the Berkeley rep magazine2 0 0 7 – 0 8 · i s s u e 2

bringing theatre into the classroom · 7

mastering the art of adaptation · 10

after the quakeprogram · 17

Based on “honey pie” and “superFrog saves tokyo”From the novel after the quake By

haruki mur ak ami

B e r k e le y r e pe r to ry t h e at r e , i n a s s o ciat i o n wit h l a J o ll a pl ay h o u s e ,pr e s e n t s s t e ppe n wo lF t h e at r e co m pa n y ’ s pro d u c t i o n o F

adapted For the stage and directed By

Fr ank galati

Bonham (emg)

the Berkeley rep magazine is published seven times per season.

For local advertising inquiries, please contact ellen Felker at 510 548-0725 or efelker@berkeleyrep.org.

editormegan Wygant

art directorCheshire Isaacs

writersLauren elaine DavidsonFrank GalatiJessica modrallmadeleine OldhamTony Tacconemegan Wygant

contact Berkeley repbox Offi ce: 510 647-2949Groups (10+): 510 647-2918Admin: 510 647-2900School of Theatre: 510 647-2972Click berkeleyrep.orgemail info@berkeleyrep.org

the B erkele y rep m aga zine 2 0 0 7 – 0 8 · i s s u e 2

c alendar

oc toBer2 Heartbreak post-show discussion, 8pm3 Teen Council meeting, 5pmÈ5 Heartbreak post-show discussion, 8pm

7 Target® Family Series, 11amÈ 12 after the quake

Target® Teen night, 6:30pmÈ 12 quake previews begin, 8pm 14 Heartbreak fi nal performance, 7pm 16 quake docent presentations begin,

every Tue and Thu, 7pm 17 quake opening night, 8pm 19 Free tasting: Sushi Ko, 7pm 26 quake book club, Wind-up Bird

Chronicle by Haruki murakami, 6:30pm

novemBer 1 quake student matinee, noonÈ

1 quake post-show discussion, 8pm 2 Argonautika

Target® Teen night, 6:30pmÈ 2 Argo previews begin, 8pm 2 Argo 30-below party, 8pm 4 Target® Family Series, 11amÈ 6 Argo docent presentations begin,

every Tue and Thu, 7pm 7 Argo opening night, 8pm

8 Argo night/OuT LGbT post-show party, 8pm

9 Free tasting: Charles Chocolates, 7pm 10 Free tasting: Domaine Carneros

champagne, 7pm13 quake post-show discussion, 8pm

15 quake student matinee, noonÈ 16 Argo book club, Myths to Live By

by Joseph Campbell, 6:30pm

16 quake post-show discussion, 8pm 25 quake fi nal performance, 7pm 27 On-the-Town: The Color Purple, 8pm ∑ 28 Argo student matinee, noonÈ 29 Argo post-show discussion, 8pm 30 Free tasting: raymond Vineyards, 7pm

decemBer 2 Target® Family Series, 11am 4 Argo post-show discussion, 8pm

7 Free tasting: Pyramid breweries, 7pm8 Free tasting: Hangar One Vodka, 7pm

14 Argo post-show discussion, 8pm 16 Argo fi nal performance, 7pm

È berkeley rep School of Theatre ∑ berkeley rep donor event

in this issue

prologue

From the artistic director:Healing stories from the realm of the unconsciouspag e 5

report

From extra-curricular to ultra-curricular: bringing theatre into the classroompag e 7

Semifreddi’s bakery helps us raise the doughpag e 8

Fe atures

mastering the art of adaptationpag e 1 0

Haruki murakami: Quiet visionary goes globalpag e 12

books by Haruki murakami published in englishpag e 13

Berkele y rep present s

berkeley repertory Theatre presents after the quakepag e 17

Profi lespag e 1 8

aBout Berkele y rep

Company profi le, board of directors & affi liationspag e 26

Staff pag e 3 0

contriButor s

Foundation, corporate & government sponsorspag e 2 7

Individual Annual Fund donorspag e 2 8

michael Leibert Societypag e 2 9

endowment fundspag e 2 9

F yi

everything you need to know about berkeley rep’s box offi ce, theatre store, safety information, seating policies, and morepag e 3 1

7 1 0 128

AAMStylized_encorebw.indd 1 8/27/07 10:34:02 AM

prologueFrom the artis tic direc tor

all art tr affics in the unknown. all art is an attempt to marry the impulses and movements of the uncon-scious with those of the conscious mind. each arena informs the other; is intertwined with the other; changes, shapes, and defi nes the other. However exploited by the artist, the rela-tionship between the unconscious and conscious self is the centrifugal force of all creativity. To learn how to move within, among, and between those two worlds is the job of the artist; to learn to dream while fully awake, to make visible the invis-ible, to live simultaneously in darkness and light.

This journey is on full display in after the quake, an adaptation for the stage of two short stories by Haruki murakami. Conceived by the eminent director Frank Galati and fi rst produced by our highly respected colleagues at the Steppenwolf The-atre in Chicago, after the quake is, on one level, an examination of the psychological upheaval caused by an earthquake: the shocks and aftershocks that serve to remind us of the fragility of life, the fear of death, the relief of having survived.

but murakami and Galati are interested in a deeper set of experiences than those described by fi rst reactions to the physical event of an earthquake. They move, literally and fi guratively, into the realm of the unconscious to discover not only the source of our personal and collective trauma, but the source of our healing. Galati has ingeniously fused two stories to illuminate this landscape: a child cannot sleep at night and needs the balm of a story, a story so powerful that it has the magical ability to speak about the unspeakable; a superhero in the person of a Frog tries to stave off a cataclysmic earthquake by enlisting the help of an unassuming bureaucrat. Togeth-er, the two stories weave a diff erent tale about the limitations of the visible world; about the mysterious forces of change swirling all around us; about the very nature of our precarious existence. The “quake,” in murakami’s world, shatters the assumptions of everyday life to reveal a strange, parallel universe full of ruthless power and terrible beauty; incomprehensible simplicity and comic truth. And we, audience and perform-ers alike, armed with only our vulnerability and imagination, travel through the dark-ness into the light of each other, unifi ed by what we can never truly know.

And left feeling more fully alive for it.enjoy this wonderful show.

Tony Taccone

enjoy this wonderful show.

Tony Taccone

Healing stories from the realm of the unconscious

The East Bay Specialists

1.800.Hi.Berkeley

www.berkhills.com

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 5

encore masthead

masthead(emg)

THETIME

OFYOURLIFE

Retirement is the time toembrace life and live it to thefullest. At St.Paul’s Towersoverlooking beautiful LakeMerritt, you can do just that–in a vital community of activeand interesting people whoenjoy the freedom and peaceof mind that only Life Carecan offer.To learn more aboutSt.Paul’s Towers, contact GayleReynolds at 510-891-8543 orgreynolds@ehf.org.

In the studio with St. Paul’s Towers resident Betty Kueneman

Berkeley Rep 10/12 – 12/25, /2007

A fully accredited, nondenominational, not-for-profit community owned andoperated by the Episcopal Homes Foundation License: 011400627 COA #92

100 Bay Place,Oakland, CA94610www.ehf.org/spt

� · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

finding ways to bring arts into schools is a problem. Budget issues aside, there’s simply not enough time in the day—and, while educators at all levels agree that art is important, it’s among the first subjects sacrificed in favor of tangibles like literacy and mathematical proficiency. So, while art is important for art’s sake, getting art into the schools in any form is the point of programs like Berkeley Rep’s Target® Story Builders, where students and teaching artists explore a story using theatre exercises and techniques.

In Target® Story Builders, an hour of storytelling and theatre meets over 18 curricular standards in up to eight subjects. One second grader participates in a group activity and learns about cultural context, literacy response and analysis, social science, oral communication—and more. California Standards of Education ask teachers to meet a set of guide-lines for each grade level, each year. Target® Story Builders was designed to meet multiple curriculum requirements for each grade, making it as easy as possible to incorporate theatre into the classroom.

As Berkeley Rep Education Associate and Program Coordinator Gendell Hernández says, “The success of this program is in engagement. We empower kids by making them participate in what they’re learning. They’re on their feet, exploring the story, communicating with each other in new ways.” This year, the program is expanding from second and fourth grades to span from first through fifth, and teachers can request workshops taught entirely in Spanish. “In the fifth grade, we’ll ask them to take it a step further,” Hernández says, “and apply the activities we’ve taught to other subjects they’re learning. Suddenly, their theatrical experience becomes a new way to talk about what they are learning in history, or science.”

Each change in the program’s format furthers the original goal of facilitating arts in the classroom. “We’re showing that the standards of education can be taught with art in schools—that art doesn’t have to just exist outside the standard subjects,” says School of Theatre Director Rachel Fink. “It’s difficult to quantify the impact of art itself on a student. But the tools that come with the creation of art—those are applicable across the curriculum. Target® Story Builders makes that evident.” This program engages kids on a new level, and it teaches art while also covering the numerous other subjects that must be taught each day. And in this, it shows that there’s no excuse to not have arts in schools: that theatre can be used to teach science, and dance to teach literature. Target® Story Builders is showing that it’s possible. And the success of the program is showing that it works.

From extra-curricular to ultra-curricular: bringing theatre into the classroomB y J e s s i c a m o d r a l l

reportnews around Berkele y rep

Berkeley Rep’s Target® Story Builders is an elementary outreach program that asks students to create a piece of theatre from a story they hear. Between January and March of 2007 teaching artists visited 196 classrooms, making contact with 4,114 elementary school students in seven counties. This year, we’re expanding the cur-riculum from second and fourth grades to span first through fifth grade. For more information about Target® Story Builders or other Berkeley Rep School of Theatre programming, visit berkeleyrep.org/storybuilders.

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 7

did you know that each season berkeley rep flies in over 75 out-of-town artists to work at the Theatre? Or that donors to the Annual Fund enjoy over 90 pounds of biscotti dur-ing intermission each season? From supporting artistic expenses related to putting on each play, to providing food and beverages served at special events, to donating flower arrangements for the Theatre, in-kind donations from businesses large and small help offset the cost of producing theatre and are invaluable to supporting the frame-work of berkeley rep.

We hire the most talented actors, directors, designers, and artists nation-wide—and travel vouchers donated by Jetblue help subsidize the cost of getting them here. many of these art-ists will be away from their homes and associated amenities for nearly three months. Gym memberships donated by 24 Hour Fitness help ease this stress (and keep our actors healthy and fit). So, who knows whom you’ll see at your next workout!

Have you ever attended an open-ing night at the Theatre? How about night/out, Page to Stage, or one of our special donor receptions? Last season raymond Vineyards donated over 101 cases of wine (that’s over 1,200 bottles!) for these events. And local restaurants, like bistro Liaison, donated nearly all the catering. Here’s an interesting tidbit: supposedly, the 100 folds on a French chef’s hat represent all the ways you can cook an egg. Liaison often has their chefs onsite during these events; strike up a conversation with them and they’ll tell you all about it.

And how do pastries help support theatre? Sweet treats from Semifreddi’s bakery are served in our donor lounge

report

w w w . f r a m e r s w o r k s h o p . c o m

Do-It-Yourself

And Custom

Picture Framing

2439 Channing Way

Berkeley, CA 94704

(510) 849-4444

THEB E R E K E L E Y

ROSEG A R D E N

A 21 Color

Limited Edition

Block Print by

Yoshiko Yamamoto

For Our 30th

Anniversary

French food for the soulWalking distance to Berkeley Rep.

Full bar, weekend brunch.

Join Chef Todd on a culinary adventure in southwest France to explore the rich history, breathtaking countryside, and local

cuisine. For more information, visit liaisonbistro.com

Shattuck Avenue (corner of Hearst & Shattuck)Berkeley, CA · -

bistro

Semifreddi’s Bakery helps us raise the doughB y l a u r e n e l a i n e d a v i d s o n

8 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

and at rehearsals, meetings, and events throughout the year. Semifreddi’s ceo, Tom Frainier—whose daughter is now a proud member of berkeley rep’s Teen Council—serves on berkeley rep’s Corporate Council advisory committee. Semifreddi’s has also hosted off-site retreats (where staff got a tour of the bakery and took home samples!) and contributed goodies to gift bags (along with donated Peet’s coffee, Lonely Planet books, Fossil watches, and more) for the narsai Toast.

Please consider supporting those businesses that partner with berkeley rep. A listing of all our institutional do-nors is in the back of this program. Just think, buying that Semifreddi’s bread supports a great local business that sup-ports great art. It’s a no-brainer. now the really important decision: morning bun or almond croissant?

2.375 x 4.75 (1/6 Horizontal)

Berkeley Rep Ad-2005

There are great artists in everyfield. We invite you tocall one of ours!

RESIDENTIAL BROKERAGE

1495 Shattuck Avenue, CA • 510.486.1495www.CaliforniaMoves.com

KATHIE LONGINOTTIREALTOR® & GRAMMY NOMINEE

510.981.3032www.AtHomeEastBay.com

Semifreddi’s cookies

THE MOSSE FOUNDATION FOR THE ARTS AND EDUC ATION

This season, celebrate with usClasses for all ages inPerformancePlaywritingMovementVoiceDirecting …and more

Winter classesstart January 14For more informationvisit berkeleyrep.org/school or call 510 647-2972

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · �

‘Murakami is a dramatist because of his obsession with small interior spaces. In a Murakami story, it’s not so much where the characters go in the

world, as where they go inside themselves.’F r a n k g a l a t i

my e xperience with haruki mur ak a mi is very personal, as I think must be the case with other readers who become fans of his work. There’s a kind of mysterious inner energy, an inner world that you find yourself getting in touch with when you read him. There’s also this plainness in his style—an unadorned, muscular but simple prose that con-ceals a great deal. It’s like the smooth surface of a pond that is incredibly, even unthinkably, deep. From this plain prose style, you can also tell that murakami has studied Jack London and ernest Hemingway and William Faulkner—the great American writers, whom he uses as inspiration in his work in surprising ways. I was first introduced to mr. murakami’s writing when I read Sputnik Sweetheart. Then I read Norwegian Wood, and then The Wind-Up Bird Chronicle, and finally, after the quake, which I chose to adapt.

murakami’s work is inherently theatrical in many ways. In fact, his novels and short stories are full of plays; sometimes the whole story can feel like a play. In many of the stories, impossible things occur, fantastical, surreal episodes. The worlds of the characters in these fictions bulge and bend as in a distorted mirror. They are porous worlds, because the border between reality and fiction, between the seen and the unseen, between life and death, is so incredibly undefined. In a murakami story, you can just step into the invisible so easily, like you would turn and say, “Oh, it’s right here to my left, all I have to do is go this way, and I’m gone.” He’s mesmerized by that brutal fact—that living is a membrane of consciousness. You poke it, and you can easily go into a zone that is death-shrouded, which is tortured in a way that dreams are tortured.

And yet, in this murakami terrain, we encounter human beings who are familiar. We recognize ourselves in them, even though they have extraordinary adventures. most of the time, they’re painfully ordinary people, people that are lackluster, that don’t have a very interesting life, but are thrust into what beckett called “zones of abandonment”: those times in life when you’re marooned, you’re stranded, you’ve been dumped, you’ve been abandoned by your parents, you’ve simply been left. And that’s when their adventure begins.

At the same time, murakami is a dramatist because of his obsession with small interior spaces. even in a book as epic as The Wind-Up Bird Chronicle, the characters spend a lot of the time in the kitchen, or in a motel room, a hospital room, a living room. These interiors, however, are just the first interiors we perceive, because then there are the interiors of the char-

acters. In a murakami story, it’s not so much where the charac-ters go in the world, as where they go inside themselves.

many of the stories in this collection end with waking and sleeping; in a way, the stories seem to be dreaming each other. In the end of one story, somebody falls asleep, and in the beginning of the next story, someone wakes up and it’s a different person. It’s a different story. In the last story of the collection (which in many ways mirrors the form of Joyce’s Dubliners), the main character, Junpei, is awake and is the guardian of Sayoko, the woman he loves, and Sala, her daugh-ter. They’re sleeping, and he’s awake and alert. He promises them, in his heart, that he will never falter in his guardianship of their lives.

This waking/sleeping observer/observed is very reminis-cent of the scene in beckett’s Waiting for Godot, when Vladimir looks at estragon and he’s snoozing. And Vladimir says, “At me too, someone is looking, of me too, someone is saying, ‘He is sleeping, he knows nothing, let him sleep on.’” That’s the most powerful articulation of our little lives: to be is to be perceived. I think that notion is very profoundly a part of murakami’s aesthetic, as well as very much a part of the zeitgeist.

In addition to the references to works of literature, there’s also a tremendous interest in music and musical forms. A number of murakami’s characters play piano, or are passionate musicians, or know a lot about music theory and music history. There are references to classical music, as well as references to popular music, like the beatles, and to jazz and blues. In developing the adaptation, I didn’t think about a musical score or musical punctuation, at first. but very early in Honey Pie, the framing story in our production, Sayoko hums some Schubert, and I thought, “What if the Schubert that’s alluded to in the text becomes a motif in the performance?” I became very interested in the notion that an instrument like a cello might be another character, a kind of narrating musical personality.

Then, getting further into it, it seemed that a cello wasn’t enough. There needed to be a richer musical texture than just the cello, and a Japanese instrument called the koto came to mind. There’s a kind of sweeping melodic feeling in the deep, darkly colored tones of the cello, and the koto is percussive—it’s a very striking counterpoint to the cello. Andre Pluess, who is our sound designer, decided that the musicians should play live. That their living presence, the spontaneity of their participation, their witnessing of the unfolding of the stories would really contribute, in a simple, but a very rich way to the murakami-esque nature of the whole production.

Mastering the art of adaptationFrank galati on murakami’s narrative world

As appeared in Steppenwolf Theatre’s backstage

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 1 1

at 58 years old, haruki murakami shows no signs of abandoning the generations of young people who look to his books for their literary fix. refusing to conform to estab-lished literary tradition and convention in his native Japan, murakami invented his own prose style unlike anything his country had previously seen. He refers to the writings of Japanese literary purists as “getting more and more refined, to the point where they resemble a kind of bonsai,” implying that though they may be beautiful, they are also constrained and repressed. murakami prefers his writing to let loose, to communicate energy, power, freshness, and freedom. In the united States, he has transcended cult status to become an extremely well-known author—particularly among readers in their 20s and 30s—and his fans stretch across europe, Asia, and the Americas.

His writing is directly influenced by the global pop culture fusion that began emerging in the ’60s and ’70s (coinciding with the worldwide proliferation of television) and has only exploded since then. American culture in particular heavily in-fluenced the young murakami, who grew up on jazz, rock and roll, and hardboiled detective novels. In a conversation with author Jay mcInerney, murakami described America’s cars and clothes and television at that time as impossibly “vibrant.” Young Japanese people embraced and adored American cul-ture: “It was so shiny and bright that sometimes it seemed like a fantasy world. We loved that fantasy world. In those days, only America could afford such fantasies.”

The press regularly dialogues about how Japanese murakami’s writing is, or, more specifically, isn’t; and how Japanese he intends it to be. A common criticism accuses him of worshipping the united States and ignoring his own culture, which in Japan amounts to a kind of betrayal. In typical mu-rakami fashion, he dismisses such questions: he writes what he writes; he is Japanese; there it is.

born in Kyoto and raised in Kobe, murakami grew up the son of not one but two teachers of Japanese literature. (He admits that his later career may have partially stemmed from rebellion against that.) Determined not to succumb to the soci-etal pull of becoming a company man, murakami dropped out of college, where he had been majoring in cinema and theatre arts, and started a jazz bar that he ran for seven years.

It was not until the age of 29 that murakami wrote his first work of fiction. He points to a particular moment where the idea became real to him: he was watching a baseball game, someone hit a double, and suddenly the thought hit him that he could write a novel. So he did. This moment essentializes the kind of opaque simplicity that characterizes murakami’s writing—what otherwise might be an incomprehensible leap of logic instead simply creates its own logic in murakami’s

books. His prose is direct and pleasingly accessible, but it belies his complex dreamscapes and intricate plot-weaving; his deceivingly simple language and imagery add up to something much richer than the sum of their parts.

murakami’s writing explores the inner lives of characters living on the outskirts of public life. In the united States, we have a long legacy of celebrating the individual and idealizing the loner. The opposite is true in Japan, where success is often measured in how well a person can blend in with a group; it lacks a national appreciation for nonconformists. murakami notes, “Japan is such a group-conscious society that to be independent is very hard. For instance, when I looked for an apartment in Tokyo, the real estate people didn’t trust me because as a writer, I was self-employed and didn’t belong to any company. many people, especially young people, would like to be more independent and on their own. but it is very difficult and they suffer from feelings of isolation. I think that is one reason why young readers support my work.”

murakami wrestles in his writing with questions of individ-ualism and identity (which, incidentally, the Japanese language has no word for), as well as a recurring theme of abnormal things happening to normal people—people so ordinary that should they disappear, the world might not even notice. Some sort of outside force descends, often in the form of a fantastical person or creature, and confronts these nobodies with a challenge they cannot run from. Catapulted back into the throes of life, murakami’s ordinary heroes often discover a newfound sense of place and purpose, albeit quietly. They transform—quintessential examples of Joseph Campbell’s hero’s journey—but do not aspire to the end glory that other heroes do. mcInerney describes:

even when he’s writing about relatively fantastic sub-jects, like spirit possession in sheep, Haruki muraka-mi’s sensibility is that, I think, of a skeptical realist. His narrator is inevitably everyman, contemporary Tokyo edition, a kind of thirtyish urban male in a low-key white-collar job, like advertising or public relations, a somewhat passive fellow who doesn’t expect much out of life and who takes what comes to him with jaded equanimity.

remarkable things do tend to befall these an-tiheroes of mr. murakami’s fiction. Their girlfriends commit suicide. Their friends turn into sheep. Their favorite elephants disappear into thin air. but they will be damned if they’re going to make a big deal out of it.

unable to maintain his own status as an ordinary Joe, his popularity snowballed and murakami became a household

B y m a d e l e i n e o l d h a m

Haruki MurakamiQuiet visionary goes global

12 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

A trench during the Somme Offensive

name in Japan. His celebrity made him uncomfortable and he left Japan for the united States in search of a return to anonymity. His self-imposed exile afforded him an opportu-nity to write about Japan from the outside. In keeping with his personal fascination with people who drop out of society, he became one himself.

but in 1995, two national tragedies left Japan reeling in their wake. A devastating earthquake struck murakami’s child-hood home of Kobe, the large-scale loss and destruction the likes of which he had never before seen. His parents survived, but their house did not. Following hard upon the heels of the earthquake, the Aum Shinrikyo cult bombed the busy Tokyo subway system at rush hour with poisonous sarin gas, killing 12 people and severely wounding over 50 others. murakami realized that the time had come for him to return home. In a 2000 conversation with author Jonathan Lethem, murakami describes the six stories in after the quake as

...having one theme: what happened in February 1995. There was an earthquake in Kobe in January 1995, a month before. And there was a sarin gas at-tack in march 1995. So, February 1995 is sandwiched between the two incidents... And I think 1995 is a very critical year for my country. It was a turning point of our history. I was in the States when those things happened in 1995. I was in Cambridge, mass. I heard that news and I thought, this is a time for me to come home. It’s just like F. Scott Fitzgerald in 1929. He was in europe when he heard news of the market crash.... and he thought, it’s time for him to come home...

murakami now resides in Tokyo. His worldwide popularity continues to grow—his work has been translated into over 30 languages. His literary investigations into the strange world of subconscious dreams and identity, and their intersection with reality, have found a mass audience hungry for his unique perspective. The 15th english language murakami book, After Dark, had its u.S. release in may of 2007. His name has even been mentioned as a serious contender for the nobel Prize for Literature. One hopeful website for a Japanese library con-vinced that he would win, overzealously reported that he had. but it may very well be only a matter of time until that does, in fact, happen.

books by Haruki murakami published in englishAfter DarkBlind Willow, Sleeping WomanKafka on the Shoreafter the quakeSputnik SweetheartUndergroundThe Wind-up Bird ChronicleThe Elephant VanishesSouth of the Border, West of the SunDance Dance DanceNorwegian WoodHard-Boiled Wonderland

and the End of the WorldA Wild Sheep ChasePinball, 1973Hear the Wind Sing

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 13

princess cruises (emg)

princess cruises (emg)

ArgonAutikAWrit ten and direc ted by Mary ZiMMerMan

adap ted froM the Voyag e of JAson And the ArgonAuts

Main SeaSon · roda theatrenoV 2—dec 16 · ticketS $27—69

in a SS o ciatio n With Mcc ar te r th e atre ce nte ran d th e S hake S pe are th e atre coM pan y

pro d u c t i o n S p o n S o rSee after the quake and Argonautika—and add just one more show to enjoy better seats, lower prices, and other subscriber perks! call 510 647-2949 for details.

nex t at Berkeley rep

* member of Actors’ equity Association, the union of Professional Actors and Stage managers in the united States.

c a st(in order of appearance)

narrator / Frog keong sim*

Junpei hanson tse*

Sala gemma megumi Fa-kajimadison logan v. phan

Sayoko / nurse Jennifer shin*

Katagiri / Takatsuki paul h. Juhn*

Cello Jason mcdermott

Koto Jeff wichmann

Scenic Design James schuette

Costume Design mara Blumenfeld

Lighting Design James F. ingalls

Sound Design & Original Composition

andre pluess & Ben sussman

Stage manager malcolm ewen*

Casting erica daniels amy potozkin

after the quake is performed in 90 minutes without an intermission

Berkeley repertory theatre and la Jolla playhouse present

this production is made possible through the generosity of

e xecutive producer sbill Falik & Diana CohenWayne Jordan & Quinn Delaneymarjorie randolphrichard A. rubin & H. marcia SmolensThe Strauch Kulhanjian Family

producer smary Ann and Lou Peoples

se a son sponsor s

B e rk e le y re pe r to ry th e atre to n y tacco n e , a r tis tic d irec to r sus ie m e dak , m a nag in g d irec to r

Based on “honey pie” and “superFrog saves tokyo” From the novel after the quake By

haruki mur ak amiadapted For the stage and directed By

Fr ank galatio c t 12 – n ov 2 5, 20 07 · th rus t s tag e

s t e ppe n wo lF t h e at r e co m pa n y ’ s pro d u c t i o n o F

after the quake was originally produced and premiered by Steppenwolf Theatre Company, Chicago, IL

martha Lavey, Artistic Director; David Hawkanson, executive Director.

after the quake is presented by arrangement with Dramatists Play Service, Inc., in new York.

after the quake by Haruki murakami was published in hardcover edition by Knopf in 2002. A soft-cover edition was

published in 2003 and is available from Vintage.

assistant director marissa Wolf

assistant lighting designer Keith Parham

assistant sound designer rick Sims

music arrangers Andre Pluess

Jeff Wichmann Jason mcDermott

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 1 7

gemma megumi Fa-kajis a l a

A native of berkeley, Gemma is thrilled to make her theatrical debut at berkeley rep. As a third-generation Chinese American and fourth-generation Japa-nese American, she is honored to act with an Asian American ensem-

ble. Gemma has staged numerous theatrical productions in the family living room along-side her four older sisters and friends; her favorite role was that of Skadi (the snowshoe goddess) in an adaptation of a norse myth. During her preschool years at Dandelion nursery School, Gemma also wrote and illus-trated stories for her classmates to perform. She enjoys creating artwork in any form, singing, dancing, swimming, playing soccer, and jumping rope. Gemma is currently in first grade at Thousand Oaks elementary School.

paul h. Juhnk atag i r i/ ta k at s u k i

Paul is excited to make his berkeley rep debut with after the quake. His regional credits include The Importance of Being Earnest, directed by Les Waters at La Jolla Play-house; League of Nations at mixed blood Theatre; and Mother Courage at

the Guthrie Theater. new York credits include the off-broadway hit sides: the Fear is Real, di-rected by Anne Kauffman at mr. miyagi’s The-atre Company, Fuente Ovejuna with national Asian American Theatre Company, wAve at ma-Yi Theater Company, and White Chocolate, directed by David Schweizer with The Culture Project. His TV and film credits include As the World Turns, Law & Order: Criminal Intent, Michael Clayton, and the award-winning short film Crumple. Paul is a founding member of mr. miyagi’s Theatre Company, and received his mfa in acting from the university of Cali-fornia, San Diego.

madison logan v. phans a l a

madison began training for the stage at a very young age, appearing in berkeley ballet Theater’s annual Nutcracker and Spring Showcase performances since she began studying with the company at age three. At seven, she became the

youngest student ever accepted into Cal Shakes’ Summer Theatre Camp, where she has appeared as the Third Witch in Macbeth and as mistress Page in Merry Wives of Windsor. A member of uC berkeley’s Academic Talent Development Pro-gram for advanced students since kindergarten, madison enjoys science and art, and is a gifted caricaturist. She currently attends fourth grade at St. John the baptist School in el Cerrito.

keong sim n a r r at o r / F r o g

Keong Sim makes his berkeley rep debut with the role he created at Steppenwolf Theatre Company and revisited at La Jolla Playhouse and Long Wharf The-atre. His other theatrical credits include Anything Goes at Paper mill Play-

house, A Midsummer Night’s Dream at Hangar Theatre, George C. Wolfe’s Radiant Baby at the Public Theater, Rashomon with Pan Asian repertory Theatre and the Havana Interna-tional Theatre Festival, and Twelfth Night with Cincinnati Playhouse and the repertory The-atre of St. Louis. Keong’s TV credits include As the World Turns, mtv’s Boiling Points, nbc’s Ed, Law & Order, Law & Order: Criminal Intent, Rescue Me, and Starved. He also appears in the upcoming indie film, Flying Scissors. To learn more, visit keongsim.com

Jennifer shins ayo ko/ n u r s e

Jennifer Shin is thrilled to make her berkeley rep debut with after the quake. Jennifer was last seen in Collaboraction’s long-running produc-tion of The Intelligent Design of Jenny Chow, and in the Artistic Home’s production

of Savage/Love. Her first feature-length film, Second Moon, was screened at the 2006 Pusan International Film Festival and at the Gene Siskel Film Center in Chicago as part of the center’s 2007 Asian-American Showcase.

Berkeley rep presentsproFiles

emg

emg

18 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

emg

hanson tse J u n p e i

Hanson Tse debuts at berkeley rep with the role he created at Step-penwolf and recreated at La Jolla Playhouse and Long Wharf Theatre. His other regional credits include the world pre-miere of naomi Iizuka’s Strike-Slip with Actors

Theatre of Louisville for the 2007 Humana Festival. His new York credits include Righteous Babes at P.S. 122, Romeo and Juliet at the Public, and Zen Junior High at here. He is also in the films Beach Closed in Winter, The Mercy Man, and Not a F%$@ing Blonde!; and has appeared on One Life to Live. Hanson’s training is from the William esper Studio, Actors’ movement Studio, and the Public Theater Shakespeare Lab.

Jason mcdermottc e l lo

Jason was first recruited by Andre Pluess and ben Sussman to provide live music for theatre in 2000 for the musical Whitman, directed by eric rosen at About Face Theatre Company. He worked with these three again at the 2003

Albeefest at the Goodman Theatre. Since then, Jason’s cello has been heard in Pluess/Sussman productions of Alice and Hard Times at Lookingglass Theatre Company, The Clean House at Yale rep, The Dazzle with Steppen-wolf, The Father at Writers’ Theatre, The Pas-sion Play Trilogy at Arena Stage, Pericles with the Shakespeare Theatre Company, Travesties with Court Theatre, Silk at the Goodman, and the tour of The Secret in the Wings at berkeley rep, Lookingglass, mcCarter Theatre, and Seattle rep. He has performed with various ensembles throughout the country and is a founding member of the Chicago-based belden String Quartet. A member of the origi-nal after the quake cast, Jason collaborated on the music with Andre Pluess and Jeff Wich-mann, which subsequently won a Jeff Award.

Jeff wichmannko t o

Jeff was introduced to the koto at Augustana College by Dr. Jesse evans. After graduat-ing with degrees in art, Asian studies, and theatre, Jeff moved to Tokyo, where he received an Advanced Koto License from the

Sawai Koto Academy, under the tutelage of koto master Kazue Sawai. Over the last 20 years he’s been a performing member of Augustana College Koto ensemble, the Chusei Koto Society

Recipient of the 2007Distinguished Hospital Awardfor Clinical Excellence.

New treats atBerkeley RepTaste the new items on our menu! We’re introducing locally produced, often organic, seasonal delicacies and delights. Whether you want a sweet or a savory, a morsel or more, we’ll treat you well.

You can also order your snacks and drinks before the show—no waiting in line at intermission!

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 1�

emg

emg

Players, Group Otoko, Koto Phase, and Spring Valley Koto ensemble. He has performed at Harvard university, the Kennedy Center, Lincoln Center, and Tokyo museum of Contemporary Art. In addition to his classical koto repertoire, Jeff has been involved with several rock and improvisational bands, thus following the Sawai Institute’s mandate for students to pursue unique musical interests involving the koto. He lives in Chicago composing, teaching, and performing with the rock band tenki.

Frank galatia da p t o r / d i r e c t o r

Frank Galati has been a member of the Steppen-wolf ensemble since 1985. He received two Tony Awards in 1990 for his adaptation and direction of Steppenwolf’s production of The Grapes of Wrath. In 1989, Frank and his collaborator Law-rence Kasdan were nominated for an Academy Award for their screenplay of The Accidental Tourist. In 1999, he was nominated for a Tony Award for his direction of the musical Ragtime. In 2002, he was inducted into the American Academy of Arts and Sciences. Frank is an emeritus professor in the department of perfor-mance studies at northwestern university.

haruki murakamiau t h o r

Haruki murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into 34 languages, and the most recent of his many honors is the Yomiuri Literary Prize, whose previous recipients include Yukio mishima, Kenzaburo Oe, and Kobo Abe.

andre pluess and Ben sussmans o u n d d e s i g n a n d o r i g i n a l co m p o s i t i o n

The Chicago-based design team of Andre Pluess and ben Sussman previously designed sound for berkeley rep productions of Blue Door, Honour, Metamorphoses, and The Secret in the Wings. They have been associate artists for About Face, resident artists for Court Theatre, artistic associates for Lookingglass, and resident designers for Victory Gardens, also designing work at the Goodman and other Chicago and regional theatres. Their broadway credits include I Am My Own Wife and Meta-morphoses. recent projects include 33 Variations and The Passion Play Trilogy at Arena Stage, bfe at Long Wharf and Playwrights Horizons, The Clean House at Yale rep, Lady Windemere’s Fan at the Williamstown Theatre Festival, Silk for the Goodman, and Pericles at the Shakespeare Theatre Company in Washington D.C. Andre and ben have won 11 Joseph Jefferson Awards and Citations, an L.A. Ovation Award, a Drama Critics Circle Award, and a Lortel nomination for composition and sound design.

James schuettes c e n i c d e s i g n

James Schuette last designed Mad Love for berkeley rep. His recent set or costume

20 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

emg

emg

designs include The Diary of Anne Frank, directed by Tina Landau at Steppenwolf; Oe-dipus Complex, directed by Frank Galati at the Goodman; Radio Macbeth, directed by Anne bogart at the Public; Un Ballo in Maschera, directed by James robinson at boston Lyric Opera; and The Unmentionables, directed by Anna Shapiroat Yale rep. His work has been seen at Actors Theatre of Louisville, a.c.t., American repertory Theatre (a.r.t.), Arena Stage, Classic Stage Company, Glimmerglass Opera, Houston Grand Opera, Long Wharf, mark Taper Forum, the Old Globe, Oregon Shakespeare Festival, Papermill Playhouse, Playwrights Horizons, Prince music Theatre, manhattan Theatre Club, new York Theatre Workshop, new York City Opera, Opera Colorado, Opera Theatre of St. Louis, Santa Fe Opera, and Seattle Opera. His upcoming projects include Hotel Cassiopeia at bam next Wave Festival, Julius Caesar at a.r.t. and Blythe Spirit at Trinity repertory Company.

mara Blumenfeldco s t u m e d e s i g n

mara blumenfeld returns to berkeley rep where she previously designed mary Zimmerman’s productions of The Secret in the Wings and Metamorphoses. Her new York credits include Tony Kushner’s Homebody/Ka-bul at bam, mary Zimmerman’s The Notebooks of Leonardo Da Vinci at Second Stage Theatre, Metamorphoses with Circle in the Square and Second Stage, and Measure for Measure with the new York Shakespeare Festival. based in Chicago, she has designed numerous produc-tions for Chicago Shakespeare Theater, Court Theatre, Goodman Theatre, and Steppenwolf Theatre Company, as well as Lookingglass Theatre Company, where she is an ensemble member. regional credits include productions for Geva Theatre, Huntington Theatre Com-pany, mcCarter Theatre, mark Taper Forum, milwaukee rep, Oregon Shakespeare Festival, Seattle rep, and Weston Playhouse. upcom-ing projects include a new production of Lucia di Lammermoor with mary Zimmerman at the metropolitan Opera, and the new Stephen Flaherty/Lynn Ahrens musical, The Glorious Ones, for Lincoln Center.

James F. ingallsli g h t i n g d e s i g n

James Ingalls returns to berkeley rep where he designed How I Learned to Drive, Mc-Teague: A Tale of San Francisco, The Revenger, and Yellowman. His other bay Area credits include The Hard Nut; L’Allegro, Il Penseroso Ed Il Moderato; King Arthur; and Platee for mark morris Dance Group and I Was Looking at the Ceiling and Then I Saw the Sky for Peter Sellars at CalPerformances; Buried Child, For the Pleasure of Seeing Her Again, Glengarry Glen Ross, The Invention of Love, A Mother and The Three Sisters at A.C.T.; The Nutcracker, Sylvia, and Silver Ladders for San Francisco ballet; and John Adams’ Doctor Atomic for San Francisco Opera. He often collaborates with the Saint Joseph ballet in Santa Ana, California.

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 2 1

1656 Shattuck Ave Berkeley 510.848.1950 www.thornwallproperties.com

Innovative, Caring Professionals

We put you Center Stage

malcolm ewens tag e m a n ag e r

malcolm ewen is pleased to bring after the quake to berkeley. He first stage-managed for Step-penwolf in 1987 with Frank Galati’s production of Born Yesterday. Since then, he has worked for Steppenwolf on four continents and has taken three Steppenwolf shows to broadway, including the Tony Award–winning The Grapes of Wrath. In recent Steppenwolf seasons, he stage-managed Cherry Orchard, The Diary of Anne Frank, Lost Land, Man from Nebraska, and Sonia Flew. On broadway, he was the production stage manager of Paul Simon’s The Capeman. He has served Steppenwolf twice as production manager. A graduate of Amherst College, mal-colm is also a member of the national Advisory board of the Actors’ Fund, and a board member of Season of Concern, the Chicago theatre community’s aids fundraising effort. every summer he returns to the Green mountains of Vermont to direct at the Weston Playhouse.

tony tacconea r t i s t i c d i r e c t o r

Tony Taccone is in his 11th year as artistic director of berkeley rep, where he has staged more than 35 shows, including the world premieres of The Convict’s Return, Culture Clash in AmeriCCa, The First 100 Years, Geni(us), Ravenshead, Virgin Molly, and Zorro in Hell. He commissioned Tony Kushner’s renowned Angels in America, co-directed its world premiere at the mark Taper Forum and has collaborated with Kushner on six projects. Their latest piece, Brundibar, featured designs by beloved children’s author maurice Sendak. It debuted at berkeley rep and then traveled to Yale rep and new York. Tony recently made his broadway debut with Bridge & Tunnel, which was universally lauded by the critics and won a Tony Award for its star, Sarah Jones. He also staged the show’s record-breaking off-broadway run, workshopped it for broadway at berkeley rep, and directed Jones’ previous hit, Surface Transit. In 2004, his production of David edgar’s Continental Divide transferred to the barbican in London after playing the Oregon Shakespeare Festival, berkeley rep, La Jolla Playhouse, and england’s birmingham rep. His other regional credits include noted theatres such as Actors Theatre of Louisville, Arizona repertory Theatre, La Jolla Playhouse, San Jose repertory Theatre, Seattle repertory Theatre, and San Francisco’s eureka Theatre, where he served six years as artistic director.

susie medakm a n ag i n g d i r e c t o r

Susie medak has served as berkeley rep’s managing director since 1990, leading the administration and operations of the Theatre. She is president of the League of resident Theatres (lort) and recently completed two terms on the board of Theatre Communications Group (tcg), where she served three years as treasurer. Susie has served extensively with the national endowment for the Arts’ Theatre Pro-gram panel, as well as on nea panels in three other areas: Overview, Prescreening, and Cre-

emg

2 2 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

ation and Presentation. She has chaired panels for both the Preservation and Heritage and the education and Access programs, also serving as an onsite reporter for many years. In addition, she led two theatre panels for the massachu-setts Arts Council. Closer to home, Susie is a commissioner of the Downtown business Improvement District, former vice president of the Downtown berkeley Association, and the founding chair of the berkeley Arts in educa-tion Steering Committee for berkeley unified School District and the berkeley Cultural Trust. A proud member of the mont blanc Ladies’ Literary Guild and Trekking Society, Susie lives in berkeley with her husband and son.

les waters a s s o c i at e a r t i s t i c d i r e c t o r

Les Waters is in his fifth year as associate artistic director of berkeley rep, where he has staged Eurydice, Fêtes de la Nuit, Finn in the Underworld, The Glass Menagerie, The Mystery of Irma Vep, The Pillowman, Suddenly Last Summer, To the Lighthouse, and Yellowman. He won an Obie Award for Big Love, directing its premiere at the Humana Festival and subsequent runs at berkeley rep, the brooklyn Academy of music, the Goodman Theatre and Long Wharf Theater. In addition to Big Love, his new York credits include the Connelly Theatre, manhat-tan Theatre Club, The Public Theater/new York Shakespeare Festival, Second Stage Theatre and Signature Theatre Company. elsewhere in America, he has directed for American Conser-vatory Theater, the Goodman, Guthrie Theatre, La Jolla Playhouse, Steppenwolf Theatre Company and Yale repertory Theatre. In his native england, Waters has staged work with the bristol Old Vic, Hampstead Theatre Club, Joint Stock Theatre Group, national Theatre, royal Court Theatre, and Traverse Theatre Club. He has a long history of working collaboratively with prominent playwrights like Caryl Churchill and Charles mee, and champions important new voices, such as Jordan Harrison, Sarah ruhl, and Anne Washburn. Waters is an associ-ate artist of The Civilians, a new York-based theatre group, and former head of the m.f.a. directing program at u.C. San Diego. His many honors include a Drama-Logue Award, an edinburgh Fringe First Award, a kpbs Patte, and several awards from critics’ circles in the bay Area, Connecticut, and Tokyo.

la Jolla playhouse co - p r o d u c e r

La Jolla Playhouse has received more than 300 awards for theatre excellence, including the 1993 Tony Award for Outstanding re-gional Theatre. Located in La Jolla, California, the Playhouse is nationally acclaimed for its innovative productions of classics, new plays and musicals. Led by Christopher Ashley, artis-tic director; Steven b. Libman, managing direc-tor; Shirley Fishman, associate artistic director; and Des mcAnuff, director emeritus, the Playhouse was founded in 1947 by Gregory Peck, Dorothy mcGuire, and mel Ferrer. more than 30 Playhouse productions have moved to broadway, garnering 23 Tony Awards, including Big River, The Who’s Tommy, How to

emg

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 2 3

Succeed in Business…,Thoroughly Modern Millie, billy Crystal’s 700 Sundays, and the Pulitzer Prize–winning I Am My Own Wife, fostered as part of the Playhouse’s Page To Stage new Play Development Program. To learn more, visit lajollaplayhouse.org.

steppenwolf theatre company co - p r o d u c e r

Steppenwolf (martha Lavey, artistic direc-tor; David Hawkanson, executive director) is a Chicago-based international performing arts institution committed to the principle of ensemble performance through the col-laboration of a company of actors, directors, and playwrights. Steppenwolf’s mission is to advance the vitality and diversity of Ameri-can theater by nurturing artists, encouraging repeatable creative relationships, and contribut-ing new works to the national canon. The com-pany, formed in 1976 by a collective of actors, is dedicated to perpetuating an ethic of mutual respect and the development of artists through on-going group work. Steppenwolf has grown into an internationally renowned company of 41 artists whose talents include acting, directing, playwriting, filmmaking, and textual adaptation.

Bill Falik & diana cohen e x e c u t i v e p r o d u c e r s

bill Falik and Diana Cohen have been subscrib-ers and supporters of berkeley rep since its earliest days on College Avenue. Diana joined the board of trustees in 1991 and served for 10 years. As a family therapist, she worked in private practice for 25 years before retiring to focus on her painting. Diana is currently a member of the board of trustees of Cal Performances. bill has been a real estate and land use lawyer in the San Francisco bay Area for the past 35 years. He currently is the ceo of Live Oak enterprises and Westpark Community builders, planning masterplanned communities in the greater Sacramento region. bill joined the board in 2006 and is actively involved in philanthropic activities throughout northern California.

wayne Jordan & Quinn delaney e x e c u t i v e p r o d u c e r s

Wayne Jordan and Quinn Delaney have enjoyed berkeley rep’s performances for several years. Wayne is a real estate investor and developer in the bay Area and serves on berkeley rep’s board. Quinn runs a bay Area foundation and is involved with a number of progressive institutions, including serving as chair of the aclu of northern California.

marjorie randolph e x e c u t i v e p r o d u c e r

marjorie randolph is a trustee and longtime berkeley rep supporter. She currently lives in Los Angeles, where she heads up worldwide Human resources for Walt Disney Studios. However, she still considers berkeley her home. During her tenure at berkeley rep, she has executive-produced six plays. She is a member

Open Houses Fall 2007Sunday, October 14, 2-4 PM

Sunday, November 11, 2-4 PMTuesday, December 11, 7-9 PM

Does your investment advisortalk about performance? We do.

To start a conversation, call us at 510.433.1066.

Bell Investment Advisors, 1111 Broadway, Suite 2130, Oakland, CA 94607www.bellinvest.com Minimum investment is $250,000 per account.

24 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

of the California bar, and a former president of California Women Lawyers. She serves on the national Advisory Panel of the Institute for research on Women and Gender at Stanford university, and is also a board member of the Western Justice Center Foundation and Califor-nia Trout, an environmental organization.

richard rubin & marcia smolens e x e c u t i v e p r o d u c e r s

richard rubin & marcia Smolens are long-time theatre and musical arts supporters. A lawyer by training, richard heads a San Francisco pub-lic affairs management firm. He is a member of the State bar board of Governors, a Trustee of Kenyon College, and was recently appointed to the California Workforce Investment board by the Governor. He is currently a visiting profes-sor at usf’s Fromm Institute, where he teaches a course on presidential and congressional cam-paigns. He writes a monthly column on political issues for the Marin Independent Journal. marcia heads a prominent government relations and lobbying firm in San Francisco and is a baseball and jazz enthusiast. She serves on the board of directors of both the exploratorium and the meta Fund. The couple resides in marin County, where richard’s five daughters fill out the sup-porting cast of their lives.

the strauch kulhanjian Family e x e c u t i v e p r o d u c e r s

roger Strauch is a former president of berkeley rep’s board of trustees. He is chair-

man of the roda Group (rodagroup.com), a venture development company based in berkeley, best-known for launching Ask.com and PolyServe. roger is on the board of direc-tors for Game ready, Ink2, and Sightspeed, all located in the east bay. roger is a member of engineering Dean’s College Advisory boards of Cornell university and uC berkeley. He is an executive member of the board of trustees for the mathematical Sciences research Institute in berkeley and co-founded the Wil-liam Saroyan Program in Armenian Studies at uC berkeley. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

mary ann and lou peoples p r o d u c e r s

mary Ann and Lou Peoples have supported the arts for many years, and have regularly attended berkeley rep since the ’80s. mary Ann has served on berkeley rep’s board of trustees since 2003 and helped to initiate the docent program. both Lou and mary Ann serve as trustees of The boyd Family Foundation, whose goal is to help create a more educated population.

Barts e a s o n s p o n s o r

Voted America’s number one transit system in 2005, the bay Area rapid Transit District is a 104-mile, automated rapid transit system serving over three million people. Forty-three bart stations are located in Alameda, Contra

Costa, San Francisco, and San mateo Coun-ties. Trains traveling up to 80 mph now con-nect San Francisco to sfo, as well as to other San mateo County destinations. The east bay communities that bart serves stretch north to richmond, east to Pittsburg/bay Point, west to Dublin/Pleasanton, and south to Fremont. bart’s mission is to provide safe, reliable, economical, and energy-efficient means of transportation. Since opening in September 1972, bart has safely carried more than 1.5 billion passengers more than 18 billion pas-senger-miles. bart stations are fully accessible to disabled persons. bart’s current weekday ridership is approximately 320,000.

wells Fargo s e a s o n s p o n s o r

As a top corporate giver to bay Area nonprof-its for many years, 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, mort-gage, 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.

Leslie Easterday

Gini Erck

Jennie A. Flanigan

Jeffrey Himmel

PREMIER SERVICE FOR A PREMIER AUDIENCE

Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont

Terry Anthony

Lorri Arazi

Leslie Avant

Erika Celestre

Lori Lombardo

Jack McPhail

Bob & Carolyn Nelson

Nancy Noman

www.pacunion.com • 510.339.6460

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 2 5

berkeley repertory Theatre, now in its 40th season, is the recipient of the 1997 Tony Award for Outstanding regional Theatre. Founded in 1968 as the east bay’s first resident professional the-atre, berkeley rep has established a national reputation for the quality of its productions and the innovation of its programming. berkeley rep’s bold choice of material and vivid style of production reflect a commitment to diversity, excitement, and quality. The company is especially well known for its fresh adaptations of seldom-seen classics, as well as its presentation of important new dramatic voices. berkeley rep has attracted internationally acclaimed theatre artists such as moi-sés Kaufman, Tony Kushner, rita moreno, maurice Sendak, Anna Deavere Smith, Tadashi Suzuki, George C. Wolfe, and mary Zimmerman, and has produced numerous world premieres of plays by renowned playwrights.

what does it mean to be a not-for-profit theatre? At the most fundamental level, it means that 100% of the dollars berkeley rep receives are directed back into supporting the work. It also means that the Theatre is “owned” by the com-munity, governed by a board of trustees, and exists to serve that community through its plays, educational programs, and outreach initiatives. roughly 55% of berkeley rep’s costs are covered by ticket sales, while the remaining 45% must be raised through contributions from individuals, corporations, foundations, and grants from government agencies. berkeley rep belongs to you, and needs your involvement. Volunteer. Donate what time you can. Contribute what you can afford. Continue to attend performances. berkeley rep is your theatre. Your participation and support are needed to create an outstanding theatre experience for all audiences.

Affiliations

board of Directors

Board membersbecky bleichDavid CoxThalia DorwickWilliam T. espey William FalikJohn Field David FleishhackerKerry L. FrancisScott r. Haberrobert G. HarrisDavid Hoffman Wayne JordanCarole S. Krumland nashormeh n. r. LindoSarah mcArthur

Sandra mcCandlessSusie medak Helen meyerDugan moorePatrick O’Dea Laura Onopchenkomary Ann Peoples Peter PervereLen randPat rougeauJack SchaferStephen SnowJean Z. StrunskyTony Taccone

Founding director michael W. Leibert, Producing Director, 1968–1983

president richard A. rubin vice president Kenneth P. Avery vice president Pat Sakai vice president Felicia Woytak treasurer Phillip Trapp secretary marjorie randolph chair, trustees committee Dale rogers marshall president emeritus rick Hoskins

The director and choreographer are members 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 rep-resented by united Scenic Artists Local usa-829, iatse.

aBout Berkeley repcompany proFile , Board oF direc tor s & aFFiliations

past presidentsHelen C. barberA. George battle Carole b. bergrobert W. burtShih-Tso Chennarsai m. Davidnicholas m. Graves Jean Knoxrobert m. OliverHarlan m. richteredwin C. Shiverroger A. Strauch Warren Widenermartin Zankel

2� · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

We acknowledge the following annual fund donors whose contributions from August 2006 through August 2007 helped to make possible the Theatre’s artistic and community outreach programs. Supporters noted with ™ made gifts in-kind. Funders whose names are noted with Ñ have used a matching gift to double or triple their initial contribution.

le ader ship council

g iF t s o F $ 10 0,0 0 0 o r mo reDoris Duke Charitable FoundationThe William randolph Hearst FoundationThe Ira and Leonore Gershwin Philanthropic FundThe William & Flora Hewlett FoundationThe James Irvine FoundationThe Koret FoundationThe Andrew W. mellon FoundationThe mosse Foundation for the Arts and educationThe bernard Osher FoundationThe Shubert FoundationThe Harold and mimi Steinberg Charitable Trust

g iF t s o F $5 0,0 0 0 o r mo reWalter & elise Haas FundThe Phyllis C. Wattis Foundation

g iF t s o F $ 2 5,0 0 0 o r mo renational endowment for the ArtsThe San Francisco FoundationWallis FoundationWoodlawn Foundation

g iF t s o F $ 10,0 0 0 o r mo reAnonymousbank of America bank of the Westbar • ristorante raphael™S.D. bechtel, Jr. FoundationCalifornia Arts CouncilCrescent Porter Hale FoundationDavid b. Gold Foundationeast bay Community Foundationeldorado FoundationAnn & Gordon Getty FoundationLiaison bistro™The Thomas J. Long FoundationmcKesson FoundationThe mechanics bankThe morrison & Foerster FoundationPeet’s Coffee & TeaPixar Animation StudiosSeagate Properties, Inc.Shorenstein Hays—nederlander Theatres llcVenus restaurant™Zellerbach Family Foundation

le ad corpor ate sponsor s

se a son sponsor s

partner sg i F t s o F $ 5,0 0 0 o r m o r eAnonymousAutoDesk™Armanino mcKenna llpbayer HealthCareberkeley Civic Arts Program and CommissionbluesCruise.comClif bar Inc.Deloitte Financial Advisory ServicesFoley & Lardner llpArthur J. Gallagher & Co. Genstar Capital, llcmbV Law llpOakland Fund for the ArtsPanoramic Interestsramsay Family Foundationruegg & ellsworthSemifreddi’sThe Shenandoah Foundation in Honor of roger HoagSolstice Press™Sonnenschein, nath & rosenthel llpSTG Asset management Inc.ubS Financial Services Inc.van Löben Sels/remberock FoundationCaffè Venezia™

inves tor sg i F t s o F $ 2 , 5 0 0 o r m o r ebingham mcCutchen, llcCivic FoundationLa note restaurant Provencal™rich edwards Imagery™The ritz-Carlton, San Francisco™

sus tainer s g i F t s o F $ 1 ,0 0 0 o r m o r eAmb Property CorporationAlameda County Arts Commissionbogatin, Corman & Gold™berkeley Historical Society™Darling Flower Shop™Joyce & William brantman FoundationJazzcaffè™Kochis Fitzmaxcomm Associatesricola usa™Victor & esther rozen FoundationScharffen berger Chocolate maker™Sybase Inc.bernard & Alba Witkin Charitable Foundation

contriButorsFoundation , corpor ate & government sponsor s

m atching giF t s

The following companies have matched their employees’ contributions to berkeley rep. Please call the Development Department at 510 647-2907 to find out if your company matches gifts.

3 Com · Adobe Systems · AmD · American Continental Insurance Co. · American express · Argonaut Group · AT&T · baker & mcKenzie · bank of America Corp. · Charles Schwab Co. · Chase manhattan Corp. · ChevronTexaco · Citigroup Foundation · Compaq Computer Corp. · DFS Group Limited · First Quadrant, LP · Fremont Group Foundation · Gannett Co. Inc · Gap, Inc · General re Corporation · GlaxoSmithKline · Google · Gordon & rees, LLP · Grove Foundation · Guidant · Hewlett Foundation · Ibm · Janus · John Wiley & Sons, Inc. · Johnson & Johnson · Kemper Insurance Company · Lucent Technologies · macy’s/Federated Department Stores Inc. · may Company · mcGraw-Hill Cos. · mellon Financial Corp. · merrill Lynch Co. · microsoft · monsanto Fund · morrison & Foerster, LLP · northern Trust · Packard Foundation · Pitney bowes · Pohlad Family Charities · Providian Financial · Prudential Insurance Co. of America · ralston Purina · SbC Communications, Inc. · Sun microsystems · Transmeta · TrW Foundation · union bank of California · West Group · Xerox · YCI (Shaklee)

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 2 7

a ssociate producer s$ 5,0 0 0 – 9,9 9 9Anonymous (3)Aldar Investments/Avi nevoroy & Judith Alperbarbara & Gerson bakar,

in honor of Jean & michael Strunskyneil & Gene barthCarole b. bergbecky & Jeff bleichbill byrne Jr.Stephen K. CassidyChiles Family Fundrobert Council & Ann Parks-Councilnarsai & Venus David Lois m. De Domenicorobin & rich edwardsWilliam espey and margaret edwardsJohn & Carol FieldDavid & Vicki FleishhackerKerry Francis & John JimersonHoward Grothe & robert James Donor

Advised Fund of Horizons FoundationScott & Sherry Habermigsy & Jim Hamasakiroger & Silvija HoagKanbar Charitable Trust,

Jewish Community endowment FundJean & Jack Knox Wanda KownackiAnatoli Lapushner™Zandra Faye LeDuffneil & Leah macneilDale & Don marshallmartin & Janis mcnairStephanie mendelmichelle mercer & bruce Goldenrobert mailer Anderson & nicola minerPatrick & Holly O’DeaLaura Onopchenko & martin DragomireckyLen & barbara randDeborah & Leo ruthbeth & David SawiLaura WaisSheila WishekSaul Zaentz

president s$ 2 , 5 0 0 –4 ,9 9 9Anonymous (2)Ken & Joni AveryDrs. Don & Carol Anne brownTracy brown & Greg HollandDelia Fleishhacker ehrlich nancy & Jerry Falkroger Feemort & Frannie FleishhackerGifts of Tamsinearl & bonnie Hamlinrichard n. Hill & nancy LundeenTom & mary Anne Jorderobert KellingSusan Kinloch™

Leonard merrill Kurznancy & George Leitmann John & Karen Levynashormeh & Delroy Lindoms. Jennifer LindsayDixon LongSteven maginnisJan & Howard OringerSandi & Dick PantagesDavid & marilyn PrattIvy & Leigh robinsonDavid S. H. rosenthal Kaye & randy rossoms. riva rubnitzJodi Schiller & ben DouglasJoyce & Jim SchnobrichJames Shachoy & Laura ryanKae Skeels marjorie Ginsburg & Howard Slytermr. & mrs. J. Stephen ThornborrowGail & Arne Wagneremily & bob Warden™Laura & ernest WinslowJulie WeinsteinSteven & Linda WolanAlexis Wong

direc tor s$ 1 , 5 0 0 –2 , 49 9Anonymous (6)ross e. Armstrongnina Auerbachbryan balazsHelen C. barberJane & bill bardinSandra barkdull & richard Clevelandedith barschiStephen belfordbell Investment Advisors, Inc.Linden & Carl berrySam brown & Alison TealThomas & Tecoah bruceKimo CampbellLynne CarmichaelJennifer Chaiken & Sam Hamiltonmel & Hella Cheitlin earl T. Cohen and Heidi m. Shaleed Cullen & Ann O’ConnorJohn & Stephanie DainsIwona & J. Keith Dunnemerle & michael FajansCynthia FarnerDonald Fillman Kristina Flanaganrebecca Follo & Tom bentleyHerb & marianne Friedmanralph & Laurie GarrowDennis & Susan Johann GilardiDaniel & Hilary b. GoldstineGail & bob Hetlermr. & mrs. Harlan HeydonPearl T. Kimurabeverly Phillips Kivel

John Kouns & Anne baele KounsHelen e. LandLouise Laufersweiler & Warren SharpLisa Lázár & robb bauer™ellen & barry LevineTom LockardLois & Gary marcusSumner & Hermine marshallrebecca martinez & Peter Sloss Doug & Jill mcCoyAndrea & michael mcGillmiles & mary ellen mcKey Susie medak & Greg murphySuzanne mellard & Lon O’neilToby mickelson & Donald brodyroger milesSteven millsmr. David mishAndy & June monachScott montgomery & marc randmargo murrayrobert S. newtonTom & Kathy PendletonJonathan & Hillary reinisbill reuter & ruth major James & maxine risleyJohn & Jody robertsTom robertsboyard & Anne rowePaul SackLisa A. SalomonJackie & Paul Schaeffermonica Salusky & John K. SutherlandLiliane & ed Schneidernat Simons & Laura baxter-SimonsJulia SzeÑSusan & David TerrisGuy TiphaneJohn & Pamela Walkerbob & Sheila WeisblattKatharine & Daniel WhalenWayne P. Wilsonevie & Gordon Wozniak

pl ay wrig ht s$ 1 ,0 0 0 – 1 , 49 9Anonymous (5)Shirley & Lew Albright Gene & Pat Angell mr. & mrs. Jack Argabrightbruce & martha Atwaterbarbara m. balisonValerie barth & Peter WileyPatricia berger, Charles Drucker

& Laura Drucker Patti bittenbenderCaroline boothLinda brandenburgerbroitman-basri FamilyLisa buchananSusan ChamberlinKen & betsey Cheitlined & Lisa Chilton

Florence Cohen in honor of Dugan mooreAnita & richard DavisHarry & Susan Dennismaria & Peter eberleDavid & monika eisenbudmartin & barbara FishmanLinda FitzJames GalaKarl & Kathleen GeierPhyllis & eugene GottfriedDick & Lois HallidayHatti HamlinAnn & Shawn Fischer HechtFrances HellmanDr. Christina HerdellHilary and Tom Hoyneseric, Justin & Gavin Hughes

& Priscilla WanerusHarold & Lyn Isbellmr. & mrs. Fred L. KarrenAndrew m. Leavitt & Catherine C. LewisJacques Leboeuf™David Lincoln King & Timothy StevensonCharlotte & Adolph martinelliJudith & Kim maxwellKaren & John mcGuinnPamela mead & Wolf LarsonJohn & Katrina miottelHelmut H. Kapczynski & Colleen neffJim newman & Jane IvoryJudith & richard Okenrichard & Lenore nilesPaul & Suzanne PetersonChris & Karen PohlIn memory of Donna robertsmitzi Sales & John ArgueJeane & roger SamuelsenStephen C. SchaeferLinda & nathan Schultzbarbara & Irving SchwartzSeavey Family Fundedie Silber & Steve bomseAnnie StenzelGeorgia P. SwansonPate & Judy ThomsonDouglas TildenChris WalkerLen Weiler & Alice Collinsmr. & mrs. Graeme WelchGrace Williams & bernice Strube

desig ner s$ 75 0 – 9 9 9Anonymous (2)marcia & George ArgyrisConstance CrawfordAndrew Daly & Jody Taylorbrigitte & Louis FisherDorothy & Chuck Garberrobert & Helga GrabskeJeffrey Himmelrosalind and Sung-Hou KimWilliam & Adair Langston

se a son producer s$5 0,0 0 0 & u pWayne Jordan & Quinn Delaneymarjorie randolph

e xecutive producer s$ 2 5,0 0 0 – 49,9 9 9rena branstenbill Falik & Diana Cohenrick Hoskins & Lynne FrameJohn & Helen meyerrita moreno & Leonard Gordoneddie & Amy Ortonrichard A. rubin & H. marcia SmolensThe Strauch Kulhanjian FamilyJean & michael StrunskyFelicia Woytak & Steve rasmussen

producer s$ 10,0 0 0 – 2 4 ,9 9 9AnonymousAnonymous, on behalf of Karen GroveThe Alafi Family Foundation in honor of Peter SlossDavid & Vicki Coxbill Falik & Diana CohenThalia DorwickVirginia & Timothy Foomary & nicholas Gravesmarion e. Greenebob & Linda Harrisms. Wendy e. JordanCarole & Ted KrumlandSuzanne LafetraSarah mcArthur & michael LeValleySandra & ross mcCandless

Dugan mooremary Ann & Lou PeoplesPeter Pervere & Georgia CasselPat rougeauPatricia Sakai & richard ShapiroLisa SardegnaJoan Sarnat & David HoffmanJack & betty SchaferDr. & mrs. Philip D. SchildStephen & Cindy Snow michael & Sue Steinbergmartin & margaret Zankel

contriButorsindividual annual Fund donor s

2 8 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

The Alafi Family FoundationClaire Harrison AmbjorDavid & michele benjaminCarole b. bergrobert branstenAndrew Coblentz & Shari LibickiDr. John Field, DDSmort & Frannie FleishhackerVirginia & Timothy Foomr. & mrs. Fred L. Karren

Pearl T. KimuraJean & Jack KnoxDeborah LevyLeslie LuttgensStephanie mendelSpencer G. nauman Jr.robert S. newtonPhillip O’brienmary Ann & Lou PeoplesSharon Louise rafter

Louise ringwaltrichard A. rubin & H. marcia SmolensKathleen rydar & Thomas boydenSuzanne SchatzSol SilverLouis & Jean Slosselizabeth Stone & William WeeksJean & michael Strunskyroselyne C. Swigmr. & mrs. Kirke Wilson

brian D. ParsonsWil & Joyce PinneyKatherine randolphJim & ruth reynoldsThe margot Fraser Fund of the marin

Community Foundationmark Schoenrockms. Joelle SteefelGary & Caroline TorreSteven WinkelGeorge & Kathleen Wolfmargaret L. Wu

ac tor s$ 5 0 0 –749 Anonymous (12) · Geraldine & marcus Alexis · Susan & bill bagnell · mary bailey · Fred & elizabeth balderston · Peter ballinger & Leslie Gold · Susan & barry baskin · David beery · David & michele benjamin · mr. & mrs. Leonard benson · robert berman & Jane Ginsberg · richard & Katherine K. berman · Howard & estelle bern · Laura blair & mitchell Zeemont · Lawrence brown · rike burmeister · Kathy

barry & bob burnett · John e. Caner & George J. beier · Frederick Cannon & Jean mitchell · Kristin Carpenter · Cindy Carroll · Carolle Carter & Jess Kitchens · Sue Cook & mark Solle · michael & Sheila Cooper · barbara Dales · barbara & Tim Daniels · Pat & Steve Davis · Ilana Debare & Sam Schuchat · David Deutscher · mervyn & betty Dowd · Adrienne edens · roger & Jane emanuel · Gini erck and David Petta · riley etheridge Jr. · marjorie Farrell · Dr. John Field, DDS · rick Fitzgerald and marilyn macGregor · Kirk & Suanne Flatow · Leigh & nancy Forsberg · Henry & myrna Fourcade · Georgina Franco · Susan berger & John Gertz · Judith & Alex Glass · Deborah Golden · nat & marilyn Goldhaber · bonnie & Sy Grossman · Lawrence & Helen Grossman · Karen Grove & Julian Cortella · David Sherertz & roz Hardy · Alan Harper & Carol baird · Joe Hartzog · richard L. Hay · Geoffrey & marin-Shawn Haynes · betty I. Feinstein · Drs. Gareth & ruth Hill · elaine Hitchcock · ms. Joy Hoge · Joseph J. Houska, Jr. · rebecca

Hull & Joe raabe · Lynda & Dr. J. Pearce Hurley · Ann L. Johnson · In memory of my husband William e. Jones · richard & Shirley Jones · barbara Jones bambara & massey J. bambara · Ken Katen · bonnie Levinson & Dr. Donald Kay · Pat & Chris Kenber · mary S. Kimball · Yvonne Klitsner · Angelos Kottas & Phyra mcCandless · Alfred & Gwen Langosch · David Laudon · Allen Leggett · mr. and mrs. David Leonetti · Jane Long · Kathy & Christopher Luck · Palmer madden & Susan Paulus · Drs. michael Darby and Toni martin · Avalon b. master · match Vineyards · John e. matthews · robert mcDowell · ruth medak, in honor of Vivian & Herman medak · Don & mara melandry · Caryl & Peter mezey · ron nakayama · Lane and ed nemeth · markus niebanck · Claire noonan & Peter Landsberger · robyn & David Owen · Gerane Wharton Park · bob & maryJane Pauley · Lewis b. Perry, Jr. · edward Pike · Susan Poncelet · russell & Joni Pratt · Leland & Vivian Prussia · Chuck & Kati Quibell · Stanley rabinowitz · Jens rasmussen · Wesley richert · Paul &

Phyllis robbins · Paul rosenblum & beth Springer · Dr. Jirayr roubinian · Sylvia & Joel Saldinger · Dorothy & George Saxe · Teddy & bruce Schwab · randee & Joseph Seiger · Anne Shortall · Steve and Susan Shortell · Alan Silver · Sian & Stephen Sloan · Jerry & Dick Smallwood · Patricia Smith · Louis & bonnie Spiesberger · robert & naomi Stamper · Lynn m. and A. Justin Sterling · rocky and Gretchen Stone · Carl & Joan Strand · monroe W. Strickberger · Suzanne & Svend Svendsen · Tricia Swift · Alison Teeman & michael Yovino-Young · ms. Judith Thomas · Karen Tiedemann & Geoff Piller · mr. & mrs. robert Van nest · Louise & Larry Walker · buddy & Jodi Warner · Jonathan & Kiyo Weiss · Dana A. Welch · mary Ann Wight · barbara baratta & Fred Winslow · Susan and Harvey Wittenberg · Sally Woolsey · moe & becky Wright · mrs. Glea G. Wylie · Lee Yearley · Sam & Joyce Zanze · ronald & Helane Zeiger

To learn more about these funds or make a donation towards these funds, please contact Sara Fousekis, Director of Development, Campaign at 510 647-2902 or email sfousekis@berkeleyrep.org.

special thank s to donor s who m ade a contriBution in memory oF peter sloss

michael leiBert societ y The following individuals have generously provided for berkeley rep in their estate plans:

Ken & Joni Averynancy AxelrodCarole b. bergbruce Carlton & richard G. mcCallDiane CashStephen K. CassidyAndrew Daly & Jodi TaylorCarol & John Fieldmary & nicholas GravesFred HartwickHoskins/Frame Family TrustSumner & Hermine marshallrebecca martinez & Peter SlossSuzanne & Charles mcCullochSusie medak & Greg murphyAmy Pearl Parodimargaret Phillipsmarjorie randolphbetty & Jack SchaferStephen & Cindy SnowDr. Douglas & Anne Stewartmichael & Sue SteinbergPhillip & melody TrappDorothy WalkerKaren & Henry Work

named in honor of Founding Director michael W. Leibert, Society members have designated berkeley rep in their estate plans. Planned gifts sustain berkeley rep’s endowment Fund unless the donor specifies otherwise. The endowment Fund provides finan-cial 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.

For more information on becoming a member, visit our website at berkeleyrep.org or contact Lynn eve Koma-romi, Director of Development, Annual Fund, at 510 647.2903 or email lynneve@berkeleyrep.org.

the dale elliot t FundCreated in honor of Dale elliott, a past berkeley rep actor; benefits artistic initiatives.

the mosse Foundation artistic development FundCreated with a grant from the mosse Foundation for the Arts and education; benefits artistic risk-taking and new play development. (Pictured: former berkeley rep trustee and mosse Foundation for the Arts and education President roger Strauch)

Bret c . harte young direc tor s FundCreated in honor of bret C. Harte, a passionate young theatre direc-tor and berkeley rep employee; benefits the artistic administra-tion/directing internship. Find out more at bretchartefund.org.

endowment Funds retaining the core values upon which this company was founded 40 years ago requires the long-term commitment of our supporters. The following acknowledges berkeley repertory Theatre’s active endowment funds. We are grateful for the generous support that these individuals and institutions have provided in ensuring the long-term vitality of our artistic programming and helping to build the next generation of theatre talent and audiences.

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 2 �

artistic director Tony Taccone

ar tis tic

associate artistic directorLes Waters

artistic associate & casting directorAmy Potozkin

literary manager/dramaturgmadeleine Oldham

Bret c. harte directing internmarissa Wolf

literary/dramaturgy internLila neugebauer

artists under commissionDavid Adjmi Glen berger rinne Groff naomi Iizuka Tarell mcCraney rita moreno Itamar moses Sharon Ott Sarah ruhl

pro d u c tio n

production managerTom Aberger

associate production managerAmanda Williams O’Steen

production management internKate Gorman

company managerChristopher Jenkins

company & general management internTaylor Gramps

s tag e m anag em e nt

production stage managermichael Suenkel

stage managersCynthia Cahill malcolm ewen Karen Szpaller

production assistantsmegan mcClintock Leslie m. radin

stage management internAriel engelman

s tag e o pe r atio n s

stage supervisorJulia englehorn

pro p s h o p

properties managerAshley Dawn

assistant properties managerJillian A. Green

properties artisanGretta Grazier

properties internDarcy engel

sce n e s h o p

technical directorJim Smith

associate technical directorryan O’Steen

shop ForemanSam mcKnight

master carpenterColin babcock

carpentersbryce berggren e.T. Hazzard

shop intern Kimberly Jew

sce nic ar t

charge scenic artistLisa Lázár

scenic art internSheri earnhart

cos t um e s

costume shop manager maggi Yule

assistant costume designer Hannah reich

draperKitty muntzel

tailorKathy Kellner Griffith

First handJanet Conery

wardrobe supervisorbarbara blair

costume internKayt Solso

e lec tric s

master electricianFrederick C. Geffken

production electriciansChristine Cochrane Zoltan DeWitt

electrics internKelly Kunaniec

so u n d

sound supervisorHeather bradley

sound engineersJames ballen robyn bykofsky

sound internDaniel Weber

adminis tr ative

controllerSuzanne Pettigrew

director of technologyGustav Davila

executive assistantJoanna Spencer

Bookkeepereric Ipsen

human resources managerValerie St. Louis

human resources consultantLaurel Leichter

database managerDiana Amezquita

receptionistbarbra ritchison

m arke tin g & com mu nic atio n s

director of marketing & communicationsrobert Sweibel

associate director of marketing & communications / director of public relationsTerence Keane

art directorCheshire Isaacs

marketing associatemegan Spence

communications associatemegan Wygant

audience development associateelissa Dunn

webmasterChristina Cone

graphics/communications internbrandon ballog

marketing/communications internSarah bordson

program advertisingellen Felker

patro n s e rvice s

patron services manageremily Fleisher

house managerKatrena S. Jackson

sub house managersAleta George ellen G. maloney Jessica modrall Kiki Poe

concessionairesmichelle r. baron Sarah bordson ben Cannon Darcy engel Ariel engelman Christopher Fan Aaron Gleason Kate Gorman Taylor Gramps Shannon Howard Kimberly Jew Lila neugebauer Hannah reich Lauren Yee

usher coordinatorsmarilyn Goodman nelson Goodman

B ox o FFice

ticket services directorChristine bond

subscription manager & associate sales managerLaurie barnes

Box office supervisorAndrew Susskind

sales agentsDestiny Askin Amelia bird mary Close Christina Cone Laura Hammond Leah Kaplan

Box office intern Sarah bordson

d e ve lo pm e nt

director of development, campaign & corporateSara Fousekis

director of development, annual FundLynn eve Komaromi

institutional grants managerelisabeth millican

corporate associateLauren elaine Davidson

individual giving manager Laura Fichtenberg

campaign assistantmargo b. Chilless

development internLauren Yee

o pe r atio n s

director of operationsbruce Veenstra

Facilities managerChristopher Dawe

Facilities assistantsIben benschop Juan mendoza eric Smith Johnny Van Chang

B e rke le y re p sch o o l o F th e atre

associate general manager & director of the school of theatrerachel L. Fink

associate directormarybeth Cavanaugh

outreach coordinatorDave maier

education associateGendell Hernández

administratorJessica modrall

education internShannon Howard

teen council chairsmia Divecha— Co-DirectorHallie Sekoff— Co-DirectorKacey berrySpencer Fortin natalya Gibbs-KailLeyla Holtmichelle roginskyKendra Vaculin

sch o o l o F th e atre Facult y

performance ensemble (grades 6–8)

Jon burnett

musical theatre (Beginning) (grades 6–9)

musical theatre (intermediate/advanced) (grades 6–9)

rebecca Castelli

teen performance lab: The Crucible

voice for working and emerging actors

Deborah eubanks

acting up (grades 2–5)nancy Gold

acting (Beginning)playwritingGary Graves

acting (intermediate)marvin Greene

performance ensemble (grades 6–8)

Gendell Hernández

audition intensiveGreg Hubbard

stage combat intensive Dave maier

clowning as physical theatreJoan mankin

performance workshop for actors and directors (advanced)

Jonathan moscone

acting shakespeare (grades 8-12)acting shakespeare and chekhov

(intermediate/advanced)Andy murray

acting (Beginning)robert Parsons

improv (intermediate)Diane rachel

performance workshop: stories from around the world (grades 3–5)

megan Smith

improv (Beginning)rebecca Stockley

performance workshop for actors and directors (advanced)

Stephen barker Turner

laban movement for actorsAdam Venker

aBout Berkeley reps taFF

managing director Susie medak

general manager Karen racanelli

3 0 · t h e B e r k e l e y r e p m ag a z i n e · 20 07 – 0 8 · n um b er 2

Theatre maps

latecomerslatecomers will be seated at the discretion of the house manager.

Visit our website!Click berkeleyrep.org—you can buy tickets and plan your visit, sign up for classes, donate to the Theatre, and explore berkeley rep.

Theatre infoemergency exitsPlease note the nearest exit. In an emergency, walk—do not run—to the nearest exit.accessibilityboth theatres offer wheelchair seating and special services for those with vision- or hearing-impair-ment. Infrared listening devices are available at no charge in both theatre lobbies. Audio descrip-tions are available in the box office and require an advance reservation of two business days.

Ticket exchangeOnly subscribers may exchange their tickets for the same production. 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.

EducatorsCall 510 647-2972 for information about discounted preschool and K–12 educator subscriptions, $10 student matinee tickets, classroom visits and teaching artist residencies, teacher training workshops, post-show discussions, teacher study guides, backstage tours, and more.

Theatre storeOur store, located in the roda lobby, is open one hour before curtain, during intermission and after the show.

Considerationsplease keep perfume to a minimummany patrons are sensitive to the use of perfumes and other scents.Beepers / phones / recordingsPlease make sure your pager, cell phone, or watch alarm will not beep. Doctors may check pagers with the house manager and give seat location for messages. 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 at the set, but please don’t step onto the stage. Some of the props can be fragile, and are placed in exact posi-tions for the actors.no children under sevenmany berkeley rep productions are unsuitable for children. Please inquire before bringing children to the Theatre.

Tickets/box officeBox office hours: noon–7pm, tue–sun call 510 647-2949 click berkeleyrep.org anytime call toll free: 888 4-brt-tix Fax: 510 647-2975 groups (10+) call 510 647-2918

date/ tim e prem a BPre VIeWS $37 $33 $27Tue 8Pm · WeD 7Pm · THu 2Pm* · SAT 2Pm

50 45 33

THu 8Pm · Sun 2 & 7Pm 55 49 37FrI 8Pm 61 55 43SAT 8Pm 69 61 49

* no Thursday matinees for Limited engagement shows

special discount ticketsunder 30 discountHalf-price advance tickets for anyone under the age of 30 for all shows, based on avail-ability. Proof of age required. student group weekday matineeTickets are just $10 each. Call the berkeley rep School of Theatre at 510.647.2972. senior/student rush ticketsFull-time students and seniors 65+ save $10 on sections A and b. One ticket per ID, one hour before show time. Proof of eligibility required. Subject to availability.Sorry, we can’t give refunds or offer retroac-tive discounts.

Mailing/email listTo request mailings or change your address, write to berkeley rep, 2025 Addison Street, berkeley, CA 94704; call 510 647-2949; email patron@berkeleyrep.org; or click berkeleyrep.org/joinourlist. If you use Hotmail, Yahoo, or other online mail accounts, please authorize berkeleyrep@berkeleyrep.pmail.us. berkeley rep does not sell or rent its list.

F yi

ELEMENTARY SCHOOL (K-4)

MIDDLE SCHOOL (5-8)

INFORMATION EVENTS

Sunday, November 4, 20072060 Tapscott Ave., El Cerrito

510/236.5800

Sunday, October 28, 2007960 Avis Dr., El Cerrito

510/528.5800

Where school isboth challenging and joyous.

Where school is a community.

Where students arepassionate about learning.

New Middle SchoolVisual & Performing Arts Building

MAIN POINTS OF ENTRYKindergarten & Sixth Grade

PROSPECTSIERRA.ORG

20 07 – 0 8 · n um b er 2 · t h e B e r k e l e y r e p m ag a z i n e · 3 1