Playmakers Repertory Company,
the Children’s Theatre Company, the Guthrie
Theater, American Repertory Theatre, La Jolla
Playhouse, and Actors Theatre of Louisville.
She was the resident costume designer at
Theatre de la Jeune Lune between 1980 and
2008; shows included Carmen, Cosi Fan Tutti,
Hamlet, The Seagull, The Miser, and Tartuffe.
She is a graduate of La Chambre Syndicale
de la Couture Parisienne and the School of
the Art Institute of Chicago. Sonya has been
the recipient of numerous grants and awards
including the Bay Area Theatre Critics Circle’s
Best Costume Design Award (The Green Bird,
2000), a Minnesota State Arts Board Initiative
Grant (2005 and 2013), and a McKnight Theatre Artist Fellowship (1999).
Marcus Dilliard
LIGHTING DESIGNER
Marcus has previously designed Figaro, The
Miser, Haroun and the Sea of Stories, The Green
Bird, and Don Juan Giovanni for Berkeley Rep.
He has designed for theatre, opera, and dance
across North America and in Europe, including
numerous productions for Theatre de la Jeune
Lune, the Guthrie Theater, Theater Latté Da,
Minnesota Opera, Minnesota Orchestra, Children’s Theatre Company, American Repertory
Theatre, and Intiman Theatre. He has also designed for Penumbra Theatre, Dallas Theater
Center, the Shakespeare Theatre Company,
the Athens Festival, Arena Stage, Seattle Repertory Theatre, Oregon Shakespeare Festival,
Actors Theatre of Louisville, Minnesota Dance
Theatre, Black Label Movement, Flying Foot
Forum, Katha Dance Theatre, Portland Opera,
San Diego Opera, the Spoleto Festival (Italy),
Flanders Opera, Opera Philadelphia, Opera
Pacific, Ordway Music Theater, Pittsburgh
3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
profiles
Opera, Fort Worth Opera, Vancouver Opera,
Le Opera de Montreal, Canadian Opera Company, Chicago Opera Theater, and Boston Lyric
Opera. He is the recipient of an Ivey Award, a
Sage Award, and two McKnight Theater Artist
Fellowships. He is the head of the design and
technical theatre program at the University of
Minnesota and is a member of United Scenic
Artists, the U.S. Institute for Theatre Technology, and is a graduate of Boston University’s
School for the Arts.
Corinne Carrillo
SOUND DESIGNER
Corinne is a freelance sound designer based
in Orange County. At South Coast Repertory
she has designed the world premiere of Adam
Rapp’s Purple Lights of Joppa Illinois, Tartuffe,
Charlotte’s Web, The Miraculous Journey of
Edward Tulane, and The Long Road Today,
which was a part of scr’s theatre project
Dialogue/Diálogos. She previously served as
the resident sound designer for the Laguna
Playhouse. Some of her sound designs include
Shirley Valentine, Private Lives, Marvelous
Wonderettes: Caps and Gowns, Plaid Tidings,
Chapter Two, Having It All, and Steel Magnolias.
She is the resident sound designer for Breath
of Fire Latina Theater Ensemble, for whom
she designed the world premiere of Angel of
the Desert at scr. She has designed two world
premiere musicals at the Oregon Shakespeare
Festival, The Unfortunates and The Cocoanuts.
She is a graduate of UC Irvine’s mfa program
in sound design.
Joanne DeNaut, CSA
CASTING DIREC TOR
Joanne is the full-time casting director for
South Coast Repertory, casting over 175 productions in addition to all readings and workshops, including NewSCRipts and scr’s annual
Pacific Playwright’s Festival. Other work
includes casting for Center Theatre Group,
Shakespeare Center of Los Angeles, Seattle
Repertory Theatre, and La Jolla Playhouse. She
also casts for the University of Southern California’s mfa New Works Festival. Film credits
include work with Octavio Solis, Juliette
Carrillo, Mark Rucker, and the American Film
Institute. Joanne teaches auditioning for both
scr’s Intensive Acting Program and Saddleback Community College. She received her BA
from the University of California, Irvine. As a
member of the Casting Society of America,
Joanne was the recipient of four Artios nominations and an Artios Award for Joe Turner’s
Come and Gone.
Amy Potozkin, CSA
CASTING DIREC TOR/
A R T I S T I C A S S O C I AT E
This is Amy’s 25th season at Berkeley Rep.
Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona
Theatre Company, Aurora Theatre Company, B
Street Theatre, Bay Area Playwrights Festival,
Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre,
Social Impact Productions Inc., and Traveling
Jewish Theatre. Amy cast roles for various
indie films, including Conceiving Ada, starring
Tilda Swinton; Haiku Tunnel and Love & Taxes,
both by Josh Kornbluth; and Beyond Redemptionby Britta Sjogren. Amy received her mfa
from Brandeis University, where she was also
an artist in residence. She has been a coach to
hundreds of actors, has taught acting at Mills
College and audition technique at Berkeley
Rep’s School of Theatre, and has led workshops at numerous s other venues in the Bay
Area. Prior to working at Berkeley Rep, she
was an intern at Playwrights Horizons in New
York. Amy is a member of csa, the Casting
Society of America.
Michael Suenkel
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley
Rep as the stage management intern for the
1984–85 season and is now in his 21st year
as production stage manager. Some of his
favorite shows include 36 Views, Endgame,
Eurydice, Hydriotaphia, and Mad Forest. He has
also worked with the Barbican in London, the
Huntington Theatre Company, the Juste Pour
Rire Festival in Montreal, La Jolla Playhouse,
Pittsburgh Public Theater, the Public Theater
and Second Stage Theater in New York, and
Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s The Late
Henry Moss.
The Shakespeare
Theatre Company
CO -PRODUCER
The Shakespeare Theatre Company’s innovative approach to Shakespeare and other classic
playwrights has earned it the reputation as the
nation’s premier classical theatre company.
By focusing on works with profound themes,
complex characters, and poetic language
written by Shakespeare, his contemporaries,
and the playwrights he influenced, the company’s artistic mission is unique among theatre
companies: to provide vital, groundbreaking,
thought-provoking, vibrant, and eminently accessible theatre in a uniquely American style.
The company’s home is the Harman Center
for the Arts, consisting of the 775-seat Sidney
Harman Hall and the 451-seat Lansburgh Theatre, both located in downtown Washington’s
Penn Quarter neighborhood. The company
annually produces eight mainstage plays in
its two downtown theatres as well as one free
play each summer. The leadership of Artistic
Director Michael Kahn has established the
company as “the nation’s foremost Shakespeare company” (the Wall Street Journal). The
2011–12 season marked the 25th anniversary
of the Shakespeare Theatre Company in
Washington, D.C. and as recipients of the 2012
Regional Theatre Tony Award. For more information, visit ShakespeareTheatre.org.
KATHIE LONGINOTTI
REALTOR® and Berkeley Rep Subscriber
South Coast Repertory
CO -PRODUCER
Tony Award–winning South Coast Repertory,
founded in 1964 by David Emmes and Martin
Benson and now under the leadership of Artistic Director Marc Masterson and Managing
Director Paula Tomei, is widely recognized as
one of the leading professional theatres in the
United States. While its productions represent
a balance of classic and modern theatre, scr is
renowned for its extensive new-play development program, which includes the nation’s
largest commissioning program for emerging
and established writers. Of scr’s 487 productions, one-quarter have been world premieres.
scr–developed works have garnered two
Pulitzer Prizes and eight Pulitzer nominations,
several Obie Awards and scores of major newplay awards. Located in Costa Mesa, California, scr is home to the 507-seat Segerstrom
Stage, the 336-seat Julianne Argyros Stage,
and the 94-seat Nicholas Studio. Visit scr.org.
510.981.3032
www.AtHomeEastBay.com
Tony Taccone
D I R E C T O R /M I C H A E L L E I B E R T
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director
of Berkeley Rep, the Tony Award–winning
nonprofit has earned a reputation as an
international leader in innovative theatre. In
those 18 years, Berkeley Rep has presented
more than 70 world, American, and West
Coast premieres and sent 23 shows to New
York, two to London, and one to Hong
Kong. Tony has staged more than 35 plays in
Berkeley, including new work from Culture
Clash, Rinde Eckert, David Edgar, Danny Hoch,
Geoff Hoyle, Quincy Long, Itamar Moses, and
Lemony Snicket. He directed shows that transferred to London, Continental Divide and Tiny
Kushner, and two that landed on Broadway
as well: Bridge & Tunnel and Wishful Drinking. Prior to working at Berkeley Rep, Tony
served as artistic director of Eureka Theatre,
which produced the American premieres of
plays by Dario Fo, Caryl Churchill, and David
Edgar before focusing on a new generation of
American writers. While at the Eureka, Tony
commissioned Tony Kushner’s legendary
Angels in America and co-directed its world
premiere. He has collaborated with Kushner
on eight plays at Berkeley Rep, including last
season’s 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,
the Guthrie Theater, the Huntington Theatre
Company, Oregon Shakespeare Festival, the
Public Theater, and Seattle Repertory Theatre.
MEET US IN THE BAR
We offer a selection of premium spirits, including
craft cocktails curated by East Bay Spice Company,
and a satisfying array of sweets and savories.
Coldwell Banker Berkeley
Locally Grown, Globally Known
1495 Shattuck Avenue, Berkeley
510.486.1495 | CaliforniaMoves.com
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2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 1
BE R K E L E Y R E P
PRESENTS
profiles
As a playwright, he debuted Ghost Light, Rita
Moreno: Life Without Makeup, and Game On,
written with Dan Hoyle. In 2012, Tony received
the Margo Jones Award for “demonstrating a
significant impact, understanding, and affirmation of playwriting, with a commitment to the
living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Take the Theatre
home with you!
The Hoag Theatre Store is better
than ever, featuring our new
hoodie with earbuds and exclusive
items from our staff artisans.
Wonderful gifts for you and the
theatre-lovers in your life!
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration and operations of the Theatre. She has
served as president of the League of Resident
Theatres (lort) and treasurer of Theatre
Communications Group, organizations that
represent the interests of nonprofit theatres
across the nation. Susan chaired two panels
for the Massachusetts Arts Council and has
also served on program panels for Arts Midwest, the Joyce Foundation, and the National
Endowment for the Arts. Closer to home,
Susan chairs the Downtown Berkeley Association (dba). She is the founding chair of the
Berkeley Arts in Education Steering Committee for Berkeley Unified School District and
the Berkeley Cultural Trust. She was awarded
the 2012 Benjamin Ide Wheeler Medal by the
Berkeley Community Fund. Susan serves on
the faculty of Yale School of Drama and is
a proud member of the Mont Blanc Ladies’
Literary Guild and Trekking Society. She lives
in Berkeley with her husband.
Karen Racanelli
G E N E R A L M A N AG E R
Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley
Rep’s programs for education provided live
theatre for more than 20,000 students annually. In 1995, she became general manager, and
since then has overseen the day-to-day operations of the Theatre. She has represented the
League of Resident Theatres during negotiations with both Actors’ Equity Association
and the union of stage directors and choreographers. Prior to her tenure at Berkeley Rep,
Karen worked for Theatre Bay Area as director
of theatre services and as an independent
producer at several Bay Area theatre companies. She has served on the boards of Climate
Theater, Overtone Theatre Company, Park Day
School, and the Julia Morgan Center. Karen is
married to arts attorney MJ Bogatin.
Liesl Tommy
A S S O C I AT E D I R E C T O R
Liesl is Berkeley Rep’s associate director and
helmed the acclaimed productions of Party
People and Ruined. She directed the premieres
of Appropriate by Branden Jacobs-Jenkins
(Woolly Mammoth Theatre Company,
Signature Theatre Company), Party People by
3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
universes (Oregon Shakespeare Festival),
The White Man—A Complex Declaration of Love
by Joan Rang (DanskDansk Theatre, Denmark),
Peggy Picket Sees the Face of God by Roland
Schimmelpfennig (Luminato Festival/Canadian Stage Toronto), Eclipsed by Danai Gurira
(Yale Repertory Theatre, Woolly Mammoth),
The Good Negro by Tracey Scott Wilson (the
Public Theater, Dallas Theater Center), A
History of Light by Eisa Davis (Contemporary
American Theatre Festival), Angela’s Mixtape
by Eisa Davis (Synchronicity Performance
Group, New Georges), and Bus and Family
Ties (Play Company for the Romania Kiss Me!
Festival). Other credits include American
Buffalo, Les Misérables, Hamlet, A Raisin in the
Sun, and Ma Rainey’s Black Bottom, as well
as a four-city tour of Ruined. She has also
worked at California Shakespeare Theater, the
Huntington Theatre Company, Center Stage
in Baltimore, Oregon Shakespeare Festival, La
Jolla Playhouse, and Sundance East Africa on
Manda Island in Kenya, among others. Liesl
serves as a program associate at Sundance
Institute Theatre Program and as an artist
trustee with the Sundance Institute’s board
of trustees, and she facilitated the inaugural
Sundance East Africa Theatre Director’s Lab
in Addis Ababa, Ethiopia. Liesl has earned an
Obie Award, a Lillian Hellman Award, and the
Alan Schneider Award for directing, the inaugural Susan Stroman Directing Award from
the Vineyard Theatre, the nea/tcg Directors
Grant, and the New York Theatre Workshop
Casting/Directing Fellowship. She has taught
or guest directed at Yale Repertory Theatre,
Juilliard, nyu, and Brown University. Liesl is an
alum of Trinity Rep Conservatory and a native
of Cape Town, South Africa.
music
theater
Cal Performances
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2014/15
S E A S O N
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Alvin Ailey
American Dance Theater
Robert Battle
Artistic Director
Masazumi Chaya
Associate Artistic Director
See Bay Area premieres
by Moses and Rushing
Plus returning favorites,
including Revelations
E MG C A L PER FS
“Unbelievable. Go see Ailey.
It’s change-your-life good.”
Madeleine Oldham
—NBC’s Today Show
R E S I D E N T D R A M AT U R G/ D I R E C T O R ,
T H E G R O U N D F LO O R
Madeleine is the director of The Ground Floor:
Berkeley Rep’s Center for the Creation and
Development of New Work and the Theatre’s
resident dramaturg. She oversees commissioning and new play development, and
dramaturged the world premiere productions
of X’s and O’s (A Football Love Story), The House
that will not Stand, Passing Strange, and In the
Next Room (or the vibrator play), among others.
As literary manager and associate dramaturg
at Center Stage in Baltimore, she produced
the First Look reading series and headed up
its young audience initiative. Before moving
to Baltimore, she was the literary manager at
Seattle Children’s Theatre, where she oversaw
an extensive commissioning program. She also
acted as assistant and interim literary manager
at Intiman Theatre in Seattle. Madeleine
served for four years on the executive committee of Literary Managers and Dramaturgs
of the Americas and has also worked with
act (Seattle), Austin Scriptworks, Crowded
Fire, the Eugene O’Neill Theatre Center, the
Kennedy Center, New Dramatists, Playwrights
Center, and Portland Center Stage.
dance
April 21–26
Glenn Allen Sims.
Photo by Andrew Eccles
ZELLERBACH HALL
calperformances.org
510.642.9988
CP 020415 ailey 2_3v.pdf
Season
Sponsor:
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3
BE R K E L E Y R E P
PRESENTS
Health Care
That’s Just Right
for You.
profiles
Jack & Betty Schafer
SEASON SPONSORS
To find a doctor, call (510) 869-6777, or go to altabatessummit.org
facebook.com/
berkeleyrep
vimeo.com/
berkeleyrep
instagram.com/
berkeleyrep
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CONNECT
@berkeleyrep
Betty and Jack are proud to support Berkeley
Rep. Jack, one of the Theatre’s trustees, also
sits on the boards of San Francisco Opera and
the Straus Historical Society. He is vice-chair
of the Oxbow School in Napa and an emeritus
trustee of the San Francisco Art Institute,
where he served as board chair. Betty, a retired life coach, has resumed her earlier career
as a nonfiction writer and poet. She serves on
the boards of Brandeis Hillel Day School, Coro
Foundation, Earthjustice, and Sponsors for
Educational Opportunity (seo).
The Strauch Kulhanjian Family
SEASON SPONSORS
Roger Strauch is a former president of Berkeley
Rep’s board of trustees and is currently chair of
the trustees committee. He is chairman of the
Roda Group (rodagroup.com), a venture-development company based in Berkeley focused on
cleantech investments, best known for launching Ask.com and for being the largest investor
in Solazyme, a renewable oil and bio-products
company (Nasdaq: szym, solazyme.com). Roger
is chairman of the board of CoolSystems, a
medical technology company, and a member
of the UC Berkeley Engineering Dean’s college
advisory board. He is chairman of the board
of trustees for the Mathematical Sciences
Research Institute; a member of the board of
Northside Center, a mental-health services
agency based in Harlem, New York City; and a
co-founder of the William Saroyan Program in
Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland
Children’s Hospital. They have three children.
Bruce Golden & Michelle Mercer
LEAD SPONSORS
Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they
moved with two young children in tow to
Berkeley. Their favorite evenings at Berkeley
Rep were usually the discussion nights where
often friends would join them as well. Michelle
and Bruce always felt that Berkeley Rep was an
exceptional Bay Area cultural treasure as it was
willing to support courageous new works and
nurture innovative young playwrights. In 2002,
Bruce and Michelle moved to London, where
they nourished themselves on a steady diet of
English theatre (note the proper spelling) until
they could return to their beloved Berkeley Rep.
They are delighted once again to be back in the
very center of leading-edge theatre and are
honored to be lead sponsors for two of this season’s great productions. Their two now grown
children are also tremendous theatre junkies
and will hopefully be joining Bruce and Michelle
for some of this season’s performances.
Thalia Dorwick
SPONSOR
Thalia became involved with the theatre when,
at age 12, she wrote, produced, and starred in a
Girl Scout play. Fortunately, she has been only
a spectator since then. She is currently the
president of Berkeley Rep’s board of trustees,
and she also directs the Theatre’s docent program. She believes that Berkeley Rep, where
she has enjoyed performances for decades, is
the best theatre in the Bay Area. She serves
as a vice president of the board of trustees
of Case Western Reserve University. She has
a PhD in Spanish, taught at the university
level for many years, and is the co-author of a
number of Spanish textbooks. She retired in
2004 as editor-in-chief of McGraw-Hill Higher
Education’s Humanities, Social Sciences, and
World Languages group.
Joan Sarnat & David Hoffman
SPONSORS
David is a consulting research professor of
mathematics at Stanford and a Berkeley Rep
trustee. He was an associate director of the
Mathematical Sciences Research Institute
(msri) in Berkeley and has been involved in
producing museum shows about mathematics
in the usa, France, and China. Joan is a clinical
psychologist and psychoanalyst in private
practice in Berkeley. The Bernard Osher Foundation
PRODUC TION SPONSOR
The Bernard Osher Foundation, which
supports higher education and the arts, was
founded in 1977 by Bernard Osher, a respected businessman and community leader. The
Foundation provides scholarship funding to
selected colleges and universities across the
nation. It also benefits programs in integrative
medicine at Harvard University, Northwestern University, ucsf, Vanderbilt University,
and the Karolinska Institute. In addition, the
Foundation supports a national network of
educational programs for seasoned adults, the
Osher Lifelong Learning Institutes, which now
operate on the campuses of 119 institutions of
higher education. Finally, an array of performing arts organizations, museums, and selected
educational programs in the San Francisco Bay
Area and the State of Maine receive Foundation grants. The Honorable Barbro Osher,
Consul General of Sweden in California, chairs
the Foundation’s board of directors.
bart
SEASON SPONSOR
Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more
than 100 million passengers annually. bart is
the backbone of the Bay Area transit network
with trains traveling up to 80 mph to connect
26 cities located throughout Alameda, Contra
Costa, San Francisco, and San Mateo Counties
and the Bay Area’s two largest airports bart’s
all-electric trains make it one of the greenest
and most energy-efficient systems in the
world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind
sources. Many new projects are underway
to expand bart, allowing it to serve even
more communities and continue to offer an
ecofriendly alternative to cars. The Oakland
Airport Connector opened last fall. For more
info, visit bart.gov.
kpix
MEDIA SPONSOR
kpix 5 shares a commitment with cbs News to
original reporting. “Our mission is to bring you
compelling, local enterprise journalism,” emphasized kpix/kbcw President and General
Manager Bruno Cohen. “And just like Berkeley
Rep, we’re passionate about great storytelling. We strive to showcase unique stories
that reflect the Bay Area’s innovative spirit,
incredible diversity, and rich culture as well as
its challenges.” Sister station kbcw 44 Cable
12 airs the region’s only half-hour newscast
at 10pm. Produced by the kpix 5 newsroom,
“Bay Area NightBeat” offers viewers a fresh
perspective on current events along with a
lively—and often provocative—look at what
the Bay Area is saying and sharing online and
in social media. Both stations are committed
to supporting valuable community organizations such as Berkeley Rep, and are proud to
serve as season media sponsors.
Wells Fargo
SEASON SPONSOR
As the top corporate giver to San Francisco Bay Area nonprofits (according to the
SF Business Times), Wells Fargo recognizes
Berkeley Rep for its leadership in supporting
the performing arts and its programs. As the
oldest and largest financial services company
headquartered in California, Wells Fargo has
top financial professionals providing business
banking, investments, brokerage, trust, mortgage, insurance, commercial and consumer
finance, and much more. Talk to a Wells Fargo
banker today to see how we can help you
become more financially successful.
Make great
theatre part of
your legacy.
Additional staff
Deck crew
Thomas Weaver
Electrics
Stephanie Buchner · Melina CohenBramwell · Kelly Kunaniec · Alex Marshall ·
Kourtney McCrary · William Poulin · Andrea
J. Schwartz · Caitlin Steinmann · Molly
Stewart-Cohn · Thomas Weaver ·
Lauren Wright
Production assistant
Sofie Miller
Props
Ashley Nguyen
Visit berkeleyrep.org/
plannedgiving
or call 510 647-2904
Scene shop
Ross Copeland · Patrick Keene · Read Tuddenham · Ben Sandberg · Colin Suemnicht
Stage carpenter
Kourtney McCrary
Wardrobe
Eva Herndon · Christina Weiland
Petronia Paley and
Harriett D. Foy (background) in
The House that will not Stand
P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 35
BE R K E L E Y R E P T H A N K S
Institutional Partners
We thank the many institutional partners who enrich our community by
championing Berkeley Rep’s artistic and community outreach programs.
We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who
made their gifts between November 2013 and January 2015.
G IF T S O F $ 10 0,0 0 0 A N D A B OV E
The William & Flora Hewlett Foundation
The James Irvine Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
G IF T S O F $2 5,0 0 0 –49,9 9 9
Anonymous
The Ira and Leonore Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
G IF T S O F $50,0 0 0 –9 9,9 9 9
Akonadi Foundation
The Bernard Osher Foundation
National Endowment for the Arts
G IF T S O F $ 10,0 0 0 –24,9 9 9
Koret Foundation
Kenneth Rainin Foundation
COR P OR AT E S P ON S OR S
SPONSORS
G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9
hsbc Private Bank
Mechanics Bank Wealth Management
The Morrison & Foerster Foundation
Union Bank
SEASON SPONSORS
G I F T S O F $ 10 0,0 0 0 A N D A B OV E
CO R P O R AT E PA R T N E R S
G I F T S O F $ 6,0 0 0 –11,9 9 9
Armanino llp
City National Bank
Deloitte
LG Wealth Management llc
Meyer Sound
Oliver & Company
Pacific Office Automation
Panoramic Interests
Peet’s Coffee & Tea
Schoenberg Family Law Group
ubs
U.S. Bank
LE A D S P O N S O R
G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9
American Express
E XECU TIV E S P O N S O R S
G I F T S O F $ 2 5,0 0 0 –49,9 9 9
G IF T S O F $5,0 0 0 –9,9 9 9
Anonymous
Berkeley Civic Arts Program
Distracted Globe Foundation
East Bay Community Foundation
Ann and Gordon Getty Foundation
Ramsay Family Foundation
G IF T S O F $750 –4,9 9 9
Alameda County Arts Commission/artsfund
Joyce & William Brantman Foundation
Civic Foundation
The Entrekin Foundation
jec Foundation
The Ida and William Rosenthal Foundation
PE R FO R M A N CE S P O N S O R S
G I F T S O F $ 3,0 0 0 – 5,9 9 9
4U Sports
Bayer
Gallagher Risk Management Services
Macy’s
B U S IN E S S M E M B E R S
G I F T S O F $ 1, 5 0 0 –2 ,9 9 9
Bank of the West
BluesCruise.com
CH A M PI O N
G I F T S O F $ 1,0 0 0 –1, 49 9
Cooperative Center Federal Credit Union
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent
opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and
arts education in the community.
For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S
M AT C H I NG G I F T S
act Catering
Angeline’s Louisiana Kitchen
Aurora Catering
Autumn Press
Belli Osteria
Bistro Liaison
Bogatin, Corman & Gold
C.G. Di Arie Vineyard & Winery
Café Clem
Comal
Cyprus
Domaine Carneros by Taittinger
Donkey & Goat Winery
East Bay Spice Company
etc Catering
Eureka!
Four Seasons Hotel San Francisco
five
Gather Restaurant
Grace Street Catering
Greenbar Craft Distillery
Greene Radovsky Malone Share
& Hennigh llp
Grocery Outlet, San Leandro
Hafner Vineyard
Hotel Shattuck Plaza
Hugh Groman Catering &
Greenleaf Platters
Jazzcaffè
Kevin Berne Images
La Mediterranee
La Note
Latham & Watkins, llp
Macallan Scotch
Match Vineyards
Pat Paulsen Vineyards
Pathos Organic Greek Kitchen
Patricia Motzkin Architecture
Phil’s Sliders
Picante
PiQ
Pyramid Alehouse
3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
Quady Winery
Revival Bar + Kitchen
Ricola usa
Shalleck Collaborative
St. George Spirits
Sweet Adeline
Tiger Lily
Tres Agaves
Venus Restaurant
Zut! on 4th
Hotel Shattuck Plaza is the official
hotel of Berkeley Rep.
Pro-bono legal services are
generously provided by
Latham & Watkins, llp.
The following companies have matched their
employees’ contributions to Berkeley Rep. Please
contact your company’s HR office to find out if your
company matches gifts.
Adobe Systems Inc. · Advent Software · Alexander &
Baldwin · American Express · Apple · Argonaut
Group, Inc. · at&t · Bank of America · Bechtel
Corporation · BlackRock · Bristol Myers Squibb ·
Charles Schwab & Co, Inc · Chevron Corporation ·
Clorox · Constellation Energy · Dolby Laboratories ·
Franklin Templeton · Gap · Google · Hewlett Packard ·
ibm Corporation · JD Fine and Company · John Wiley
& Sons, Inc. · Johnson & Johnson · kla Tencor ·
Lawrence Livermore National Laboratory ·
Lexis-Nexis · Macy’s Inc.· Matson Navigation
Company · Microsoft · Morrison & Foerster ·
Motorola Mobility · mrw & Associates llc · norcal
Mutual Insurance Company · Oracle Corporation ·
Perforce · Ruppenthal Foundation for the Arts ·
Salesforce.com · The Doctors Company · The Walt
Disney Company · visa u.s.a., Inc. · Willis Lease
Finance Corporation
BE R K E L E Y R E P
THANKS
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
of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual
Fund, who made their gifts between November 2013 and January 2015.
Donors to the Annual Fund
To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
S P ON S OR C I RC L E
SEASON SPONSORS
$ 10 0,0 0 0 +
Jack & Betty Schafer
The Strauch Kulhanjian Family
LE A D S P O N S O R S
$ 5 0,0 0 0 – 9 9,9 9 9
Bruce Golden & Michelle Mercer
Mary & Nicholas Graves
Wayne Jordan & Quinn Delaney
John & Helen Meyer
Stewart & Rachelle Owen
Mary Ruth Quinn & Scott Shenker
Steve Silberstein
E XECU TIV E S P O N S O R S
$ 2 5,0 0 0 –49,9 9 9
Rena Bransten
Martha Ehmann Conte
John & Stephanie Dains
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson M
Frances Hellman & Warren Breslau
Pam & Mitch Nichter
Marjorie Randolph
Dr. & Mrs. Philip D. Schild
Michael & Sue Steinberg
Jean & Michael Strunsky
Guy Tiphane
Gail & Arne Wagner
Barry Lawson Williams & Lalita Tademy
SPONSORS
$ 12 ,0 0 0 –2 4 ,9 9 9
Anonymous (2)
Barbara & Gerson Bakar
David & Vicki Cox
Thalia Dorwick
Robin & Rich Edwards
David & Vicki Fleishhacker
Paul Friedman & Diane Manley M
Scott & Sherry Haber
Jack Klingelhofer
Susan & Moses Libitzky
Sandra & Ross McCandless
Dugan Moore
Leonard & Arlene Rosenberg
Sheli Rosenberg, in honor of
Leonard X Rosenberg
Joan Sarnat & David Hoffman
Liliane & Ed Schneider
Norah & Norman Stone
Felicia Woytak & Steve Rasmussen
Martin & Margaret Zankel
A S S O CIAT E S P O N S O R S
$ 6,0 0 0 – 11,9 9 9
Anonymous (3)
Shelley & Jonathan Bagg
Edward D. Baker
Edith Barschi
Neil & Gene Barth
Valerie Barth & Peter Wiley M
Stephen Belford & Bobby Minkler
Carole B. Berg K
Lynne Carmichael
Susan Chamberlin
Daniel Cohn & Lynn Brinton
Robert Council & Ann Parks-Council
Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards
John & Carol Field, in honor of
Marjorie Randolph
Linda Jo Fitz
Virginia & Timothy Foo
Jill & Steve Fugaro
Carol A. Giles
Paul Haahr & Susan Karp
Doug & Leni Herst, in honor of Susie Medak
Hitz Foundation
Christopher Hudson & Cindy J. Chang, MD
Ms. Wendy E. Jordan
Seymour Kaufman & Kerstin Edgerton
Wanda Kownacki
Ted & Carole Krumland
Zandra Faye LeDuff
Dixon Long
Dale & Don Marshall
Martin & Janis McNair
Steven & Patrece Mills
Mary Ann & Lou Peoples
Peter Pervere & Georgia Cassel
Barbara L. Peterson
Kaye Rosso
Pat Rougeau
Patricia Sakai & Richard Shapiro
Cynthia & William Schaff
Emily Shanks M
Pat & Merrill Shanks
Karen Stevenson & Bill McClave
Jacqueline & Stephen Swire
Wendy Williams
Sheila Wishek
Steven & Linda Wolan
Martin & Margaret Zankel
A R T I S T IC DI R E C T OR’ S C I RC L E
PA R T N E R S
$ 3,0 0 0 – 5,9 9 9
Anonymous (5)
Linda R. Ach
Cynthia & David Bogolub
Caroline Booth
Jim Butler
Brook & Shawn Byers
C. William Byrne
Jennifer Chaiken & Sam Hamilton
Constance Crawford
Karen & David Crommie
Lois M. De Domenico
Delia Fleishhacker Ehrlich
Nancy & Jerry Falk
Richard & Lois Halliday
Earl & Bonnie Hamlin
Vera & David Hartford
James C. Hormel & Michael P. Nguyen
Lynda & Dr. J. Pearce Hurley
Kathleen & Chris Jackson
Ashok Janah
Duke & Daisy Kiehn
Christopher & Clare Lee
Peter & Melanie Maier
Charlotte & Adolph Martinelli
The McBaine Family
Phyra McCandless & Angelos Kottas
Miles & Mary Ellen McKey
Michele & John McNellis
Susan Medak & Greg Murphy, in honor of
Marcia Smolens
Eddie & Amy Orton
Janet Ostler
Sandi & Dick Pantages
Pease Family Fund
Kermit & Janet Perlmutter
Ivy & Leigh Robinson
David S. H. Rosenthal & Vicky Reich
Riva Rubnitz
Beth & David Sawi
Stephen C. Schaefer
Stephen Schoen & Margot Fraser
Linda & Nathan Schultz
Beryl & Ivor Silver
Lisa & Jim Taylor
James & Lisa White
Patricia & Jeffrey Williams
Sally Woolsey
Alan & Judy Zafran
B E N E FAC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (8)
Anonymous, in memory of Vaughn &
Ardis Herdell
Martha & Bruce Atwater
Nina Auerbach
Linda & Mike Baker
Michelle L. Barbour
David Beery & Norman Abramson
BluesCruise.com
Annikka Berridge
Brian Bock and Susan Rosin
Linda Brandenburger
Broitman-Basri Family
Drs. Don & Carol Anne Brown
Katherine S. Burcham M
Kerry Tepperman Campbell
Ronnie Caplane
Stephen K. Cassidy & Rebecca L. Powlan
Paula Champagne & David Watson
Andrew Combs
Julie Harkness Cooke
Penny Cooper & Rena Rosenwasser
Thomas & Suellen Cox
Ed Cullen & Ann O’Connor
James Cuthbertson
Richard & Anita Davis
Ira Dearing
Ilana DeBare & Sam Schuchat
Francine & Beppe Di Palma
Daryl Dichek & Kenneth Smith, in memory of
Shirley D. Schild
Jerome & Thao Dodson
Ben Douglas
Becky Draper
Merle & Michael Fajans
Cynthia A. Farner
Tracy & Mark Ferron
Lisa & Dave Finer
Patrick Flannery
Thomas & Sharon Francis
Herb & Marianne Friedman
Don & Janie Friend, in honor of Bill &
Candy Falik
James Gala
Karl & Kathleen Geier
Dennis & Susan Johann Gilardi
Marjorie Ginsburg & Howard Slyter
Daniel & Hilary B. Goldstine
Bob Goodman
Phyllis & Eugene Gottfried
Mrs. Gale K. Gottlieb
Robert & Judith Greber
William James Gregory
Garrett Gruener & Amy Slater
Ms. Teresa Burns Gunther &
Dr. Andrew Gunther
Migsy & Jim Hamasaki
Bob & Linda Harris
Ann & Shawn Fischer Hecht
Ruth Hennigar
Tom & Bonnie Herman
Howard Hertz & Jean Krois
Richard N. Hill & Nancy Lundeen
Sue Hoch K
Bill Hofmann & Robbie Welling M
The Hornthal Family Foundation
Rick Hoskins & Lynne Frame
Paula Hughmanick & Steven Berger
George & Leslie Hume
Mr. & Mrs. Harold M. Isbell
Beth & Fred Karren
Doug & Cessna Kaye
Rosalind & Sung-Hou Kim
Jean & Jack Knox
Lynn Eve Komaromi, in honor of the
Berkeley Rep Staff
Michael Kossman & Luis Orrico
John Kouns & Anne Baele Kouns
Helen E. Land
Robert Lane & Tom Cantrell
William & Adair Langston
Randy Laroche & David Laudon
Louise Laufersweiler & Warren Sharp
Sherrill Lavagnino & Scott McKinney
Andrew Leavitt & Catherine Lewis
Ellen & Barry Levine
Bonnie Levinson & Dr. Donald Kay
Jennifer S. Lindsay
Tom Lockard & Alix Marduel
Vonnie Madigan
Elsie Mallonee
Joan & Roger Mann
Naomi & Bruce Mann
Helen Marcus & David Williamson
Lois & Gary Marcus
Michael Margolis
Sumner & Hermine Marshall
Rebecca Martinez
Jill Matichak
Erin McCune & Nicholas Virene
Janet & Michael McCutcheon
Steven McGlocklin
Karen & John McGuinn
Kirk McKusick & Eric Allman
Michele & John McNellis
Toby Mickelson & Donald Brody
Roger & Satomi Miles
Dan Miller
Karen Miller
Andy & June Monach
Scott Montgomery & Marc Rand
Marvin & Neva Moskowitz
Shanna O’Hare & John Davis
Judith & Richard Oken
Steve Olsen
Judy O’Young, MD & Gregg Hauser
Matt Pagel & Corey Revilla
Bob & MaryJane Pauley
Tom & Kathy Pendleton
Gladys Perez-Mendez
Michael A. Petonic & Veronica A. Watson
David & Bobbie Pratt
Carol Quimby-Bonan
Andrew Raskopf & David Gunderman
Elizabeth Ratner
Sue Reinhold & Deborah Newbrun
Bill Reuter & Ruth Major
James & Maxine Risley
John & Jody Roberts
Carole Robinson & Zane O. Gresham
Horacio Rodriguez
Deborah Romer & William Tucker
Marc Roth
Boyard & Anne Rowe
Enid & Alan Rubin
Lisa Salomon & Scott Forrest
Monica Salusky & John K. Sutherland
Jeane & Roger Samuelsen
Jackie & Paul Schaeffer
Joyce & Jim Schnobrich
Mark Shusterman, M.D.
Edie Silber & Steve Bomse
Amrita Singhal & Michael Tubach
Kae Skeels
Sherry & David Smith
Stephen & Cindy Snow
Audrey & Bob Sockolov
Jacques Soenens
Vickie Soulier
Jennifer Heyneman Sousae & William Sousae
David G. Steele
Stephen Stublarec & Debra S. Belaga
Gayle Tapscott K
Andrew & Jody Taylor
Deborah Taylor
Alison Teeman & Michael Yovino-Young
Susan & David Terris
Ama Torrance & David Davies
Bernard & Denise Tyson
Buddy & Jodi Warner
Jonathan & Kiyo Weiss
Beth Weissman
Charles & Nancy Wolfram
Ron & Anita Wornick
Sam & Joyce Zanze
Jane & Mark Zuercher
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7
BE R K E L E Y R E P T H A N K S
Donors to the Annual Fund
CH A M PIO N S
$ 1,0 0 0 –1, 49 9
Anonymous (7) · Pat Angell, in memory of
Gene Angell · Naomi Auerbach & Ted
Landau · Don & Gerry Beers M · Robert &
Wendy Bergman · Patti Bittenbender · Daniel
Boggan Jr · Harry Bremond & Peggy Forbes ·
Fred Brown & Barbara Kong Brown · Barbara &
Robert Budnitz · Dan & Allyn Carl · Dr. S.
Davis Carniglia & Ms. M. Claire Baker · Paula
Carrell · Stan & Stephanie Casper · Naveen
Chandra & James Lengel · Leslie Chatham &
Kathie Weston · Ed & Lisa Chilton · Patty &
Geoff Chin · Terin Christensen · Ralph &
Rebecca Clark · Earl T. Cohen & Heidi M. Shale ·
Phyllis Coring K · Barbara & Tim Daniels M ·
Alecia A. DeCoudreaux · Harry & Susan Dennis ·
Ivan & Sarah Diamond · Corinne & Mike Doyle ·
Debra Engel, in honor of Barry Williams & Lalita
Tademy · Susan English & Michael Kalkstein ·
Bill & Susan Epstein, in honor of Marge
Randolph · Paul Feigenbaum & Judy Kemeny ·
Frannie Fleishhacker · Lisa Franzel & Rod
Mickels · Donald & Dava Freed · Christopher
R. Frostad M · Judith & Alex Glass · Robert
Goldstein & Anna Mantell · Diana Grand & Jon
Holman · Douglas Hardman & Karla Martin ·
Ann Harriman, in memory of Malcolm White ·
Barry & Jackie Hoffner · Herrick and Elaine
Jackson, The Connemara Fund · Ken & Judith
Johnson · Randall Johnson · Barbara E. Jones,
in memory of William E. Jones · Barbara Jones
& Massey J. Bambara M · Thomas Jones · Tom
& Mary Anne Jorde, in honor of Pat Sakai &
Dick Shapiro · Steve K. Kispersky · Suzanne
LaFetra · Linda Laskowski · Joe W. Laymon ·
Nancy & George Leitmann, in memory of
Helen Barber · Erma Lindeman · R. Jay &
Eileen Love · J.E. Luckett · Meg Manske · John
E. Matthews · Laura McCrea & Robert
Ragucci · John G. McGehee · Dennis & Eloise
Middleton · David L. Monroe · Jerry Mosher ·
Timothy Muller · Margo Murray · Claire
Noonan & Peter Landsberger · Pier & Barbara
Oddone, in memory of Michael Leibert ·
Sheldeen Osborne · Richard Ostreicher &
We gratefully recognize
the following members
of the Annual Fund whose
contributions were
received from December
2014 to January 2015
S U PP O R T E R S
$ 2 5 0 –49 9
Anonymous (12) · Marcia Abrams · Tracy
Achorn · Terry Pink Alexander & John
Blaustein, in honor of Susie Medak · Fred &
Kathleen Allen · Susan & Barry Baskin ·
Richard & Ann Batman · Hebe & James
Beard · Steve Benting & Margaret Warton ·
Law Offices of Steven Birnbaum · The
Blackman Family · Diane Brett · Eric Brink &
Gayle Vassar · Carol L. Brosgart, M.D. &
Joseph Gross · Jane Buerger, in memory of
Judith A. Schmitz · Joanne Casey · Michael &
Sheila Cooper, in honor of Helen Barber ·
John & Izzie Crane M · Rev. Don & Lil
Cunningham · David Deutscher · Maria &
Peter Eberle · Don Erickson · Ms. Barbara
Fenichel · Sheilah & Harry Fish · Brigitte &
Louis Fisher · Nancy E. Fleischer · Ethan
Fletcher · Molly & Harrison Fraker · Harvey &
Deana Freedman · Beth Gleghorn · Paul
Goldstein & Dena Mossar · Barry & Erica
Goode · Gail Gordon & Jack Joseph · John &
Diane Gossard · Nina G. Green · Bonnie & Sy
Grossman · Alan Harper & Carol Baird ·
Robert Sleasman · Lynette Pang & Michael
Man · Gerane Wharton Park · Gregory C.
Potts · Kenneth & Frances Reid · Charles R.
Rice · Edward & Jeanette Roach · Rob & Eileen
Ruby · Mitzi Sales & John Argue · John Sanger ·
Seiger Family Foundation · Neal Shorstein,
MD & Christopher Doane · Ann Shulman &
Stephen Colwell · Dave & Lori Simpson · Ed &
Ellen Smith · Sigrid Snider · Douglas Sovern &
Sara Newmann · John St. Dennis & Roy Anati ·
Gary & Jana Stein · Annie Stenzel · Tim
Stevenson & David Lincoln King · Michael
Tilson Thomas & Joshua Robison · Pate & Judy
Thomson · Deborah & Bob Van Nest · Wendy
Willrich · Lee Yearley & Sally Gressens
A DVO C AT E S
$500–999
Anonymous (23) · Denny Abrams · Daphne
Allen K · Gertrude & Robert Allen · Peggy &
Don Alter · Robert & Evelyn Apte · Shellye L.
Archambeau & Clarence Scott · Jerry & Seda
Arnold · Gay & Alan Auerbach · Mary Bailey ·
Todd & Diane Baker · Celia Bakke · David &
Christine Balabanian · Leslie & Jack Batson ·
Jonathan Berk & Rebecca Schwartz · Richard
& Kathy Berman · Robert Berman & Jane
Ginsburg · Caroline Beverstock · Steve
Bischoff · Jill Bryans · Wendy Buchen · Rike &
Klaus Burmeister · Alex Byron & Nicole
Maguire · Don Campbell and Family · Kawika
Campbell · Dr. Paula Campbell · Doug Carlston
& Kathy Williams · Bruce Carlton · Carolle J.
Carter & Jess Kitchens · Kim & Dawn Chase ·
Carol T. Christ · Karen Clayton & Stephen
Clayton · Dennis Cohen & Deborah Robison ·
Leonard & Roberta Cohn · Ruth Conroy ·
Robert & Blair Cooter · Philip Crawford ·
Meredith Daane · Robert & Loni Dantzler · Pat
& Steve Davis · Abby & Ross Davisson · Noah
& Sandra Doyle · Drs. Nancy Ebbert & Adam
Rochmes · Jeanene E. Ebert M · Anita C. Eblé ·
Burton Peek Edwards & Lynne Dal Poggetto ·
Roger & Jane Emanuel · Meredith & Harry
Endsley M · Gini Erck & David Petta · Michael
Evanhoe · Nancy H. Ferguson · James
Richard L. Hay · Lisa Herrinton · Adrienne Hirt
& Jeffrey Rodman · Lorraine Honig · Hilary &
Tom Hoynes · Nona Hungate · Jacqueline
Jackson · Beth & Tim Kientzle M · Allen &
Hannah King · Jeff Klingman & Deborah
Sedberry · Lynn Landor · Dr. and Mrs. Jalyn and
Lance Lang III · Jane & Michael Larkin · Almon
E. Larsh Jr · Kevin Ligutom · Toni Mayer & Alan
Lazere · Christopher McKenzie & Manuela
Albuquerque · Cheryl Mouton · Christina
Nelson · Jennifer Nixon & Charles Wood ·
Bob & Toni Peckham, in honor of Robert M.
Peckham, Jr. · James F. Pine · Paco Ramirez ·
Jon & Evelyn Rantzman, in memory of Harry
and Sally Rantzman · John Ravitch · Laura
Richardson · Carla & David Riemer · Virginia
N. Rigney · Marie Rosenblatt · Geri Rossen ·
Margaret Sheehy · Dr. & Mrs. Alan G. Shriro ·
Joel Spolin & Margot Parker · Terry & Berenice
Sullivan · Joyce & Jack Sweitzer · Ruthann
Taylor · Mike & Ellen Turbow · Marcia & David
Vastine · Mike Weinberger & Julianne
Lindemann · Harvey & Rhona Weinstein ·
Ann Willoughby
CO N T RIB U TO R S
$ 15 0 –2 49
Anonymous (13) · Anonymous, in honor of
Ruth J George Staten · Gene & Penny Zee
Agatstein · Jennifer & Ross Asselstine · Mary
Ann & Len Benson · Barbara Benware · Law
Offices Laureen Bethards · Marilyn Bray ·
Monroe & Kate Bridges · Peter Brock · Carol
Brown · Jacob Butcher & Naomi Stein ·
Lawrence & Marilyn Capitelli · Louise &
Bill Chalkley · Chris & Martie Conner · Mindy
3 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
Finefrock & Harriet Hamlin · Jim & Cathy
Fisher · Martin & Barbara Fishman · Robert
Fleri, in memory of Carole S. Pfeffer · Michael
& Victoria Flora · Stephen Follansbee &
Richard Wolitz · Jacques Fortier · Dean Francis ·
Nancy H. Francis · Stuart & Joyce Freedman ·
Kate & Ted Freeland · Daniel Friedland &
Azlynda Alim · Paul & Marilyn Gardner · Tim
Geoghegan · Paul Gill & Stephanie D’Arnall ·
Susan & Jon Golovin · Jane Gottesman &
Geoffrey Biddle · Linda Graham · Dan
Granoff · Sheldon & Judy Greene · Don &
Becky Grether · Dan & Linda Guerra · John G.
Guthrie · Robert L. Harris & Glenda
Newell-Harris · Dan & Shawna Hartman
Brotsky · Geoffrey & Marin-Shawn Haynes ·
Daria Hepps · Irene & Robert Hepps · Elaine
Hitchcock · Wilbur & Carolyn Ross Hobbs ·
Judith Holland · Steven Horwitz K · Morgan
Hough · Olivia & Thacher Hurd Fund · Mr. &
Mrs. Edwin Ives · Marc & Lisa Jones · Helmut
H. Kapczynski & Colleen Neff · Marjorie &
Robert Kaplan, in honor of Thalia Dorwick ·
Patricia Kaplan · Dennis Kaump · Natasha
Khoruzhenko & Olegs Pimenovs · Christopher
Killian & Carole Ungvarsky · Mary S. Kimball ·
Beverly Phillips Kivel · Joan & David
Komaromi · Janet Kornegay and Dan Sykes ·
Jennifer Kuenster & George Miers · Charles
Kuglen · Larry & Ruth Kurmel · Woof
Kurtzman & Liz Hertz · Henry & Natalie
Lagorio · Thomas LaQueur · Mr. & Mrs. Richard
Larsen · Glennis Lees & Michael Glazeski ·
John Leys · Ray Lifchez · Renee M. Linde ·
Mark & Roberta Linsky · Dottie Lofstrom ·
Judy MacDonald Johnston · Bruce Maigatter &
Pamela Partlow · Sue & Phil Marineau · Sarah
McArthur & Michael LeValley · Betsy
McDaniel · Marie S. McEnnis · Sean
McKenna · Ash McNeely · Ruth Medak · Mary
& Gene Metz · Aliza and Peter Metzner K ·
Caryl & Peter Mezey · Geri Monheimer · Rex
Morgan & Greg Reniere · Brian & Britt-Marie
Morris · Ronald Morrison · Patricia Motzkin &
Richard Feldman · Moule Family Fund · Lance
Nagel · Ron Nakayama · Kris Carpenter
Negulescu, in memory of Maxine Carpenter ·
Jeanne E. Newman · Marlowe Ng & Sharon
Ulrich · Hung Nguyen · Judy Ogle · Carol J.
Ormond · Nancy Park · P. David & Mary Alyce
Pearson · Lewis Perry · F. Anthony Placzek ·
Malcolm & Ann Plant · John & Anja Plowright ·
Gary F. Pokorny · Charles Pollack & Joanna
Cooper · Susie & Eric Poncelet · Roxann R.
Preston · Paula Pretlow · Dan & Lois Purkett ·
Kathleen Quenneville · Chuck & Kati Quibell ·
David & Mary Ramos · Sheldon & Catherine
Ramsay · Ian Reinhard · Helen Richardson ·
Paul & Margaret Robbins · Joan Roebuck ·
Roberta Romberg · Galen Rosenberg & Denise
Barnett · Jirayr & Meline Roubinian · Deborah
Dashow Ruth, in memory of Leo P. Ruth · June
& Bob Safran · Dorothy R. Sax · Laurel
Scheinman · Bob & Gloria Schiller · Mark
Schoenrock & Claudia Fenelon · Teddy &
Bruce Schwab · John & Lucille Serwa · Brenda
Buckhold Shank, M.D., Ph.D. · Steve & Susan
Shortell · William & Martha Slavin · Carra
Sleight · Suzanne Slyman · Jerry & Dick
Smallwood · Cherida Collins Smith · Mark
Smith & Pam Callowa · Alice & Scott So ·
Christina Spaulding · Louis & Bonnie
Spiesberger · Robert & Naomi Stamper · Ms.
Joelle Steefel · Herbert Steierman · Lynn M. &
A. Justin Sterling · Monroe W. Strickberger ·
Shayla Su M · Ellen Sussman & Neal Rothman ·
Nancy & Fred Teichert · Jeff & Catherine
Thermond · Prof. Jeremy Thorner & Dr. Carol
Mimura, in memory of James Toshiaki
Mimura · Karen Tiedemann & Geoff Piller ·
Janet Traub · William van Dyk & Margi Sullivan ·
Gerald & Ruth Vurek · Scott Wachter &
Barbara Malina · Jon K. Wactor · Louise &
Larry Walker · Dena & Wayne Watson
Lamprey · William R. Weir · Sallie Weissinger ·
Dr. Ben & Mrs. Carolyn Werner · Elizabeth
Werter & Henry Trevor · Diane & Scott
Wieser · Oliver Williamson · Fred Winslow &
Barbara Baratta K · Carol Katigbak Wong ·
Margaret Wu & Ciara Cox · Sandra Yuen &
Lawrence Shore
Cox · Mike & Pam Crane · John Eckman ·
Michael Ehrenzweig · Winnie Farwell ·
Michael & Lori Ferguson · Mr. & Mrs. Fink, in
honor of Rachel Fink · Mr. and Mrs. Michael
Frank · Thomas & Sandra Friedland · Kate
Funk · Philip Gary · John G. Rosenberg &
Diane Gerstler · Arlene Getz · Jennifer &
Wayne Getz · Keith Goldstein & Donna
Warrington · Nancy A. Goolsby · David
Graves · George & Mary Hake M · Joe Houska
& Christine Paige · Joanne Howard, in
memory of Roy Howard · Stephen & Helene
Jaffe · Ruth & Benson Joseph · Charles &
Laurie Kahn · Janice Kelly & Carlos Kaslow ·
M. Kupcho & D. Hawksworth · Henry Lerner ·
Trudy & Rolf Lesem · David Lesnini · Jeffrey &
Christiane Maier · Carolyn & Robert Maples ·
Chris & Sarah Martiniak · Deborah & David
Marx · Suzanne McCombs · Kathy McLean ·
Patricia L & Steve McMahon · The Medress
Family Fund of the Jewish Community
Foundation · Spencer & Roberta Michels ·
Peggy & John Mooney · John Moore · Gregg
& Ruth Morris · Judith Norberg · Karl Francis
Nygren · Sara O’Hearn · Linda & Gregory
Orr · Jennifer Palangio · Maren Pedersen ·
Virginia & Lucien Polak · Jo Ann & Buford
Price · Karen Racanelli · Marc A. Rieffel · Todd
& Susan Ringoen · Marc Rosaaen · Ruth Rosen
& David Galin · Gerald Rosenstein · Thomas
Savignano · Joyce & Kenneth Sheidig · Linda
Schurer, in memory of Marge Ryder · Emily D.
Sexton · Dr. & Mrs. Gary Shrago · Jill & Richard
Sideman · Hugh & Aletha Silcox · Mary Lou
Solecki & Tim Wendt · Anne & Robert Spears ·
Virginia Sykes · Kay H. Taber · Jules Tippett ·
Marc Davis and Nancy Turak · Henry & Susan
Veit · Mark Whatley & Danuta Zaroda M ·
Ms. H. Leabah Winter, in memory of Barry
Dorfman, MD · Bob & Judi Yeager · Emily Zell
FRIE N D S
$ 75 –149
Anonymous (24) · Anonymous, in honor of
David Hart, MD · Ida Abbott · Robert & Karen
Abra · Fred & Joanne Abrams · Barry & Joanne
Adcock · Mark Addleman & Andrea Clark ·
Miriam & Matthew Agrell · Michael Alef ·
Edmund Alvey · Clara Arakaki · David & Vivian
Auslander · Lisa Bailey · J. Karren Baker ·
Elizabeth Baranger · Joseph C. Barbaccia ·
Jacqueline Barnes · Kent & Carolyn Barnes ·
Alice Bartholomew · Phil & Jane Batson ·
Joseph Baxter · Brenda Beckett · Richard &
Carol Bee · Sally Benjamin · Sandra Bernard ·
Karen & Steven Bovarnick · David & Eva
Bradford · Elizabeth Brady · Robert & Barbara
Brandriff · Marilyn Brenner · Francis Brooks ·
Donald Brown · Dupsi Brown-Kuria · Louise
Burton · Nancy Catena · Thomas Cavers · Robin
& Ryszard Chetkowski · Tomas Christopher &
Elizabeth Giacomo · Joanie Ciardelli · Carol &
Orlo Clark · Jean Conger · Nancy N. Conover ·
Bruce Conrad · Martha & William Crowe ·
Cynthia S. Darling · Dr. General Scott Davie ·
Richard DeNatale · Marvin Diamond · Earl
Diskin · Asmaa Donahue · Laura Downing-Lee
& Marty Lee · Melinda Drayton · Mona
Dreicer · Laura Edelstein & Scott Andersen ·
Michelle B. Edwards · Carol Egan · Lara
Eidemiller, in memory of Mary Jo Pottenger ·
Pat & Ted Eliot · Roy Eyal · Bill & Kathleen
Failing · Catherine Faust · Victor & Regina
Fields · Mrs. Robert Force · Marion Fourcade ·
Christie Fraser · Dick Friedman · Carla Garbis
& Peter Turner · David & Susan Garfin · Judith
Garza · Marlyn Gershuny · David Gibson ·
Roger & Joan Glassey · Gilbert & Sally
Gradinger · Miriam Green · Ruth N.
Greenwald · Aniruddha Gupta · Eric Hahn ·
Randall Ham & Linda Wilford · Frede S.
Hammes · Richard & Sylvia Hammond, in
honor of Leo & Lidewey Blitz · Neil
Handelman & Karyn O’Mohundro · Lisa Hane ·
Henry Hart · Robert Hass · Richard P. Hemann ·
David Hester & Karen Jannetti Hester, in
honor of Anna Morrison & Philip M Morrison ·
Carole S. Hickman · Gayl & Harlan Hirschfeld ·
Andrew Hirss · Marilynn Hodgson · Julie
Hooper · Cavett Hughes · Jennifer Hughes ·
Rebecca Husband · Ken Jaffee · Barb & David
Johnson · Keasley, Autumn, Emerson & Elliott
Jones · Juli Kauffman · Mike & Mary Jo Kelly ·
Pat Kelly & Jennifer Doebler · John & Barbara
Kenney · James R. Kidder · Bonnie McPherson
Killip · Nina C. Kindblad · Mr. & Mrs. David
Kirshman · Nancy Kornfield · Neil & Peggy
Kostick · Debie Krueger, in memory of Alex
Maffei · Mary Sue & Dennis Kuzak · Judith
Lamberti, MD · Paula Lavine · Elaine Lee ·
Evelyn Levin · Mr. George Lewinski & Dr.
Debra Levinsky · Colleen & Brian Lewis · Alice
Lin · Annette C. Lipkin, in memory of Paul
Lipkin · Lynn & Penny Lockhart · Fred
Lonsdale · Lawrence & Nancy Ludgus, in honor
of Randy Laroche’s 60th birthday · Christine
Macomber · Chrysbe Madayag · Janet &
Marcos Maestre · Sushma Magnuson & Leif
Magnuson · Martin Malkin · Redge & Carole
Martin · M. Mathews & K. Soriano · Linda
McClain · Richard McCray · Jim McDonald &
Myrna David · Leon McNeely · Phyllis
Menefee · Lauren Mensch · John & Rosemary
Merchant · Amy Merrill · David & Jane
Meyers · Jenny Maehara & Sean Montgomery ·
Marie A. Moran · Cheryl Morris · Norman &
Eleanor Moscow · Andrea Moss · Jim Murphy ·
Gertrude Musey · David & Patsy Newhouse ·
Karol Niccoli & Scott Lucas · Jennifer
Normoyle · Gerald and Ellen Oicles · Howard &
Charlene Okamoto · Ralph Pais & Gayl
Huston · Michael & Nancy Pfeffer · Gail &
Gerald Pogoriler · Fred & Judy Porta · Daniel &
Barbara Radin · Charleen Raines · William
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Maria Roden · Nona & Robert Rodriguez · Dr.
Norma Fiedotin · Dr. David Rovno · I. Maxine
Rowe · Mark Ruben · Jan Sager & Robert
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S. Sayre · Al Schaffer · Wendy Scheck · Peter
and Cindy Tsai Schultz · Judy Schwartz & Rod
Miller · Judy Schwartz · Grant Scully · Barbara &
Steve Segal · Craig Shear · Carole Sheft · Edna
Shipley · Christine Silver · Rochelle Sklansky ·
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Mr. & Mrs. Somasundaram · Barbara Spack ·
Sharon Staley · Donald Stang & Helen Wickes ·
Beverly Stevens · Susanne Stoffel & Michael
Coan · Linda & Charley Swift · Joyce Tayer ·
LEGEND
K
in-kind gift
M
Douglas & Susan Taylor · Michael & Katherine
Taylor · Catherine Bailey & Jack Telian ·
Roseanna Torretto · Eileen Wenger Tutt ·
Mary Wadsworth · Virginia Warnes · Ellen
Widess · Mark Wasserman & Judy Freeman ·
Janice Weekes · Robert & Penny Weiss · Chris
White · Dick White · Elizabeth Wierzbianska ·
Bonnie Willdorf · Patricia Wipf · Tim Wise ·
Patrick Woods and Kathleen Clark · Bruce
Wright · Kristine Wyndham · Norma Wynn, in
honor of James F. Wynn · Stan Zaks
PAT RO N S
$ 1 –74
Anonymous (29) · Tarliena Aamir-Balinton ·
Marc Abrams · Laurie Adams · Marina Adler ·
Anna Leah Ah & Will Green · Leslie Alden ·
Linda Alfano · Sara Alspaugh · Tonya Amos ·
Elizabeth & Robert Andersen · Don & Bette
Anderson · Kaye Anderson · Christine
Apostolou · Ann Marie Arndt · Caryn Augst ·
James & Rebecca Austin · Anna Badger · Dennis
Baker · Vanessa Baker · Lisa Barcellos · Cathryn
W. Barrett · Kathleen Barrows · Aubrey
Bartlett · Kathy Battat · Barbara Baum ·
Francine Beall · Philip J. Beilin · Mary Lou Bell ·
Mr. & Mrs. Edward L. Bennett · Robert Benson ·
Elissa Berall · Richard & Jan Bergamini · Philip
E. Berghausen Jr · Ellen Berman · Susan
Berston · Jacqueline Beth · Elaine Binger · Bixler
Family · Odette Blachman · Lucia Blakeslee ·
Susan A. Blew · Susan Boeckmann · John
Bongiovanni · Dvora & Neil Boorstyn · Thomas
Booth · Bradley Bostick · Micah Bot-Miller ·
Debra Bowmer · Joanne Bowsman · Benita &
Burton Boxerman, in honor of Leonard
Rosenberg · Sarah Brann · Martha Breed ·
Marian Bridges · Susan Brillhart · Devi K.
Brown · Frank Brown · Sally Brown · Thomas W.
Brown · Ken Bruckmeier · Carl Brush · Molly
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Butensky · Judith & Burton Calder · Joanna
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and Helen Dake · Cindi Darling · Deborah Davis ·
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Draggoo · Sigrid Duesberg · Kimberly Duir ·
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memory of Alex Flett · Richard J. Foote ·
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Harik · Margaret Harrington · Jonathan Harvey ·
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Henley · Roy Henninger · Stanley & Maria
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Humphrey · Neal & Charlotte Huntley ·
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of Michael Duden, actor · Jan E Pearson · Linda
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Ready, in memory of Pat Thomasson · Patricia
Reed · Stephanie Reisfeld · Kala Renz · Laura
Reynolds · Marie Ruth Rhein · Jean Richardson ·
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of Truitt A. Richey · Katherine Riemer ·
Margaret Riley & Kevin Depew · Jennifer
Robertson · Judith Rogers · Lisa Romano · James
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Rubardt · Wondie Russell & Edward Steinman ·
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Winters · Carol Young-Holt · Elliott Zeller &
Kim Lee Brae · Barbara Zoloth
matching gift
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9
BE R K E L E Y R E P T H A N K S
BE R K E L E Y R E P T H A N K S
Michael Leibert Society Members
Sustaining members
as of November 2014:
The Society welcomes the
following new members:
Norman Abramson & David Beery
Anonymous (6)
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Carole B. Berg
Linda Brandenburger
Broitman-Basri Family
Jill Bryans
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Bill & Susan Epstein
William Espey & Margaret
Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey & Deana Freedman
Donors to the Annual Fund
Joseph & Antonia Friedman
Paul T. Friedman
Dr. John Frykman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Mary & Nicholas Graves
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Lynda & Dr. J. Pearce Hurley
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
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Sumner & Hermine Marshall
Rebecca Martinez
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John G. McGehee
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Stephanie Mendel
Toni Mester
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Pam & Mitch Nichter
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Sharon Ott
Amy Pearl Parodi
Gladys Perez-Mendez
Barbara Peterson
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Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
Tracie E. Rowson
Deborah Dashow Ruth
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Michael & Sue Steinberg
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust—Weil Family
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Helen Barber
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.
Looking for the magic of things: A conversation with Dominique Serrand
CO N TIN U E D FRO M PAG E 2 2
even more moving because they have a sense of their own
ridicule. So it’s really, really stunning.
What do you think has evolved in you as an artist over
the years?
I hate to say this, but a profound sadness at the political
state of the country and the arts. On the other hand, I have
been very invigorated by the challenge of what we must do to
recreate an audience, and to do the work the way we think it
should be done versus the way pundits say it should be done.
Who are your greatest theatrical inspirations whom you
look to, from the past or present?
Many. From the past, of course, Ariane Mnouchkine from
the Théâtre du Soleil in Paris, that was a great influence. We
started wanting to work with her, and she said no, we need
more companies like ours, go and make your own. And that’s
how Complicite got started, how we got started, how all these
companies got started at the same time—we were all in class
together, actually, within a few years. The whole point, Jacques
Lecoq always said, was you have to go and create companies.
You have to do the work, the work has to be seen, and you
have to reinvent it.
I was a young man when the Theatre of Nations was
created in Paris, and all the best theatre from around the world
would come once a year, and we were exposed to the greatest.
4 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
From everywhere really: the Polish, the Czechs, the Hungarians, the Romanians, the Spanish, the Italians, the Dutch. So
that was my influence.
Probably the second greatest influence for me was
Pina Bausch.
In terms of the new, it’s a little tricky to figure out what’s
happening. Right now it feels like the pot is simmering and we
see movements, we see bubbles of interesting work, but the
broth isn’t made. That is why we try to bring a lot of people to
the process. Actors, mostly, but sometimes young directors,
young designers, authors, playwrights. Even if they don’t work
on the piece, they just come to observe.
Do you have any playwrights right now that you’re particularly excited by?
Yes, I do, but I don’t want to specifically pick any names. I
just see some emerging voices that are interesting. It’s tricky
because for a long time American theatre has been framed
by the psychological. You know, people in a room, around a
couch, what I call the living room plays, in which people share
their tragedies and psychological traumas. Now, there is a new
movement coming out. Some of these playwrights are more
celebrative, and working in larger dimensions, for larger casts,
larger spaces, creating larger stories. So I tend to approach or
work with young authors, even if I don’t do their play yet, to
just push them and widen their space.
BOA R D OF
T RU ST E E S
BE R K E L E Y R E P STA F F
Michael Leibert Artistic Director
Tony Taccone
Managing Director
Susan Medak
General Manager Karen Racanelli
ARTISTIC
Associate Director
Liesl Tommy
Artistic Associate
& Casting Director
Amy Potozkin
Artistic Associate
Mina Morita
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Associate
Julie McCormick
Ground Floor Visiting Artistic
Associate
Sara Kerastas
Theatre Communications Group
Visiting Artistic Associate
Chiara Klein
Artists under Commission
David Adjmi · Todd Almond ·
Christina Anderson · Glen Berger ·
Julia Cho · Jackie Sibblies Drury ·
Rinne Groff · Dave Malloy ·
Lisa Peterson
P R ODUC T ION
Production Manager
Peter Dean
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Leslie M. Radin · Karen Szpaller ·
Kimberly Mark Webb
Production Assistants
Sofie Miller · Amanda Warner
S TA G E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P R OP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Associate Technical Director
Colin Babcock
Shop Foreman
Sam McKnight
Master Carpenter
E.T. Hazzard
Carpenter
Jamaica Montgomery-Glenn
SCENIC ART
Charge Scenic Artist
Lisa Lázár
COSTUMES
Costume Director
Maggi Yule
Associate Costume Director
Amy Bobeda
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Wardrobe Supervisor
Barbara Blair
ELECTRICS
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
SOUND
Sound Supervisor
James Ballen
Sound Engineer
Angela Don
A DM I N I S T R AT ION
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Karena Fiorenza Ingersoll
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Associate General Manager/
Human Resources Manager
David Lorenc
Payroll Administrator
Valerie St. Louis
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
Systems Assistant
Debra Wong
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Campaign Manager
Libbie Hodas
Institutional Grants Manager
Bethany Herron
Special Events Manager
Lily Yang
Individual Giving Associate
Joanna Taber
Development Database
Coordinator
Jane Voytek
Donor Relations Associate
Kelsey Hogan
Development Associate
Beryl Baker
B OX OF F I C E
Ticket Services Director
Destiny Askin
Subscription Manager
Laurie Barnes
Ticket Services Supervisors
Samanta Cubias · Richard Rubio
Box Office Agents
Nathan Brown · Christina Cone ·
Molly Conway · Julie Gotsch ·
Eliza Oakley · Amanda Warner ·
Crystal Whybark
M A R K E T I NG &
C OM M U N I C AT ION S
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations
Voleine Amilcar
Art Director
Nora Merecicky
Video & Multimedia Producer
Pauline Luppert
Communications Manager
Karen McKevitt
Audience Development Manager
Sarah Nowicki
Marketing Manager
Peter Yonka
Webmaster
Christina Cone
Program Advertising
Ellen Felker
Patron Services Manager
Katrena Jackson
House Manager
Debra Selman
Assistant House Managers
Natalie Bulkley · Aleta George ·
Tuesday Ray · Ayanna Makalani ·
Mary Cait Hogan · Anthony Miller ·
Sarah Mosby · Seandale Turner
Concessions Supervisor
Hugh Dunaway
Concessionaires
Jessica Bates · Natalie Bulkley ·
Samantha Burse · Steve Coambs ·
Emerald Geter · Devon Labelle ·
Kelvyn Mitchell · Benjamin Ortiz ·
Jenny Ortiz · Alonso Suarez
Deborah Eubanks · Maria Frangos ·
Christine Germain · Nancy Gold · Gary
Graves · Marvin Greene · Gendell
Hing-Hernández · Andrew Hurteau ·
Ben Johnson · Rebecca Kemper · Dave
Maier · Patricia Miller · Diane Rachel ·
Christian Roman · Rolf Saxon · Elyse
Shafarman · Rebecca Stockley
Outreach Teaching Artists
Bobby August Jr. · Jessica Bates ·
Gendell Hing-Hernández · Dave Maier ·
Marilet Martinez · Sarita Ocon · Carla
Pantoja · Patrick Russell · Tommy Shepherd · Patricia Wright · Elena Wright
Teacher Advisory Council
Molly Aaronson-Gelb · Julie Boe · Amy
Crawford · Beth Daly · Jan Hunter ·
Marianne Philipp · Richard Silberg ·
John Warren · Jordan Winer
Teen Core Council
Asè Bakari · Bridey Bethards · Abram
Blitz · Charlotte Dubach-Reinhold ·
Carson Earnest · Jet Harper · David
Kaus · Eleanor Maples · Eli MillerLeonard · Alexander Panagos · Samuel
Shain · Maya Simon · Chloe Smith ·
Ella Zalon
Docent Committee
Thalia Dorwick, Chair
Matty Bloom, Core Content
Nancy Fenton, Procedures
Selma Meyerowitz, Off-site contact &
Recruitment
Tartuffe Docents
Joy Lancaster, Lead Docent
John Argue · Sandy Greenberg ·
Stephen Miller · Joan Sullivan ·
Catherine Warren
2014–1 5 B E R K E L E Y R E P
FELLOWSHIPS
Bret C. Harte Young
Director Fellow
Adam L. Sussman
Company/Theatre
Management Fellow
Faith Nelson
Costume Fellow
OP E R AT ION S
Andrea Phillips
Facilities Director
Development Fellow
Mark Morrisette
Haley Bierman
Facilities Manager
Education Fellow
Lauren Shorofsky
Rachel Eisner
Building Engineer
Graphic Design Fellow
Thomas Tran
Sarah Jacczak
Maintenance Technician
Harry Weininger Sound Fellow
Johnny Van Chang
Annemarie Scerra
Facilities Assistants
Lighting / Electrics Fellow
Sophie Li · Carlos Mendoza · Jesus
Sarina Renteria
Rodriguez · LeRoy Thomas
Marketing &
Communications Fellow
BERKELEY REP
Billy McEntee
S C HO OL OF T H E AT R E
Peter F. Sloss Literary/
Director of the School of Theatre
Dramaturgy Fellow
Rachel L. Fink
Lexi Diamond
Associate Director
Production Management Fellow
MaryBeth Cavanaugh
Margaret Clement
Community Programs Manager
Properties Fellow
Benjamin Hanna
Amelia Burke-Holt
Communications and Community
Scenic Art Fellow
Partnerships Manager
Anna McGahey
Kashara Robinson
Scenic Construction Fellow
Registrar
Will Gering
Katie Riemann
Community Programs Administrator Stage Management Fellow
Brad Hopper
Modesta Tamayo
Faculty
Alva Ackley · Susan-Jane Harrison ·
Bobby August Jr. · Erica Blue · Patric
Cambra · Rebecca Castelli · Jiwon
Chung · Sally Clawson · Laura Derry ·
President
Thalia Dorwick, PhD
Vice President
Jill Fugaro
Vice President
Stewart Owen
Treasurer
Emily Shanks
Secretary
Leonard X Rosenberg.
Chair, Trustees Committee
Roger A. Strauch
Chair, Audit Committee
William T. Espey
Immediate Past President
Marjorie Randolph
Board Members
Carrie Avery
Edward D. Baker
Martha Ehmann Conte
David Cox
Robin Edwards
William Falik
Lisa Finer
David Fleishhacker
Kerry L. Francis
Paul T. Friedman
Bruce Golden
Nicholas M. Graves
David Hoffman
Sandra R. McCandless
Susan Medak
Helen Meyer
Pamela Nichter
Jack Schafer
Richard M. Shapiro
Jean Z. Strunsky
Tony Taccone
Gail Wagner
Felicia Woytak
Past Presidents
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
Sustaining Advisors
Carole B. Berg
Rena Bransten
Diana J. Cohen
William T. Espey
John Field
Scott Haber
Richard F. Hoskins
Carole Krumland
Dale Rogers Marshall
Dugan Moore
Mary Ann Peoples
Peter Pervere
Pat Rougeau
Patricia Sakai
Michael Steinberg
Michael Strunsky
Martin Zankel
F OU N DI NG DI R E C T OR
Michael W. Leibert
Producing Director, 1968–83
2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1
FYI
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tickets, read the buzz, watch video, and plan
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Tickets/box office
Educators
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
42 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5
Theatre store
Berkeley Rep merchandise and show-related
books are available in the Hoag Theatre
Store in the Roda Theatre.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Phones / electronics / recordings
Please make sure your cell phone or watch
alarm will not beep. Use of recording
equipment or taking of photographs in the
theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look, but
please don’t step onto the stage.
No children under 7
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre.
No babes in arms.
Theatre maps
stage
T H RU S T
Ticket exchange
Only subscribers may exchange their tickets
for another performance of the same show.
Exchanges can be made online until midnight
(or 7pm by phone) the day preceding the
scheduled performance. Exchanges are made
on a seat-available basis.
stage
seating sections:
• premium • a • b
stage
RO DA
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647-2949; email info@berkeleyrep.org;
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
stage
stage
seating sections:
• premium • a • b
stage
A Little Night Music
Music and Lyrics by
“Sophisticated
and enchanting”
STEPHEN SONDHEIM
New York Times
Book by
BEGINS
MAY 20
HUGH WHEELER
Directed by
MARK LAMOS
“[An] exhilarating theatrical kaleidoscope!”
The Guardian, UK
by
CARYL CHURCHILL
Directed by
CASEY STANGL
“Dizzying . . . [Churchill] has
proved herself without peer.”
New York Times
THE PREMIERE PRODUCTION AT
A.C.T.’S NEW STRAND THEATER
“wwww”
“Head-spinning!”
Telegraph, UK
Time Out New York
BEGINS JUNE 3
ACT-SF.ORG | 415.749.2228
A MAGICAL EVENING IS ON ITS WAY!
SATUR DAY, AP RI L 18 , 20 1 5
5:30 pm Cocktail Reception & Silent Auction
7:00 pm Dîner Gastronomique & Live Auction
The Ritz-Carlton, San Francisco
VIE FOR INCREDIBLE
LIVE AUCTION
PACKAGES, INCLUDING:
An Exquisite South American
Join us for a magical evening, as Berkeley Rep hosts
OVATION: Une Soirée Magnifique!
Find yourself transported to Carnaval in Paris,
a feast for the senses with surprises around every corner.
Tickets start at $750
TABLES:
* Adventure on The World Yacht
A Thrilling New York Getaway for
* Four
An Idyllic Stay at a French Manor
* in the Loire Valley
An Exclusive Dinner at Chef
* Narsai David’s home
Footlight $7,500 · Spotlight $12,500 · Limelight $18,000
To reserve, contact Lily Yang at lyang@berkeleyrep.org or (510) 647-2909.
BE R K E LE YRE P.ORG / OVAT ION
LEFT AND RIGHT PHOTOS BY DREW ALTIZER PHOTOGRAPHY · MIDDLE PHOTO BY NORA MERECICKY