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2014 SEASON 40TH ANNIVERSARY

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By the time you read this we will have (hopefully) just announced our 2015 season. But at the moment I’m writing this, we are still in the midst of season planning. “How hard can it be to pick four plays?” I hear you asking.

If anything, it has become an increasingly complex process over the decade that I’ve worked here.

Artistic Director Jonathan Moscone is, of course, at the heart of the process, and starts by talking with directors he’s excited by, asking them about the stories they are interested in telling and the artists they are interested in telling them with (actors, designers, etc.). There are many conversations with key members of our staff representing multiple departments and perspectives. We consider the balance of Shakespeare, other “classic” plays, and new plays. We consider if we have a diversity of voices represented in the season. We think about the audience—will these plays appeal to our loyal, existing subscriber base? Do these plays help us reach deeper into the community to attract audi-ence members new to us? Do we have plays that will resonate for students, since education is such a signifi cant part of our mission? Are these plays that we can put our distinct stamp on—plays that will fl ourish in a theater without walls, with a vast, open stage? And, there are of course fi nancial considerations—is our artistic ambition in scope with our means?

I don’t yet know what that season will be, but know that it will be one that is distinctly Cal Shakes: au-thentic, inclusive, and joyful. Stop by the Welcome Center tonight to learn more about subscribing. And if you aren’t ready for our 40th Anniversary Season to be over—don’t worry, we’ve still got one more trick up our sleeve. Join us for master monologist Mike Daisey in The Great Tragedies: Mike Daisey Takes on Shakespeare, October 2–12.

Sincerely,

At nine years old I witnessed my fi rst Shakespeare play: A Midsummer Night’s Dream in the outdoor Elizabethan theater at the Oregon Shakespeare Festival. After that night, my world would never be the same. I learned three essential things: that Shakespeare is for everyone; that the younger you enter his world the better; and that the vast poetry of these plays is built for the great outdoors. So it may not surprise you to hear that discovering Cal Shakes many years later felt like coming home.

I had the immense good fortune to serve as the Associ-ate Artistic Director from 2000-2004, during Jonathan Moscone’s fi rst years of leadership at Cal Shakes. The sense of audience inclusion—from the pre-show picnic experience, to the amphitheater where we sit on the ground together to hear old narratives spun anew—brought back, and exceeded, my childhood discovery that Shakespeare was a haven where everyone could hear their stories told. The mythic and mystic environ-ment of the Bruns reinforced the truth that a partner-ship between the natural world and Shakespeare’s text possesses a power that cannot be denied.

And through the years, Dream has remained one of my favorite plays, from that fi rst production at OSF to Jonathan’s magnifi cent interpretation in 2002 when a giant moon lit up the Bruns stage, and, most recently, my own experimental investigation of the play in Brook-lyn, New York, with a group of my colleagues from Yale School of Drama. Each of these experiences drew me more strongly into the unfathomable depths of this play. With Dream, Shakespeare began his profound explo-ration of the metaphysical: the human world of Dream appears to be but the surface of an unseen world that affects and often times overrules the lives of those on Earth. We might say that this unseen world, the world of fairies and dreams, is what we usually call the un-conscious. It seems fi tting, after all, that the metaphor for this place of the unconscious and the imagination is the woods, a wild, untamed landscape that is full of mystery, fantasy, and danger. What better place to fall into Shakespeare’s Dream than our own woods in the Orinda hills? It’s good to be home.

Sincerely, Susie Falk

Shana Cooper

FROM THE MANAGING DIRECTOR FROM THE SHOW'S DIRECTOR

Sincerely,

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September 2014Volume 23, No. 4

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Russell Colunga was a fitness instructor who started experiencing a sudden shortness of breath. He deteriorated quickly and needed answers fast. Dr. Jasleen Kukreja is the Surgical Director of the UCSF Medical Center Lung Transplant Program, which, in terms of overall patient survival, is one of the most successful programs in the country. Once Russell heard about the innovative transplant techniques Dr. Kukreja had pioneered, he was immediately put at ease. “I knew I was in good hands,” said Russell. Today, he’s back in the saddle, teaching spin classes five days a week. Learn more at PioneeringCare.com

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1974 1984 1987

By Resident dRamatuRg PhiliPPa Kelly

By the year 2000 the Bruns had been open for nine years, drawing to its open-air amphitheater people from all over the East Bay. Under the guidance of Artistic Director Michael Addison the theater had flourished, its board now professionalized, meaning that the Artistic Director’s decisions were answerable to the board rather than to the full company of artists. Addison moved away in

1997 to a new life in Mendocino, and after four years of leadership by Joe Vincent, a popular actor from the company, the board completed a nationwide search and invited Jonathan Moscone, graduate of Yale School of Drama and more recently Associate Director at the Dallas Theater Center, to be its Artistic Director.

During his initial season at Cal Shakes, Moscone made his first programming statement, directing a simpatico play, Rosencrantz and Guildenstern Are Dead, a modern riff on Hamlet. The company continued to produce one non-Shakespeare play per year until 2005, when Moscone directed David Edgar’s two-part adaptation of The Life and Adventures of Nicholas Nickleby (now fondly remembered as “Nick Nick”). The success of this production kicked off a seasonal tradition of two Shakespeare and two non-Shakespeare plays. Moscone has, over the last fourteen years, made his signature in Shaw, Wilde, and Chekhov, which marry beautifully with his intuitive sense of timing, spectacle, humor, and poignancy.

When writing the letter of nomination for Jonathan for the Zelda Fichandler Award in 2009 (a coveted national award for directorial innovation, which he won), I distilled a vision of his especial qualities as follows:

I have seen the way Jonathan prepares the script for a show; the way he draws on his intellectual and aesthetic resources; the way he works with the design team; the way he rehearses with actors; the way he edits a program (with astonishing accuracy during a five- minute cigarette break) and the way he works with the public…The reason for his success is threefold: the strength of his artistic vision, which guides artistically strong and often daring choices; the loyalty of actors, staff and crew to this vision; and the power of Jon’s personality, which is written into every feature of the theater’s activities (including the artwork for the meadows, which he personally selects each year), and which creates an enduring and expanding subscriber base.

Five years later, I can’t put it any better. Jonathan continues to push our company’s boundaries, and we thrive.

In 2003, after the company changed its name from “Festival” to “Theater” to reflect its year-round activities, it took on the informal name of “Cal Shakes.” Google searches sometimes yield recipes for low-calorie health drinks, which we take as an unintended invitation to our patrons and sponsors to support us in good health for decades to come. The word “support” resonates in more serious ways, however, when thinking of all we’ve been given over the last fourteen years from the Board, the new communities, the loyal patrons who came through the tunnel with us—and, more than anyone, perhaps, from the two managing directors who have worked with Jonathan to build his vision. In 2001 Debbie Chinn joined the company, ushering in a period

of strengthened professionalism, and focusing on the integration of our artistic efforts with an educational program that could “nourish young people and adults in the work of life.” The company’s Artistic Learning program has yielded summer conservatories, school classroom residencies, student matinees, beautiful and free teacher’s guides to shows, and a whole raft of activities that serve young people from a broad range of communities and backgrounds.

Moscone and Chinn also together established the New Works/New Communities (NW/NC) Initiative, launched in 2003 with the aim of engaging marginalized communities while creating new works of theater based on the classics. Hamlet: Blood in the Brain was the first major NW/NC project, partnering Cal Shakes with renowned multicultural playwright Naomi Iizuka and San Francisco’s Cam-po Santo + Intersection for the Arts. The production relocated Shakespeare’s Hamlet to the 1980s-era drug-ravaged streets of East Oakland. It included interviews with former drug lords; writ-ing workshops in schools, juvenile halls, and churches; and Q&A panels attended by the public. Also through NW/NC, Cal Shakes began a partnership with Write to Read, a juvenile hall literacy program run by the Alameda County Library, holding workshops

CELEBRATE CAL SHAKES AT

40OUR STORY: PART FOUR

The Bruns—A new MILLennIuM

Clockwise from left: Sonya Taylor, poet and Community Participation Coordinator for Cal Shakes, performs at the 2014 Gala. Photo by Drew Altizer. Debbie Chinn, former managing director; Cindy Im and Rami Margron in the Triangle Lab/Intersection for the Arts collaboration of Twelfth Night, performed in communities (2014). Photo by Jay Yamada.

MosConE PERMAnEnT EndowMEnT LEAd donoRsEllen & Joffa DaleSharon & Barclay Simpson

LEgACy CiRCLE ChARTER MEMBERs Mary Jo & Bruce BysonPhil & Chris CherninDebbie ChinnEllen & Joffa DalePeter FisherDouglas HillXanthe & Jim HoppDavid Ray JohnsonMark JordanDebby & Bruce LiebermanTina MorgadoRichard NorrisShelly Osborne James & Nita RoetheLaura & Robert SehrSharon & Barclay SimpsonJean SimpsonValerie SopherKate Stechschulte & David Cost, in memory of Margaret CostM.J. Stephens & Bernard TagholmArthur WeilCarol Jackson UpshawJay YamadaMonique Young

with thE CAL shAkEs LEgACy CiRCLE.

ENSURE THE FUTURE

HONOR THE PasT,

InTeresTed In joInIng The cIrcLe? conTAcT [email protected] for More InforMATIon.

20141997

PHILIPPA KELLY’S CAL SHAKES HISTORY SERIES APPEARED IN FOUR PARTS, ONE PART IN EACH OF OUR FOUR MAIN STAGE PRODUCTIONS’ PROGRAMS.

IF YOU MISSED PARTS ONE, TWO, AND THREE FROM OUR PREVIOUS PROGRAMS, YOU CAN FIND THEM ONLINE AT CALSHAKES.ORG/SUPPORTUS.

and extended residencies using Shakespeare to develop the public-speaking, leadership, and cooperation skills of juvenile hall residents.

In 2009 Debbie Chin moved east, and Susie Falk, previously the company’s Director of Marketing, replaced her as Managing Di-rector and Jonathan’s closest collaborator at all levels of mission, vision, and management. They poured resources into the Artistic Learning department, which is now led by Clive Worsley, an actor, former Artistic Director of Town Hall Theater Company in Lafay-ette, and, for many years, teaching artist in the program. And in 2009 they built on the New Works/New Communities foundation to join formally with Intersection for the Arts (led by Deborah Cullinan, and in close collaboration with Campo Santo Artistic Di-rector Sean San Jose) to create the Triangle Lab, the aim of which is to experiment with ways to integrate arts into community life. Rebecca Novick was hired as the Lab’s program director in 2011, and her role has developed into Director of Artistic Engagement.

In the last two years, Cal Shakes launched an organization-wide diversity and inclusion initiative, growing out of the company’s desire to matter more to more people. Our fundamental aim is to put our money where our mouths are—inspiring diverse communities via all aspects of produc-tion and organization. How attention to diversity can expand theater’s impact on the life of the Bay Area is still territory that is partly uncharted. Shakespeare is helping us in our journey, as Moscone has so eloquently put it:

Look to Shakespeare. His work is our inspiration, our guidepost, our touchstone. If we believe in the enduring value of his writing, we believe in diversity and inclu-sion. Shakespeare told stories that spanned time, place, status, and gender, revealing humanity’s differences and commonalities. His audiences were genuinely diverse; he wrote for the queen, the royalty, the working class, and the people who could barely afford to go to the theater, a.k.a. groundlings. And they were all inside each of his plays. For Shakespeare, the art and the people were one. They were not mere spectators—they were partici-pants, for they were the characters. Their stories were his stories.

Diversity is a living, growing organism of change, which Jonathan reflects in his mission statement (possibly the briefest statement he has ever been known to make!): “With Shakespeare’s depth of humanity as our touchstone, we build character and community through authentic, inclusive, and joyful theater experiences.”

Such “joyful theater experiences” include operative toilets, one of the features we were deter-mined to solve in our announcement of a second capital campaign in 2009, entitled Building for the Future. This campaign planned to renovate the Bruns Amphitheater—including its grounds, backstage area, technical facilities, the lamentable toilets, and the theater itself—using sustain-able design practices. The initiative was co-chaired by philanthropist and resident angel Sharon Simpson, after whom our new facility is named, and Jim Roethe, who literally devoted four years of his life to grappling with dozens of permits; dealing with architects, builders, the East Bay Municipal Utility District, the county, and the City of Orinda; and convening hundreds of meet-ings, which both he and Sharon attended, and to which board chair David Goldsmith contributed enormously. Gone are the dodgy facilities, the rodents, and the leaks. The Green Room and dressing rooms are now beautiful, airy spaces where actors can relax and prepare for the eve-ning’s show. The backstage technical facilities are practical and efficient. Excellent food and very good wine can be purchased at our lovely new café, and the whole experience has been expand-ed to bring comfort and conviviality at every level. And in 2012 we became one of the largest solar-powered theaters in the country.

Our theater has drawn some of America’s most innova-tive directors, including Liesl Tommy, Joel Sass, Aaron

Continued on page 22.

Pictured above: Summer Shakespeare Conservatory students on stage after aperformance of The Comedy of Errors (2014). Right: Patty Gallagher and Cindy Im in Twelfth Night, performing at the

Women’s Center in February 2014. Photos by Jay Yamada.


This exhibition is organized by the National Gallery of Art, Washington, and the Fine Arts Museums of San Francisco. Presenting Sponsors: Penny and James George Coulter. Director’s Circle: Estate of Dr. Charles L. Dibble. President’s Circle: Bernard Osher Foundation. Curator’s Circle: Lisa and Douglas Goldman Fund. Conservator’s Circle: National Endowment for the Arts and the S. Grace Williams Trust. Benefactor’s Circle: Nion T. McEvoy. Patron’s Circle: Carol and Shelby Bonnie, Richard and Peggy Greenfi eld, the Ednah Root Foundation, Dorothy Saxe, and Sotheby’s. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Photo © FAMSF

HERBST EXHIBITION GALLERIES

JASPER JOHNS

ELLSWORTH KELLY

ROY LICHTENSTEIN

ROBERT RAUSCHENBERG

FRANK STELLA

AND MORE!

FINAL WEEKS! CLOSES OCTOBER 12

Untitled-5 1 7/29/14 1:46 PM

Jonathan Moscone Artistic Director susie falk MAnAging Director

C A L I F O R N I A S H A K E S P E A R E T H E A T E R

PRESENTS


SEASONPARTNERS

PRESENTING PARTNERS

STUDENT DISCOVERY UNDERWRITERS

BY WILLIAM SHAKESPEARE

DIRECTED BY SHANA COOPER

MOVEMENT BY ERIKA CHONG SHUCH

SEPTEMBER 3 – SEPTEMBER 28, 2014

BRUNS MEMORIAL AMPHITHEATER, ORINDA

SET DESIGNER NINA BALL

COSTUME DESIGNER KATHERINE O’NEILL

LIGHTING DESIGNER BURKE BROWN

SOUND DESIGNER/COMPOSER PAUL JAMES PRENDERGAST

VOICE AND TEXT COACH LYNNE SOFFER

MOVEMENT DIRECTOR ERIKA CHONG SHUCH

RESIDENT FIGHT DIRECTOR DAVE MAIER

STAGE MANAGER KAREN SZPALLER

ASSISTANT STAGE MANAGER CHRISTINA HOGAN

ASSISTANT DIRECTORS REBECCA DEUTSCH, ADIN WALKER

ASSISTANT LIGHTING DESIGNER KRISTA SMITH

ASSISTANT MOVEMENT DIRECTOR MELANIE ELMS

PRODUCTION ASSISTANT CHRISTINA LARSON

CAST

EGEUS, STARVELING, ENSEMBLE JAMES CARPENTER

SNOUT, ENSEMBLE CATHERINE CASTELLANOS

LYSANDER, ENSEMBLE DAN CLEGG

HERMIA, ENSEMBLE TRISTAN CUNNINGHAM

HELENA, ENSEMBLE LAUREN ENGLISH

BOTTOM, ENSEMBLE MARGO HALL

FLUTE, ENSEMBLE CRAIG MARKER

FAIRY, ENSEMBLE PARKER MURPHY

DEMETRIUS, ENSEMBLE NICHOLAS PELCZAR

FAIRY, ENSEMBLE TRAVIS SANTELL ROWLAND

PUCK, SNUG, PHILOSTRATE, ENSEMBLE DANNY SCHEIE

TITANIA, HIPPOLYTA, ENSEMBLE ERIKA CHONG SHUCH

OBERON, THESEUS, ENSEMBLE DAISUKE TSUJI

PETER QUINCE, ENSEMBLE LIAM VINCENT

SEASON UNDERWRITERS

Partial support for open captioning provided by Theatre Development FundTheatre Development Fund

EXECUTIVE PRODUCERS: ELLEN & JOFFA DALE, MAUREEN & CALVIN KNIGHT, HELEN & JOHN MEYER, NICOLA MINER & ROBERT MAILER ANDERSON,

PETER & DELANIE READ, MICHAEL & VIRGINIA ROSS, JEAN SIMPSON, SHARON & BARCLAY SIMPSON, JAY YAMADA

PRODUCERS: NANCY & JERRY FALK, MONICA SALUSKY & JOHN SUTHERLAND

ASSOCIATE PRODUCERS: MICHAEL & PHYLLIS CEDARS, PHIL & CHRIS CHERNIN, JOE DI PRISCO & PATTI JAMES, ELISE & TULLY FRIEDMAN,

RENA & SPENCER FULWEILER, NANCY KAIBLE & DAVID ANDERSON, WALTER MOOS & SUSAN MILLER, NORALEE & TOM ROCKWELL,

MICHELE & JOHN RUSKIN, DEBBIE SEDBERRY & JEFF KLINGMAN, MIRIAM & STANLEY SCHIFFMAN, DAVID & MARIA WAITROVICH

For a penny at a time (or sixpence in the balconies), members of the Elizabethan audience could enter the world of the theater, their major form of entertainment aside from bear-baiting, cock-fighting, and sermons. On a long summer afternoon in Shakespeare’s “night-time” forest, however, the actors in A Midsummer Night’s Dream gave more than entertainment: they enacted what Aristotle in his Poetics called “mimesis,” or the imitation of life itself. Imitation is how we learn—how we see, by reflection, our stark truths and ambiguities, our dark-ness, our lightness, our absurdities, our fears. Taking us into the forest and bridging the worlds of dreaming and waking, A Midsummer Night’s Dream reveals, by reflec-tion, the crazy magic of love.

It’s this magical capacity of theatrical mimesis to which Duke Theseus famously alludes in wrapping up the mys-teries of the forest:

…as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes and gives to airy nothing A local habitation and a name.

Poets—like lunatics and lovers—are granted, through the power of imagination, the capacity to change “reality” and to reveal it as mere fantasy. “The lunatic, the lover

and the poet,” Theseus suggests, “are of imagination all compact”—all of them create worlds in which lovers can be madmen, where desire can be transformed to contempt, beauty to ugliness; and where ugliness can be embraced as the most beautiful thing on earth. Although the bewitching power of love is an old, familiar tale, it

renews itself with every lover’s passion, every poet’s creation, and every lunatic’s fantasy.

“Youth is wasted on the young,” my mother has been saying for the last forty years. “They won’t wear sun-

screen—they’ll be sorry for it later. If only they’d listen. But they won’t. I didn’t.” A Midsummer Night’s Dream has four young characters, “born” some four hundred years before my mother and her offspring, but who, true to form, just won’t listen. Demetrius describes himself as “wode within this wood.” “Wode” was Shakespeare’s word for “mad”, and it perfectly describes the heedless-ness of youth. The young men in this play are crazed by Puck’s potion, and the young women are driven to think they themselves are also mad, lost in the wood and no longer able to recognize their lovers, or themselves, for who they thought they were. As we move, scene-by-scene, further from Athens and deeper into the forest, we experience, as in a thicket, all the craziness of young love, its tangles, its poignancy, panic, and abandon-ment—all the emotions that offset the comedy, to be eventually resolved within a gracious multiple wedding celebration: “So shall all the couples three/Ever true in loving be…”

It’s important that this “ever true” comes only at the play’s end. Dream reveals the power of love to hurt as well as caress—so it seems apt to recall that in Shake-speare’s time, the word “passion” referred both to “suffering” and to the dizzying blisses of the heart. “I’ll run from thee and hide me in the brakes,” says Deme-trius to Helena,” and leave thee to the mercy of wild beasts,” unmindful of the tears that Helena weeps alone in unrequited and bewildered love. Yet the play’s splen-did extended metaphors also offer us the moon, who

FOR LOVEFOR LOVEBY RESIDENT DRAMATURG PHILIPPA KELLY

In Shakespeare’s time, the word “passion” referred both to “suffering” and to the dizzying blisses of the heart.

Although the bewitching power of love is an old, familiar tale, it renews itself with every lover’s passion, every poet’s creation, and every lunatic’s fantasy.

10 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

WEDDING PLANS: Theseus and Hippolyta preside over two planned weddings: their own, and that of Demetrius and Hermia, the latter arranged by Hermia’s father Egeus.

A ROADBLOCK: Hermia has other ideas—enter Lysander, man of her dreams. Demetri-us is adored—but by Helena, not Hermia.

A SOLUTION: Lysander and Hermia plan to elope to the forest, travelling 20 leagues to the home of a wealthy and benefi cent aunt.

A THIRD WHEEL—now a fourth wheel too: Helena, silly girl, has alerted Demetrius to this plan, hoping he’ll fi nally abandon his dreams of Hermia and choose her instead. But Demetrius follows the two lovers into the forest, and Helena follows Demetrius.

A PLAY IS BORN: Deep in the forest, fi ve workmen rehearse an amateur theatrical, the doomed love affair of Pyramus and Thisbe, which they hope to bring to Athens to offer the Duke in celebration of his wedding.

MORE TANGLES IN THE FOREST: Oberon and Titania, King and Queen of the fairy world, need marriage counseling. Oberon turns to the mischievous Puck, and orders him to sweep a love potion over Titania’s eyes to make her fall in love with the fi rst awful sight she sees—this way she’ll learn to appreciate the Big Man who is her husband.

WEEPING AND SLEEPING. Puck fi nds his love potion and comes across Helena weep-ing and Lysander sleeping. He thinks Lysand-er has spurned her, and wipes his potion over Lysander’s eyes, not seeing Lysander’s true love sleeping nearby. Lysander wakes—in love with Helena!

IF IN DOUBT, TRY AGAIN: Puck sweeps the potion over the sleeping Demetrius. Now he’s in love with Helena too! The girls now hate each other.

IN LOVE WITH AN ASS: Titania also gets a dose of the love potion—and awakens to fall in love with an ass—Bottom, the weaver, who is wearing an ass’s head.

LOVING AND FIGHTING WEAR YOU OUT. All sleep again—the lovers, Titania, Bot-tom—and Puck gets another chance to set things right. Theseus and Hippolyta come to the forest to hunt deer, and fi nd everyone asleep.

LET’S ALL GET MARRIED: And they all do. And let’s watch fi ve hard-handed knaves play a hilarious tragedy: Why not? Pyramus and Thisbe hits the stage.

A Midsummer Night’s Dream:

A SYNOPSIS

“looks with a water’y eye, and when she weeps, weeps every little flower.” The tears shed at night also enable a magical form of replenishment, as the pain of love recedes with the moon and, like a morning flower, the heart—if permitted by fate or a convenient potion—bursts open to the day’s renewal.

Dream isn’t just about the madness of young love—this play is also about older and more experienced characters, whom age doesn’t render immune to love’s distortions. At the play’s opening we’re greeted by Theseus and Hippolyta, who’ve come from the bed of war to the bed of love. How do they feel about this new bed that they will share? The ambiguity written into the opening of the play provokes us to wonder what love and marriage means to them. Then there’s also Titania, queen of the fairies, married for years and yet now subsumed by new love, gazing fondly at an ass and

preparing, in the giddiness of passion and under the “water’y moon”, al-luded to above, to take him to her bed: “Come, wait upon him; lead him to my bower.” Love can wreak its transformations on anyone, and everywhere, and it’s often hard to tell just what it’s made of. But one thing is guaran-teed: it is part of being human to shape others into the objects of our desire, our hatred, our obsession, our jealousy. Indeed, later in the 1590s, Shakespeare would experiment with stagings of obsessive emotion, representing love and jealousy as two primal feelings that are potentially catastrophic when entwined.

I think this is why Shakespeare places, to the side of Dream, the great cancelling hand of Death. The play’s first scene is shadowed by the possi-bility of death—Egeus, Hermia’s father, comes in begging Theseus to bring down an “ancient” Athenian law that will condemn his daughter to death if she doesn’t obey his will. Critics have often wondered why Shakespeare invented this law, concluding mostly that the potential for tragedy more brightly illuminates the play’s comic magnificence. But I think the pres-ence of death looming at the play’s beginning is also a stark reminder of the fact that all of this fuss—about love and passion of any kind—can be over in an instant, like a drop of dew on a morning flower; like a storm, like a life, like a dream.

Later in the 1590s, Shakespeare would experiment with stagings of obsessive emotion, representing love and jealousy as two primal emotions that are potentially catastrophic when entwined.


Contextualizing the Power of Love

A MIDSUMMER NIGHT'SNIGHTMARE:

terms of the marriages in A Midsummer Night’s Dream, this means that dysfunction and one-sided compromise are modeled from the top down. What compromises are being made in the marriages of Theseus/Hippolyta and Oberon/Titania that render them “successful” unions and models for the rest of the mere mortals of the play?

The compromises made by Hippolyta and Titania are easy to delineate. Hippolyta gives up her freedom, her self-determination, and her right to rule her own land and

people as the sole sov-ereign. She is conquest and war-booty as The-seus makes clear when he tells her, “…I wooed thee with my sword/ And won thy love doing thee injuries/ But I will wed thee in another key/ With pomp, with triumph, and with reveling.” No men-

tion of romance here: only conquest and public displays of power. Athens, led by Theseus, has defeated the Am-azons in a war and Hippolyta must now knuckle under to the culture and power of her conqueror. The marriage between Hippolyta and Theseus is a peace treaty, where, as the conquered party, Hippolyta surrenders all. Listen carefully to what little she says when she’s on stage. This is an understandably sullen, sometimes passive-aggres-sive bride. He rules, and she knows it.

Titania doesn’t fare much better. She informs us in her Act II monologue that all of nature has been thrown out of balance and made rotten by the fi ght occurring be-tween her and Oberon. The source of this fi ght is Tita-nia’s unwillingness to give up a little boy, the son of one of her votaresses, who died in childbirth. Titania pledged to be the adopted mother to the child of her devoted, dearly-departed friend. Oberon, however, is attracted to

Remembering various past productions of A Midsummer Night’s Dream, I am struck by the lighted-hearted hilarity of so

many renderings of the play. Productions often spotlight a sanitized, non-threatening version of teenage rebellion and sexual exploration, denuded of the danger and trag-edy dramatized in Romeo and Juliet, written the same year as Dream. Far from causing the mass body count seen in Romeo and Juliet, marriage in Dream shapes order from chaos, return-ing calm to society—a point driven home by the fact that Shakespeare presents the audience with no less than three allegedly happy bridal couples by Act V, and a marital reconciliation in the fairy world.

Among Shakespeare scholars, the Bard is notorious for his rather dismal view of marriage. Indeed, all of the “great” romances in Shakespeare’s tragedies end in death and a staggering body count. “Till death do us part” is pretty easy in a Shakespeare play when death comes af-ter fi ve acts and just a few hours onstage. Shakespeare’s comedies—bound as classical comedies are by the formal, structural necessity of ending with a marriage, a convention left-over from Greek and Roman “new come-dies”—don’t provide a much rosier view.

Marriage, we are told by pop psychologists and the self-help industry, is based on compromise. Shakespeare concurs. In A Midsummer Night’s Dream, marriage can only succeed through compromise. It’s just not a mu-tual compromise for all parties involved, either. Royalty and supernatural entities enjoyed a higher status in the strictly structured hierarchy of Elizabethan society. In

Marriage, we are told by pop psychologists and the self-help industry, is based on compromise. Shakespeare concurs. In A Midsummer Night’s Dream, marriage can only succeed through compromise.

BY LAURA HOPE


Shakespeare himself probably knew. So perhaps he pardons us from the grave for our 21st-century need to believe in Disneyfi ed fairies and marriages equat-ing with happy endings in the theatre. Nightmares abound off the stage; per-haps it’s fi tting that dreams should win out in Midsummer.

the child’s looks and wants the boy to serve him. Therefore, Titania must give him the child. Her refusal leads to the mayhem in the forest perpetrated by Oberon and his lackey, Puck. (A dynam-ic duo of malicious chaos and churlish-ness, Oberon and Puck come the closest to the Elizabethan understanding of fairies.) In order to “restore” the bal-ance of nature and end the fi ght, Titania must relinquish the boy, which she does by play’s end.

Theseus, meanwhile, compromises the law of the land at the end of the play so that the two sets of young lovers can marry whom they wish, rather than follow the law, which dictates that a father can choose his child’s spouse. Therefore, Hermia, Helena, Lysander, and Demetrius get to marry for love. This may be signifi cant since Theseus does not have the option himself of marrying purely for love. Neither did most Elizabe-than-era royal marriages, in which love often had nothing to do with marriage and was usually some sort of foreign policy treaty or domestic consolidation of pow-er. His compromise is that he is showing selfl essness and mercy— just not directed to his wife.

Admittedly, these power imbal-ances are a great deal to pave over in order to fi nd a “happy ending” in Shake-speare’s comedy. And yet, as humans, our craving for that happy ending is understandable. Marital happiness so often eludes people off the stage, as

The marriage between Hippolyta and Theseus is a peace treaty, where, as the conquered party, Hippolyta surrenders all.

Yolanda N. Eldred January 6, 1920 - June 7, 2014

Every Thursday preview, for as long as I can remember, I would see Yolanda Eldred come up the stairs with the help of her daughter. We would hug and say sweet things to each other, and have a moment. Every year this happened, and as Yolanda got older, she had a harder time, eventually need-ing a wheelchair. But still she came. And we hugged.

And then when her daughter told me of Yolanda’s passing, I was of course saddened. But it also struck me that although we really didn’t know each oth-er, we felt deeply connected on that particular Preview night, for those very few moments.

And now they are gone.

I was a very fortunate man to have known Yolanda, and I feel that way about a lot of people, with whom I share brief, mean-ingful and ultimately beautiful moments together after or before a show at the Bruns. It’s our moment to connect. And I shall miss that connec-tion to Yolanda.

Jonathan MosconeARTISTIC DIRECTOR

Through these classes and rehearsals, students build lasting bonds with their fel-low actors, and learn how to work together with people from different communities and backgrounds. While building skills and ensemble, students are also building their own community.

As we watch these students grow, it is exciting to see them take the skills they learn here and apply them in the real world—whether the confi dence-building that comes from acting; the improvisational skills applicable to their future careers; the empathy that one learns from playing a character; or the newfound love of theater and literature—there are many benefi ts to be reaped from theater education, even for those who don’t go on to a career on the stage.

BY CLIVE WORSLEY

At the time of writing, hun-dreds of local students ages 8

through 18 are rehearsing for their fi nal show, the conclusion of the Summer Shakespeare Conservatories. From four

camp sessions at three loca-tions in Oakland, Piedmont, and Orinda, 278 young actors present twenty-three individual performances of some of Shakespeare’s most beloved and well-known works.

At Cal Shakes Summer Shake-speare Conservatories, students

learn skills and techniques in a variety of theatrical disciplines—from Improvisation and Physical Comedy, to Text Analysis and Shakespearean History, to Stage Combat and Voice Training, all taught by profession-al theater practitioners in a fun, safe, and nurturing environment.

“I LOVE THAT YOU GET TO MAKE A PLAY WITH

ALL OF YOUR FRIENDS.”Naomi Hartog, age 10

WHAT WE TEACH WHEN WE TEACH THEATER

“IT’S MY FAVORITE THING IN THE UNIVERSE. I HAVE GREAT FRIENDS WHO DON’T JUDGE ME AND I CAN BE MYSELF.”

Izzi Fluery, age 14

To learn more about Summer Conservatories contact Whitney Grace Krause at 510.548.3422 x105

or visit www.calshakes.org/conservatories.

“IT’S A GREAT EXPERIENCE FOR THE CAMPERS, NOT ONLY IN TERMS OF BUILDING CONFIDENCE AND

CREATIVITY, BUT ALSO IN ACCEPTANCE, MENTORING AND STRETCHING THEIR COMFORT ZONE.”

Susan Anderson, camper parent

SHALL WE THEIR FOND PAGEANT SEE?

Robin Goodfellow,A Midsummer Night’s

Dream

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online—can animate public interest, influence key decision-makers, and activate public gatherings. As skilled story coaches, theater artists can work with clients to find their own voices through training in writing and performance. Clients can be prepared to advocate for themselves by claiming the power of their own stories and taking charge of their own narratives.

As rehearsal experts, theater artists know how to rapidly try, discard, and reinvent solutions to problems we discover. Artists can work with staff to brainstorm new program-ming or to address places where discussion is stuck.

As trained team-builders, theater artists can offer skill-building work-shops in many areas such as team-building and meeting facilitation skills, public speaking, writing, etc.

As event producers, theater artists can help shape the structure and content of celebrations, demonstrations, and other public events, helping to make these events more powerful, enjoyable, and memo-rable.

And that’s just the beginning. As we create four pilot projects this year, matching artists with four different organizations—including Pathways 2 Resilience—we imagine that more creative ways of part-nering will emerge. This program is an exciting part of Cal Shakes’ exploration of how our work can matter more to more people, how theater can become more integrated into the lives of the communities around us. We’ll be sharing these projects with you as they develop.

BY REBECCA NOVICK A few weeks ago, I got to sit in on an extraordinary meet-ing and listen to a man named Kevin Tindall, who plays a key role in the work of our new partners at Pathways

2 Resilience, a nonprofit that works with inmates and ex-inmates to reduce recidivism through “holistic reentry pathways.” Angela Sevin, who leads Pathways 2 Resilience, first met Kevin when he was an inmate at San Quentin and participated in one of her workshops. Now released, he has joined her team and designs and leads healing circles for ex-offenders.

We were meeting with Pathways 2 Resilience because the Triangle Lab (Cal Shakes’ research and development wing) is about to launch the next round of our Artist-Investigator program. This program invites artists to explore what the performances of the future will look like; in this round, we’ll be partnering artists with community organizations to investigate how the skills of theater artists can be deployed outside the rehearsal room to help meet community needs.

At that meeting in Oakland, Kevin shared how pow-erful it is when the men in his circles—many of them victims themselves of childhood trauma—begin to share their stories with each other. As we began to talk about the possibilities for an Artist-Investigator project

with Pathways, he became very excited at the thought of an artist who could help capture those stories, and help program participants believe that their stories matter, that their lives have meaning, and that other people might find wisdom in hearing them.

That’s only one way that we imagine theater artists can partner with non-profits who are working to build a better world.

As expert storytellers, theater artists can work with staff, clients or other stakeholders to gather, shape, and share relevant stories in dynamic and powerful ways. Stories—written, performed, or read

TRIANglE lAB’s ARTIsT-INVEsTIgATOR PROgRAm: PhAsE TwO

If you’d like more information or to support these programs, you can contact Director of Artistic Engagement Rebecca

Novick at [email protected].

artist– INVESTIGATORP R O J E C T


Production of The Cocktail Party, Hamlet at the Shakespeare Theatre of New Jersey, and The Idealist at The New York Times Theatre. She has also worked at the Public Theater, Ensemble Studio Theater, Lark Theatre, and Playwrights Realm, among others. She has also worked locally for Word for Word, Marin Theatre Company, Marin Shakespeare Company, PlayGround, Magic Theatre, and many others. She is a two-time BATCC award winner and three-time Dean Goodman award recipient. She received training at Foothill Theatre Conservatory, with an MFA from NYU’s Graduate Acting Program. Lauren would like to extend thanks to Tom.

MARGO HALL*(Bottom, Ensemble)Ms. Hall is delighted to return to Cal Shakes where she has appeared in A Raisin in the Sun, A Winter’s Tale, American Night, The Ballad of Juan Jose, and Spunk. Her recent credits include Be

Bop Baby: A Musical Memoir, which she also wrote in collaboration with Nakissa Etemad, at Z Space, The Motherf**ker With the Hat at SF Playhouse, Fences and Seven Guitars at Marin Theatre, Fabulation for Lorraine Hansberry Theatre, Marcus; or the Secret of Sweet and Once in a Lifetime at A.C.T., and Trouble in Mind at the Aurora Theatre. Hall is a founding member of Campo Santo, the resident theater company at Intersection for the Arts, where she has directed and acted in over 15 productions including plays by Chinaka Hodge, Jessica Hagedorn, Naomi Iizuka, Philip Gotanda, Octavio Solis, and many more. In 2005, she made her writing debut as a collaborating writer on Leigh Fondakowski’s The People’s Temple which premiered at Berkeley Rep and won the Will Glickman Award for best new play for 2005. She has also performed at Arena Stage, Olney Theater, and Source Theater in Washington, D.C., the Guthrie Theater in Minneapolis, and has toured France with Word for Word.

CRAIG MARKER*(Flute, Ensemble )Craig Marker returns to Cal Shakes where he played Macduff in the 2010 production of Macbeth and Tybalt in the 2009 production of Romeo and Juliet. Regionally, Mr. Marker

has performed for San Jose Rep, Portland Center Stage, La Jolla Playhouse, Berkeley Repertory Theatre, American Conservatory Theater, The San Francisco Shakespeare Festival, Aurora Theatre Company, TheatreWorks, and Center REP. His Bay Area credits include critically acclaimed productions of Equivocation, 9 Circles, and The Seagull at Marin Theatre Company; Wirehead, The Story, and First Person Shooter at San Francisco Playhouse; and Macbeth at Shotgun Players. Mr. Marker’s television and film credits include Trauma, Bye-Bye, Bin Laden, Generic Thriller and Night of Henna; and his voice work includes several

WHO’S WHO

ACTING COMPANY

JAMES CARPENTER*(Egeus, Starveling, Ensemble)A longtime Bay Area resident and a Cal Shakes Associate Artist, James Carpenter’s appearance in A Midsummer Night’s Dream marks his 31st production for Cal Shakes;

Mr. Carpenter also played Alfred Doolittle in Pygmalion earlier this season. Other Bay Area credits include shows at A.C.T., San Jose Rep, Aurora Theatre, Magic Theatre, TheatreWorks, Marin Theatre Company, and Shakespeare Santa Cruz. He performed at Berkeley Rep in over 30 productions in his twelve years there as Associate Artist, is the honoree of the BATCC Consistent Excellence in Theater and Lifetime Achievement Awards, and was named a 2010 Lunt-Fontanne Fellow from the Ten Chimneys Foundation. Out-of-town credits include: Old Globe Theatre, Oregon Shakespeare Festival, Yale Repertory Theatre, Intiman Theatre, Dallas Theatre Center, Arizona Theatre Company, and The Huntington. Television: Nash Bridges. Film: The Rainmaker and Metro. Independents: Singing, Presque Isle, The Sunflower Boy.

CATHERINE CASTELLANOS*(Snout, Ensemble) Cal Shakes credits include: Pygmalion, The Tempest, Much Ado About Nothing, Romeo and Juliet (BATCC Award, Best Supporting Actress), Nicholas Nickleby (Parts I and II),

Richard III, All’s Well That Ends Well, Twelfth Night, The Seagull, The Merry Wives of Windsor, Henry IV (Parts I and II), A Midsummer Night’s Dream, Triumph of Love, and John Steinbeck’s The Pastures of Heaven. Recent Bay Area credits: Sir Toby in Twelfth Night and Mary in Alleluia, The Road (a collaboration between Cal Shakes and Intersection for the Arts, sponsored by Triangle Lab). Castellanos is a company member with Campo Santo, appearing in more than a dozen world premieres. Regional credits include shows at Yale Rep, La MaMa in New York, play development through readings and workshops with Portland Center Stage, Arena Stage (D.C.), Lensic (Santa Fe), Cherry Lane (New York), A.C.T., Berkeley Rep, Magic Theatre and Shotgun Players (Phaedra, Best Leading Actress nomination, Broadway World, Bay Area Theatre Critics Circle). Catherine would like to extend praise and gratitude to her sons, Miles and Gabriel, for their continued inspiration and generosity in sharing their mom with the theater.

DAN CLEGG*(Lysander, Ensemble)Mr. Clegg was last seen at Cal Shakes as Romeo in Romeo & Juliet (2013) and Cecil Graham in Lady Windermere’s Fan (2013); previously as Tranio and others in The Taming of the Shrew (2011), and

Proteus in The Verona Project (2011). He has appeared locally in Tribes at Berkeley Repertory Theatre, Major Barbara and A Christmas Carol (2010) at American Conservatory Theater, Blue/Orange at Lorraine Hansberry Theatre, and a number of productions with the A.C.T. MFA program. Before moving to the Bay Area, Dan lived in Montreal where he performed in shows at Théâtre Olympia and McGill’s Players’ Theater including Equus, The Merchant of Venice, The Rocky Horror Show, and The Woman in Black. Mr. Clegg is also the voice of Winston in The Winston Show and a number of characters in SpeakaLegend, two new apps created by ToyTalk, a family entertainment company based in San Francisco.

TRISTAN CUNNINGHAM*(Hermia, Ensemble)When she was only ten years old, Ms. Cunningham started performing with Vermont’s own country circus, Circus Smirkus. After touring for eight years, she

decided to change her focus to acting; she recently graduated with a BFA from SUNY Purchase Acting Conservatory. Her Bay Area credits include: The Comedy of Errors and A Winter’s Tale at Cal Shakes, Julius Caesar with African American Shakespeare Company, The Road to Hades with Shotgun Players, Tenderloin with Cutting Ball, A Midsummer Night’s Dream with the San Francisco Shakespeare Festival, and The Arsonists with Aurora Theatre. She is a proud member of Actors’ Equity and is thrilled to be working with California Shakespeare Theater for the third time.

LAUREN ENGLISH*(Helena, Ensemble)Lauren English is thrilled to be back at Cal Shakes and working with Ms. Cooper. She was last seen onstage at The Bruns in 2004 playing Prince John (“Princess Joan”) in Henry IV, adapted by Dakin

Matthews. Most recently she was seen in the world premiere of The Lasso of Truth at MTC. Lauren is a founding member of the San Francisco Playhouse where she also serves as Casting Director. Some of her favorite Playhouse roles are: Kate in Seminar, The Pilot in Grounded, Steph in reasons to be pretty, Becky Shaw in Becky Shaw, Sally in Cabaret, Emily in Our Town and Lisa in The Glory of Living. New York Theater: TACT’s Off-Broadway

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

characters in the video game Brütal Legend starring Jack Black.

PARKER MURPHY (Fairy, Ensemble)Parker Murphy graduated magna cum laude from Northwestern University with a BA in Dance and Psychology in 2013. While in Chicago, Murphy had the pleasure of performing in works choreographed

by a multitude of renowned artists, including Jeff Hancock, Molly Shanahan, Billy Siegenfeld, Annie Beserra, David Lakin, Amanda Lower, Susan Lee, Lizzie Leopold, and Striding Lion Performance Group. In San Francisco, he has performed with Yannis Adoniou’s KUNST-STOFF, LEVYdance, 13th Floor Dance Theater, Gerald Casel Dance, detour dance and EmSpace Dance. Parker is honored to be joining the wonderful team at Cal Shakes for A Midsummer Night’s Dream. Future projects include dancing with FACT/SF in their JuMP program premiere, performing with Shotgun Players in their 2015 Season, and working with Hope Mohr and Christian Burns on their upcoming collaboration.

NICHOLAS PELCZAR* (Demetrius, Ensemble)Mr. Pelczar was last seen in Pygmalion earlier this season and has appeared previously at Cal Shakes in Hamlet, The Tempest, The Taming of the Shrew, Titus Andronicus, Much Ado About Nothing,

Macbeth, The Life and Adventures of Nicholas Nickleby, Othello, All’s Well That Ends Well, and The Importance of Being Earnest. Other Bay Area credits include Major Barbara, Arcadia, War Music, Rock ‘n’ Roll, and A Christmas Carol at A.C.T.; The Whipping Man, The Glass Menagerie, Othello, and boom, at Marin Theatre Company; The Pitmen Painters at TheatreWorks; Hamlet and As You Like It at Pacific Repertory Theatre; A Midsummer Night’s Dream at San Francisco Shakespeare Festival; Marius and Dublin Carol at the Aurora Theatre; and Daniel Handler’s 4 Adverbs with Word for Word. He is a graduate of the A.C.T. MFA acting program.

TRAVIS SANTELL ROWLAND (Fairy, Ensemble)Travis Santell Rowland is an interdisciplinary performing artist, choreographer, and arts educator. He holds BA degrees in both Drama (Popular Theater) and

Dance (Performance & Choreography) from SFSU. The breadth of his performance experience spans the mediums of hip hop/contemporary/modern dance, acrobatic/physical/dance/musical/children’s/drag theater (as Qween), film, opera,

and site specific art. He has performed in Hold Me Closer, Tiny Dionysus for Trixxie Carr, Certitude and Joy for Erling Wold’s Fabrications, Talkback for Crowded Fire Theater, and F.A.G.G.O.T.S.: The Musical! for DavEnd. Travis was both performer and collaborating choreographer in Taylor Mac’s The Lily’s Revenge at Magic Theatre, The Tempest at Cal Shakes, and in the Fame Whore music video for the Tim Carr Project. Since 2010 he enjoys performing as a collaborating choreographer with The Erika Chong Shuch Performance Project, Joanna Haigood’s Zaccho Dance Theatre, the House of Glitter, and regularly headlines here in San Francisco as Qween at Trannyshack and Club SOME THING. facebook.com/travismoves.

DANNY SCHEIE*(Puck, Snug, Philostrate, ensemble )Previous Cal Shakes roles over eleven seasons include Dromio (The Comedy of Errors), Bottom (A Midsummer Night’s Dream), Dogberry (Much Ado About Nothing), Feste

(Twelfth Night), Mercutio (Romeo and Juliet), Launcelot Gobbo (The Merchant of Venice), Gremio (The Taming of the Shrew), Player King (Hamlet), Dr. Caius (The Merry Wives of Windsor), Harlequin (The Triumph of Love), Lord Foppington (Amy Freed’s Restoration Comedy), the Duchess of Berwick (Lady Windermere’s Fan) and multiple roles inNicholas Nickleby, Pericles, and An Ideal Husband. He has received Bay Area Critics Circle awards for his work at Aurora, Magic, Theater Rhinoceros, as Nero in Amy Freed’s You, Nero at Berkeley Rep, and this year for Next Fall at San Jose Rep. He is the former Artistic Director of Shakespeare Santa Cruz, where he acted and directed for thirteen seasons. Since then he has acted at Arena Stage, Yale Rep, Trinity Rep, Asolo Rep, the Folger, South Coast Rep, Pasadena Playhouse, Actors Theater of Louisville, A Noise Within, Two River, TheatreWorks, Marin, Jewel, and Intersection for the Arts. He has a BA in Theater and Drama from Indiana University and a PhD from Cal in Dramatic Art. He joined Actors’ Equity playing Damis in Tartuffe at the Los Angeles Theater Center.

ERIKA CHONG SHUCH*(Titania, Hippolyta, Ensemble, Movement Director)Ms. Shuch is a choreographer and director who makes original performance work with her company, the Erika

Chong Shuch Performance Project. Last year she made her Cal Shakes onstage debut as Ariel in Jonathan Moscone’s production of The Tempest, which she also choreographed. Other Cal Shakes credits include: The Comedy of Errors, Romeo and Juliet (2013), American Night, Taming of the Shrew, Much Ado, Mrs. Warren’s Profession, Pastures of Heaven, and Midsummer (2009). She was nominated for a Helen Hayes award

WHO’S WHO in choreography (Conference of the Birds, Folger Theater, Washington DC). A recipient of the Gerbode Foundation’s Emerging Choreographer’s Award, Ms. Shuch’s original work has been commissioned by Yerba Buena, Intersection for the Arts and Dancers’ Group’s ONSITE program. In 2011, she was commissioned by Daejeon Metropolitan Dance Theater and Chang Mu Dance Company in Korea to create three new works inspired by and in collaboration with North Korean defectors. She also directs plays such as The Lily’s Revenge by Taylor Mac at Magic Theatre, and God’s Ear by Jenny Schwartz, for Shotgun Players. In 2012, Ms. Shuch participated in Groundfloor, Berkeley Rep’s new residency program. Upcoming projects include Associate Director (movement) for Aaron Posners’ Gift of Nothing at the Kennedy Center, Washington DC, The Lucky One, a new work presented by Shotgun Players created by Shuch with Michelle Carter, and For You a new work commissioned by YBCA. Erikachongshuch.org

DAISUKE TSUJI* (Oberon, Theseus, ensemble)Daisuke Tsuji is an LA-based actor and clown who performs frequently in Bay Area productions; recently he played the title role in The Orphan of Zhao at A.C.T. He was born in Kuwait, lived in Japan as a child, but mostly

grew up in Sacramento, California. After receiving his BA in theater arts from UCLA, he toured Poland with Meditations on Virginity, nationally with Speak Theater Arts’s N*gger Wetb*ck Ch*nk, and Japan with Cirque du Soleil’s Dralion. In four seasons as a company member of the Oregon Shakespeare Festival he has appeared in ten productions, including as the Fool in King Lear, Ravelli in Animal Crackers, and Thomas Diafoirus in The Imaginary Invalid. Other credits include American Night at La Jolla Playhouse and Kirk Douglas Theatre, Puck in A Midsummer Night’s Dream at Portland Center Stage, and Clint Eastwood’s film Letters from Iwo Jima. He is also a writer/director, and most proud of his recent clown show, Clowns are People Too.

LIAM VINCENT* (Peter Quince, Ensemble)This summer, Mr. Vincent appeared in two shows at Cal Shakes, playing the Duke/Balthasar/Second Merchant in The Comedy of Errors, and Karl Lindner in A Raisin in the Sun. Past Cal Shakes productions include

Twelfth Night, Romeo and Juliet, Private Lives, Titus Andronicus, Candida, The Taming of the Shrew, King Lear, Richard III, The Merry Wives of Windsor, Henry IV, and A Midsummer Night’s Dream (2002). Mr. Vincent has also appeared in productions at A.C.T., the Alliance, the Huntington, Aurora, TheatreWorks, Marin Theater Company, SF Playhouse, Portland Center Stage, Arizona Theater Company, Shakespeare Santa Cruz, Pasadena Playhouse, San Jose Rep, Magic Theatre, Soho Rep, the Civilians, Campo Santo, Encore Theatre Company, and San Francisco Shakespeare Festival. He is a graduate of Boston University.


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CREATIVE TEAM

SHANA COOPER (Director)Ms. Cooper returns to Cal Shakes, having directed Romeo and Juliet in 2013 and The Taming of the Shrew in 2011; she also served as Associate Artistic Director from 2000–04. She is the cofounder of New

Theater House with Yale School of Drama alumni. Recent projects include Venus in Fur (Seattle Rep, Arizona Theatre Company), The Unfortunates and Love’s Labor’s Lost (Oregon Shakespeare Festival), American Night: The Ballad of Juan José and Romeo and Juliet (Yale Repertory Theatre), the Black Swan Lab (a new play workshop series at OSF), Three Sisters (The Studio/New York), and A Lie of the Mind (A.C.T. MFA program). Productions with New Theater House include A Midsummer Night’s Dream, The Whale Play by Victor I. Cazares, and Twelfth Night (in collaboration with actors at OSF). Other directing credits include Oklahoma! at the Hangar Theatre (associate director), The Ghost Sonata, and Richard III at Yale School of Drama, and productions at Willamette Repertory Theatre, Sonoma Repertory Theatre, Cal Shakes Student Company, Washington Shakespeare Festival, Amherst College (guest artist), Willamette University (guest artist), and Magic Theatre’s Young California Writer’s Project. Upcoming projects include A Midsummer Night’s Dream at Playmaker’s Rep, and The Unfortunates and The Strand at A.C.T. Awards: 2010 Princess Grace Award, Julian Milton Kaufman Memorial Prize in Directing (Yale School of Drama), Drama League Directing Fellow, TCG Observership Grant, Phil Killian Directing Fellow (OSF), Jack O’Brien Directing Fellow, and G. Herbert Smith Presidential Scholarship. Ms. Cooper earned her MFA in directing from the Yale School of Drama. shanacooper.com.

ERIKA CHONG SHUCH*(Movement Director)Please see Ms. Shuch's bio under main cast listings, on page 18.

NINA BALL (Set Designer)Ms. Ball’s designs have been seen at American Conservatory Theater, San Jose Repertory Theatre, Aurora Theatre Company, Shotgun Players, SF Playhouse, Center REP, Z Space, Napa Valley Conservatory, San Francisco Mime Troupe, Word for Word, TheatreFIRST, Berkeley Playhouse, the Jewish Theatre San Francisco, Musical Theatre Works, Town Hall Theatre, Solano College, Willows Theatre Company, St. Mary’s College, and San Francisco State University. She has been nominated for numerous San Francisco Bay Area Theatre Critics Circle, Shellie and Arty Awards. Recent honors include SFBATCC awards for My Fair Lady at SF Playhouse and Metamorphosis at Aurora Theatre, a BroadwayWorld San Francisco Award for Care of Trees at Shotgun Players, and an Arty Award for her design of Eurydice at Solano College Theatre. Ball is a company member of Shotgun Players and has an MFA in scenic design from San Francisco State University. Recent shows

include Twelfth Night at Shotgun Players, Into the Woods at SF Playhouse, and The Comedy of Errors at Cal Shakes. Learn more about Nina’s work at NinaBall.com.

KATHERINE O’NEILL(Costume Designer)This production of A Midsummer Night’s Dream will be Katherine’s second production at California Shakespeare Theater; the first was Shana Cooper’s 2011 production of Taming of the Shrew. Katherine most recently designed the costumes for The House That Will Not Stand at Berkeley Repertory Theatre and The Unfortunates, a new musical that premiered the Oregon Shakespeare Festival. Katherine is a founding member of New Theater House (nth), a collective of multidisciplinary artists working to reimagine how performance is created. Her work with nth includes The Whale Play, a new work by Victor Cazares and A Midsummer Night's Dream (Brooklyn Lyceum). Other recent work includes Victor Cazares’ Ramses Contra los Monstruos (Brown University Writing is Live Festival), Derek Walcott's Ti Jean and his Brothers (Central Square Theater), and The Island of Slaves (Orfeo Group), for which she was nominated for an Eliot Norton Award for best design. Katherine received an MFA in Design from Yale School of Drama.

BURKE BROWN (Lighting Designer) Bay Area Designs: Se Llama Cristina at the Magic Theatre. Recent New York: The Long Shrift directed by James Franco, Stay and Basilca (Rattlestick Playwrights Theater) and Phoebe in Winter (Clubbed Thumb). Other NYC designs: Ars Nova, NYSF-Public Theater, Incubator Arts Project, Julliard, La Mama ETC, Under The Radar Festival, Playwright’s Realm and the Baryshnikov Arts Center. Recent Regional Designs: Cleveland Playhouse, Northern Stage, Asolo Repertory Theatre, Two River Theater Company and Playmakers Repertory Company. International Design: Abbey Theatre (Dublin), Golden Mask Festival (Moscow), Seoul Performing Arts Festival (South Korea), Festival of Two Worlds (Italy) and Opera Erratica (Toronto). Recent dance designs: Aszure Barton & Artists, Alvin Ailey America Dance Theater, Hubbard Street Dance Chicago, Bayerisches Staatsballett and Houston Ballet. Projection designs: Diverse City Co., the Big Apple Baroque, Yale Baroque Opera Company, and Bone Orchard Collective. MFA, Yale. Member of Wingspace Theatrical Design. Wingspace.com/burke

PAUL JAMES PRENDERGAST(Composer/Sound Designer)At Cal Shakes: Romeo and Juliet, King Lear. Other theaters include Oregon Shakespeare Festival, Seattle Repertory, Guthrie Theater, Mark Taper Forum, A.R.T., South Coast Repertory, Hartford Stage, Great Lakes Theater Festival, East West Players, Florida Stage, Geffen Playhouse, Atlantic Theater Co., Long Wharf Theatre, the Kennedy Center, Alley Theater, Honolulu Theater for Youth, Imagination Stage, Actors Gang, and Cornerstone Theater Company. Dance companies include


WHO’S WHO CAL SHAKES PROFILES

JONATHAN MOSCONE (Artistic Director)Jonathan Moscone is in his 15th season as artistic director of California Shakespeare Theater, where he most recently directed Pygmalion previously this season. His other credits include Tribes at Berkeley Rep, and the world premiere

of Ghost Light, which he co-created and developed with playwright Tony Taccone for Oregon Shakespeare Festival and Berkeley Rep. In addition, he directed Bruce Norris’ Clybourne Park for American Conservatory Theater. For Cal Shakes, Jonathan has directed the world premiere of John Steinbeck’s The Pastures of Heaven by Octavio Solis, The Life and Adventures of Nicholas Nickleby, Candida, Twelfth Night, Happy Days, Much Ado About Nothing, The Tempest, The Seagull, and American Night. He is the first recipient of the Zelda Fichandler Award, given by the Stage Directors and Choreographers Foundation for “transforming the American theatre through his unique and creative work.” His regional credits include Intersection for the Arts, the Huntington Theatre, Alley Theatre, Milwaukee Repertory Theater, Goodspeed Musicals, Dallas Theater Center, San Jose Repertory Theatre, Intiman Theatre, and Magic Theatre, among others. Jonathan currently serves as a board member of Theatre Communications Group.

SUSIE FALK (Managing Director)Ms. Falk came to Cal Shakes as Marketing Director in 2004, and was appointed Managing Director in 2009, overseeing the company’s administration and operations. She previously worked at Berkeley Rep, American Conservatory Theater,

Seattle Rep, and Berkshire Theatre Festival. She served for seven years on the board (four as vice president) of Theatre Bay Area, the local service organization for theater companies and theater workers. She is a graduate of Vassar College and completed course work in organizational psychology at JFK University. She lives in Berkeley with her husband, lighting designer York Kennedy, and their daughter Pippa.

REBECCA NOVICK(Director of Artistic Engagement) Ms. Novick was the founder of Crowded Fire Theater Company and served as its artistic director for 10 years, growing the company from an all-volunteer group to one of San Francisco’s most respected small theaters. She has developed and directed new plays for many theaters in the Bay Area and elsewhere. Her directing work has been recognized with a Goldie Award for outstanding local artist, among other awards. Ms. Novick has held a number of arts management and consulting positions including serving as interim arts program officer for the San Francisco Foundation, project coordinator for the Wallace Foundation Cultural Participation Initiative in the Bay Area, and director of development and strategic initiatives for Theatre Bay Area. She regularly writes and speaks on issues relating to the arts sector; recent publications include contributions to 20under40, the GIA Reader, Counting New Beans, and Theatre


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Diavolo Dance Theater, Momix, Parsons Dance Co., Ballet Florida, Demetrius Klein, Teatro du El, and Xing Peds. Theme parks: Universal Studios and Knott’s Berry Farm. Casinos: Treasure Island, MGM Grand, and Buffalo Bill’s. Museums: J. Paul Getty, Geffen Contemporary, Peterson Automotive Museum, and the Autry Museum of Western Heritage. He has conducted school residencies on songwriting, community-based theater, vaudeville, and American roots music in New York, Florida, Washington, and California. Mr. Prendergast’s work as a singer/songwriter has appeared in films, on recordings, and in music venues nationwide.

LYNNE SOFFER*(Voice and Text Coach)Ms. Soffer has been the dialect/text/vocal coach on over 240 productions for theaters including A.C.T., Berkeley Rep, Seattle Rep, San Jose Rep, Old Globe (San Diego), Dallas Theater Center, Arizona Theater Co., Magic Theatre, Marin Theatre Company, TheatreWorks, Aurora Theatre, Word for Word, and PCPA Theaterfest; the world premiere of Moisés Kaufman’s The Laramie Project at the Denver Center, New York, and Berkeley; and for several films. She has both acted with and coached dialects and text for Cal Shakes in the past including Pygmalion, Titus Andronicus, Macbeth, Mrs. Warren’s Profession, Private Lives, Pericles, An Ideal Husband, Nicholas Nickleby, Restoration Comedy, and Man and Superman. She currently teaches at A.C.T., and works as an actor at many Bay Area theaters as well as directing productions of Wilde and Coward plays for Stanford Repertory Theater.

KAREN SZPALLER*(Stage Manager)Karen Szpaller is pleased to be working at Cal Shakes for the second time this summer! Most recently, she stage-managed The Comedy of Errors here at Cal Shakes, directed by Aaron Posner; and prior to this, Tribes at Berkeley Repertory Theatre, directed by Jonathan Moscone. Favorite Berkeley Rep shows include The Lieutenant of Inishmore, Eurydice, Concerning Strange Devices from the Distant West, Fêtes de la Nuit, Comedy on the Bridge / Brundibar, Compulsion, and Let Me Down Easy. Her favorites elsewhere include Anne Patterson’s art and theatrical installation Seeing the Voice: State of Grace and Anna Deavere Smith’s newest work, On Grace, both at Grace Cathedral; the national tour of Spamalot in San Francisco; A Christmas Carol (2006-13), Armistead Maupin’s Tales of the City, 1776, Stuck Elevator, Blackbird, Curse of the Starving Class, and The Tosca Project at American Conservatory Theater; Wild With Happy, Striking 12, and Wheelhouse at TheatreWorks; Ragtime and She Loves Me at Foothill Music Theatre; The 25th Annual Putnam County Spelling Bee at San Jose Repertory Theatre; Salomé at Aurora Theatre Company; and Urinetown: The Musical at San Jose Stage Company. Karen is the production coordinator at TheatreWorks.

For complete descriptions of these and other events, click calshakes.org/events.

SAVE THE DATES!Meet the artists, save money on tickets, sample local food and drink, and more during the run of A Midsummer Night's Dream.

Lower-Priced PreviewsBe a part of the process by seeing the show before opening, at a discounted price.

9/3, 9/4, 9/5

Opening Night!Mingle with the cast, creative team, and critics at a free post-show party

9/6

Meet the Artists Matinees Post-show chat with cast & creative team.

9/7 & 9/21

Open-Captioned PerformancesPerformances featuring open captioning for patrons who are deaf or hard-of-hearing.

9/10

Teen NightsA special pre-show event for youth ages 13-18.

9/16 & 9/25

Fridays in the Grove A pre-show performance of the Bay Area’s best musicians, storytellers, spoken word artists in the Upper Grove. Included in the ticket price.

9/5, 9/12, 9/19, 9/26

Complimentary Tuesday TastingsEnjoy pre-show samples from local purveyors.

9/9, 9/16, 9/23

InSight Matinee Post-show talk with the dramaturg.

9/17

Camper Night Students from our Summer Conservatories are invited to meet for a pre-show potluck.

9/19

Maker Workshop Tap into your creativity at our monthly Maker Workshops. Suitable for aspiring artists of all ages.

9/13

EVENTS MIDSUMMER

Bay Area Magazine. Ms. Novick has a BA from the University of Michigan in drama and anthropology.

CLIVE WORSLEY (Director of Artistic Learning)Clive Worsley assumed the reins as Director of the Cal Shakes Artistic Learning Department in August of 2013, and has been one of Cal Shakes’ premiere Teaching Artists since 2002. He was instrumental in developing some of the first integrated arts public school residency programs, and is the moderator of our popular Student Discovery Matinee program. Clive is familiar to all age groups at our popular Summer Shakespeare Conservatories as both a Master Class Instructor and Director. From 2008–2013, Mr. Worsley also served as Artistic Director of Town Hall Theatre in Lafayette, where he brought about both artistic and fiscal success. As an award-winning actor he has appeared on many Bay Area stages including Cal Shakes, Berkeley Rep, TheatreWorks, Marin Theatre Company, Magic Theatre, Center REP, Shotgun, and others. Mr. Worsley brings to the company a holistic philosophy and longstanding passion for arts education. He believes strongly in the power of theater to educate and enrich people regardless of age or background and looks forward to building upon the great success of the Artistic Learning programs.

PHILIPPA KELLY (Resident Dramaturg)Dr. Kelly’s work has been supported by many foundations and organizations, including the Fulbright, Rockefeller, and Walter and Eliza Hall Foundations. She publishes widely, from books on Shakespeare (her latest being The King and I, Arden Press, 2010, a meditation on Australian identity through the lens of King Lear), to papers on dramaturgy and topics of cultural engagement (her most recent discussion of dramaturgy can be found in the Cambridge Journal of Postcolonial Inquiry, Spring 2014). Besides her work for Cal Shakes, Dr. Kelly has also served as production dramaturg for the Oregon Shakespeare Festival and Word for Word Theater Company. For the 2013–2014 academic year she has been practicing and teaching dramaturgy at the University of California, Berkeley. She also teaches regularly for the Osher Lifelong Learning Institute in Berkeley. For most of the summer she can be found here at Cal Shakes, where she is a regular pre-show Grove Talk speaker. She is married to composer Paul Dresher and mother to Cole.

DAVE MAIER(Resident Fight Director)Mr. Maier is an award-winning fight director who has composed violence for many Cal Shakes productions including A Raisin in the Sun, Hamlet, Spunk, Titus Andronicus, Macbeth, Romeo & Juliet, King Lear, Richard III, A Midsummer Night’s Dream, and As You Like It. His recent credits include Showboat (San Francisco Opera); Pericles (Berkeley Rep); Tales of Hoffmann and The Gospel of Mary Magdalene (SF Opera); and Reasons to Be Pretty (SF Playhouse). His efforts have been seen on many Bay Area stages including American Conservatory Theater, San Jose Rep, Shakespeare Santa Cruz, and Shotgun Players, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts International and a founding member of Dueling Arts San Francisco. He is currently teaching combat-related classes at Berkeley Rep School of Theatre and Saint Mary’s College of California.

PRODUCERS

ELLEN & JOFFA DALE (Executive Producers) Long-time subscribers and donors, Ellen and Joffa Dale live in Orinda. Ellen is serving her second stint on Cal Shakes’ Board of Directors; she was also on the board in 1991 when the Bruns Amphitheater first opened. While Ellen and Joffa thoroughly enjoy picnics and performances at the Bruns, the primary focus of their donations is Artistic Learning. They believe that the lives of children reached by Cal Shakes’ education programs are enormously enriched and that these children are the artists and audiences of the future. Ellen and Joffa also helped establish the Moscone Permanent Endowment and are charter members of the Cal Shakes Legacy Circle.

MAUREEN & CALVIN KNIGHT(Executive Producers)Maureen & Cal Knight are recent transplants to the Bay Area from Seattle. Cal came to join the team at John Muir Health, where they met former Cal Shakes Board Member David Goldsmith and his wife Diane. The Goldsmiths introduced the Knights to Cal Shakes and it was love at first play. Maureen’s experience on the Board of the Seattle Rep qualified her for a seat on the Board at Cal Shakes, where she is about to start her second term. Both Cal and Maureen believe strongly that the arts make for vibrant, strong communities, and are committed to help ensure that Cal Shakes’ artistic and education programs are accessible to everyone.

MONICA SALUSKY & JOHN SUTHERLAND(Producers)Monica Salusky is a developer of senior housing in the western United States. She fell in love with theater when her parents took her to see Enter Laughing in downtown Los Angeles for her 13th birthday. Her acting credits consist of an appearance in the crowd scene in the top of the ninth inning in Moneyball. John Sutherland is a real estate attorney who practices in Walnut Creek. His acting credits include playing Reverend Dimwit in his high school senior play Ralph and an appearance in the crowd scene in the top of the ninth inning in Moneyball. He’s the one with the Oakland A’s hat on.

OUR CORPORATE PARTNERS

BART (Presenting Partner) The Bay Area Rapid Transit District (BART) is a 104-mile, automated rapid transit system serving over three million people. Forty-four BART stations are located in Alameda, Contra Costa, San Francisco, and San Mateo counties, and serve to truly connect the Bay Area. BART’s mission is to provide a safe, reliable, economical, and energy-efficient means of transportation.

With gas prices climbing ever higher and everyone looking to green their commute, BART expects a lot more people will be looking to BART, as riders get the equivalent of 250 miles to the gallon. Don’t forget that you can BART to Bard—Cal Shakes offers a free BART shuttle from the Orinda BART station. BART... and you’re there!


Posner, Shana Cooper, Patricia McGregor and Lisa Peterson; and its actors and other artists include talent from the Bay Area and around the country, such as Erika Chong Shuch, James Carpenter, L. Peter Callender, Leroy McClain; Daniel Ostling, Lap Chi Chu, Margo Hall, Domenique Lozano, Julie Eccles, Danny Scheie, Catherine Castellanos, Stacy Ross, Anthony Fusco, Sharon Lockwood, Clint Ramos, and Chris Akerlind. Cal Shakes is also unique for layering diverse enrichment and engagement experiences. These include Inside Scoops, pre- and post-show receptions, and many different cultural events—most recently the Fridays in the Grove series initiated by Rebecca Novick, which bring a cross-section of musicians and performers to the theater. Additionally, since becoming Res-ident Dramaturg I have had the opportunity to fold in dramaturgy with the theater’s activities, including the Grove Talk program; Insight Mat-inees and Meet the Artists; actor packets avail-able to the public; a new University of Califor-nia, Berkeley/Cal Shakes dramaturgy initiative which is on track to become an accredited UC course; and the year-round blog entitled “Ask Philippa,” which allows patrons the chance to respond to the dramaturgy process.

In interviews with patrons for this article, time after time they attested to the unique Cal Shakes experience, many of them claiming that they’d not missed a production for 25 (or in the rare case, even 35 years). Jay Yamada, long-time supporter, photographer, ground staff volunteer, and Finance Committee Chair, continues as one of the hallmarks of the Bruns, with never a single curtain opening without an audience-wide cheer for this remarkable man. But the closing words will be given to an eight-year-old boy, hopefully one of our patrons for a long time to come: “I thought going to the theater would be boring. But it’s fun. And you have great cookies. Really big.”

ABOUT THE AUTHOR OF THE HISTORY SERIES: Dr. Philippa Kelly has served as Resident Dramaturg for the California Shakespeare Theater for the last five

years. Like her predecessor, Dr. Laura Hope, she works closely with actors and directors, with many of whom she has established the personal relationships that make dramaturgy an integral part of our process.

OUR STORY: PART FOURThe Bruns—A new MILLenIuM

THIS HISTORY SERIES WAS MADE POSSIBLE BY THE GENEROSITY

OF ELLEN AND JOFFA DALE.

Continued from page 7.

MEYER SOUND LABORATORIES(Presenting Partner)Family-owned and operated since 1979, Meyer Sound Laboratories, Inc. designs and manufactures high-quality, self-powered sound reinforcement loudspeakers, digital audio systems, active acoustic systems, and sound measurement tools for the professional audio industry. Founded by John and Helen Meyer, the company has grown to become a leading worldwide supplier of systems for theaters, arenas, stadiums, theme parks, convention centers, houses of worship, and touring concert sound-rental operations. Meyer Sound systems are installed in many of the great venues of the world, including the Berlin Philharmonie and Estonia’s Nokia Concert Hall; and in several well-loved Bay Area venues, such as The Fillmore, Yoshi’s, Berkeley Rep, and Freight & Salvage Coffeehouse. Celine Dion, Metallica, and countless other artists use Meyer Sound’s equipment on tour. Meyer Sound’s main office and manufacturing facility are located in Berkeley, California, with additional satellite offices located around the world. SAN FRANCISCO MAGAZINE(Presenting Partner)San Francisco magazine is proud to celebrate 40 years of award-winning coverage of the Bay Area lifestyle—from food, fashion, and culture to politics, trends, and trendsetters. Throughout its history, San Francisco has been honored with more than 50 awards for editorial and design excellence. In 2010, it won the most coveted award in the magazine industry, the General Excellence award given by the American Society of Magazine Editors—and has been nominated again this year. This recognition substantiates San Francisco’s passion and commitment to publish the Bay Area’s best magazine—as well as one of the nation’s best.

CITY NATIONAL BANK (Season Partner)Founded in California 60 years ago, City National Bank supports organizations that contribute to the economic and cultural vitality of the communities it serves. City National has grown to nearly $30 billion in assets, providing banking, investment, and trust services through 77 offices, including 16 full-service regional centers in the San Francisco Bay Area, Southern California, Nevada, New York City, Nashville, Tennessee, and Atlanta, Georgia. The corporation and its wealth management affiliates oversee more than $64 billion in client investment assets, and has been listed by Barron’s as one of the nation’s top 40 wealth management firms for the past 13 years. City National Bank provides entrepreneurs, professionals, their businesses, and their families with complete financial solutions on The way up®.

LAFAYETTE PARK HOTEL & SPA(Season Partner)The Lafayette Park Hotel & Spa is pleased to support Cal Shakes and serve as “home away from home” for Cal Shakes artists. With its French Chateau architecture, legendary service, plush accommodations, award-winning cuisine, and full-service spa, the Lafayette Park Hotel & Spa provides

WHO’S WHO one of the only Four Diamond experiences in the East Bay. Enjoy amazing cuisine at the Park Bistro Restaurant before the show, or stop by the Bar at the Park for a drink afterwards. The Hotel features more than 10,000 square feet of indoor and outdoor meeting space and is the ideal location for social events and corporate meetings. To be sure, the most elegant and memorable events are held at this “Crown Jewel of the East Bay.” PEET’S COFFEE & TEA(Season Partner)Peet’s Coffee & Tea is proud to be the exclusive coffee sponsor of California Shakespeare Theater’s 2014 season. Peet’s Coffee & Tea has earned an international reputation for quality since its founding in Berkeley in 1966. Peet’s has also been a valued supporter of California Shakespeare Theater since 2001. Peet’s salutes Cal Shakes on another wonderful season of reimagining the classics and bringing new works to the stage.

AFFILIATIONS

This Theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The scenic, costume, and lighting designers are represented by United Scenic Artists, Local USA-829 of the IATSE. California Shakespeare Theater is an Equal Opportunity Employer.


The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare in American Communities. California Shakespeare Theater is one of 40 professional theater companies selected to participate in bringing the finest productions of Shakespeare to middle- and high-school students in communities across the United States. This is the twelfth year of this national program, the largest tour of Shakespeare in American history.

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THANKS TO OUR DONORSINDIVIDUALSThese contributors made gifts between July 1, 2013 and June 30, 2014. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at the Benefactor level to our 2014 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Renee Gholikely at 510.899.4834 or [email protected] so that we may correct our records.

$25,000 and aboveAnonymous Gift in memory of Juniper

Marley AllenEllen & Joffa Dale◊Erin Jaeb & Kevin Kelly◊Helen & John MeyerNicola Miner & Robert Mailer

Anderson◊Michael & Virginia Ross◊Jean Simpson◊Sharon & Barclay Simpson◊The Estate of Grace WilliamsJay Yamada◊

$10,000–$24,999Anonymous (3)James N. Cost Foundation◊Henry & Vera Eberle◊Nancy & Jerry Falk◊Ann and Gordon Getty FoundationHarvey & Gail Glasser◊Maureen & Calvin Knight◊Craig & Kathy Moody◊Nancy Olson◊Shelly Osborne & Steve TirrellPeter & Delanie Read ◊Arthur & Toni Rembe RockMiriam & Stanley SchiffmanWilliam & Nathalie SchmickerFrank & Carey Starn*◊Buddy & Jodi Warner◊George & Kathleen Wolf

$5,000-$9,999Anonymous (3)Simon BakerValerie Barth & Peter Wiley*Michael & Phyllis Cedars◊Phil & Chris Chernin◊Josh & Janet Cohen◊Mary Curran & John QuigleyJoe Di Prisco & Patti James◊Bob Epstein & Amy Roth◊Marilyn FreemanRena & Spencer FulweilerDavid & Diane Goldsmith◊Dr. & Mrs. Jeffrey Hays◊Ken HitzMark HorowitzBarbara E. Jones in memory of William

E. JonesNancy Kaible & David Anderson◊John Kemp & Mary BrutocaoDaisy & Duke KiehnFred Levin & Nancy Livingston◊, The

Shenson FoundationAshley & Antonio LucioRichard Norris & David Madsen◊Janet & Norman Pease◊ in honor of

Patti James, Dana Taylor, and Midge Zischke

Ms. Janee Pennington-Watson & Mr. Colin Watson

Jim & Nita Roethe◊Michele & John RuskinBarbara Sahm & Steven Winkel◊ in

memory of Gene Angell

Monica Salusky & John Sutherland in memory of Riley Goodness

Yvonne & Angelo SangiacomoSondra & Milton Schlesinger◊Alan Schnur & Julie LandresDebbie Sedberry & Jeff KlingmanJulie SimpsonCharles & Heidi TriayDavid & Maria Waitrovich

$2,500-$4,999AnonymousAnn & Clifford AdamsAnn & Peter AppertMr. & Mrs. Richard BerteroJeff BharkhdaNina & David BondDarryl Carbonaro & Jonathan

Moscone◊Wai & Glenda ChangRon & Gayle ConwayJan Deming & Jeff GoodbyDonald Engle & Karen BeerninkAndrew Ferguson & Kay WuVincent Fogle & Emily SparksStanlee GattiPatrick W. Golden & Susan OverhauserArdice Hartry & Paul CoveyRandy & Bev HawksCraig & Margaret IsaacsJean & Jack KnoxLisa & Scott KovalikGina & David LarueBill & Carol LeimbachDebby & Bruce Lieberman◊ in honor of

Sharon & Barc SimpsonWalter Moos & Susan Miller◊Cindy Padnos & Jim RedmondMary PrchalPaul A. Renard & John A. BlyttNoralee & Tom RockwellPatti & Rusty RueffTiffany Schauer in honor of Jonathan

MosconeJudy & John Sears◊Laura & Robert Sehr◊Mary Jo & Arthur ShartsisMaureen Shea & Allen ErgoM.J. Stephens & Bernard TagholmSteven Sterns & Barry KlezmerVirginia & Thomas SteuberChristine & Curtis SwansonCarol Jackson Upshaw◊ in honor of

Jonathan MosconeBeverly & Loring WyllieMichael H. Zischke & Nadin

Sponamore

$1,000-$2,499Anonymous (2)Frank & Loren AcuñaStephanie & N. Thomas AhlbergPat AngellRobin AzevedoEugene & Neil BarthMegan Barton & Brian Huse in honor of

Sharon & Barclay Simpson

Stephanie & David Beach in honor of Amanda Starr Mercer

Laura & Paul BennettPamela & Christopher CainJoe & Nicole CarberrySteven & Karin ChaseDebbie Chinn in honor of the Staff of

the Carmel Bach Festival, Susie Falk, and Megan Barton

Michael & Sandra ClelandFrank CliffordAlice Collins & Len WeilerTony Cone & Wendy RaderCraig Congdon*Debra CrowLois De DomenicoPam & Wayne DewaldEllen Dietschy & Alan Cunningham in

honor of Philippa KellyMargaret DotyLinda Drucker & Lawrence Prozan in

honor of Maureen & Cal KnightBarbara Duff in memory of George DuffSusie Falk & York KennedyMimi & Jeff FelsonShelley & Elliott FinemanKevin FitzgeraldSally & Michael FitzhughDale & Jerry FlemingJessica & James FlemingKathleen & Karl GeierWilliam & Vanessa GettyCarol & Richard GilpinJudith & Alexander GlassRobert J. GleesonWerner Goertz & Elizabeth HarveyPamela & John GoodeJanie & Jeff GreenCharles & Katherine GreenbergGarrett Gruener & Amy SlaterTish & Steve HarwoodRemy HathawayJoyce Hawkins & John W. SweitzerChris & Marcia HendricksPaul Hennessey & Susan Dague*Elizabeth & Thomas G. HenryJeanne Herbert◊Bonnie & Tom HermanMary Anna & Martin H. Jansen, M.D.Malcolm Jones & Karen RocheTimothy Kahn & Anne AdamsElizabeth KarplusBruce Kerns & Candis CousinsSheryl & Anthony KleinKim & Max KrummelJennifer Kuenster & George MiersJerry KurtzDr. Todd & Pamela LaneAdair & William LangstonEileen & Richard LoveElizabeth Lowe◊Natalie Lucchese in memory of Sam

LuccheseRobert LynchElaine & John McClinticJune & Andy MonachLinda & Chris MosconePatricia & David Munro

Lizzie & John MurrayLee Neely & Chelle ClementsCarol & Richard Nitz*Deborah O’Grady & John AdamsCandace & Dick OlsenEleanor ParkerCarol & Mark PenskarDr. & Mrs. Irving PikePauline Proffett & Matthew FabelaRachel RendelVelma & Hugh RichmondMaria & Danny RodenLesah & Jeffrey RossClaire RothRob & Eileen Ruby Philanthropic

Fund of the Jewish Community Foundation of the East Bay

Patricia & Glenn RudebuschBarbara & Jerry SchaufflerMartha G. SchimborJo Schuman SilverCathleen Sheehan & Kenneth SumnerJennifer & Will SousaeGail & Rick StephensSue & Terry StifflerPaul & Susan SugarmanMr. & Mrs. Richard ThieriotNancy ThomasBarbara & Rich ThompsonDrs. Oldrich and Silva VasicekBeth Ann & Michael Ward in honor of

Sharon & Barclay SimpsonAnne & Paul WattisPrentiss & Janice WillsonMuriel Fitzgerald WilsonDrs. Bonnie Zell & Manuel TorresMidge & Peter Zischke

$750–$999AnonymousWilliam AndersonJacqueline Carson & Alan CoxSharon & Leif EricksonGita & Louis C. FisherNancy FrancisLaura GorjanceDan Henkle & Steve Kawa◊Xanthe & James HoppMichael Huston & Marcia ChoEleanor & Richard JohnsBill & Joey JudgeArline Klatte & Jon EnnisMichael & Samantha LeoJoy Lienau-ArmstrongConnie & John LinnemanRandall & Rebecca LittenekerKheay Loke & Martha McGradyEileen & Peter MichaelRonald MorrisonNancy & Gene ParkerMark & Claire RobertsJirayr RoubinianDiana Sanson & Ben Compton in honor

of Jean SimpsonJoanne & Robert Schultz in honor of

the Bay Area GhostbustersHeidi Shale & Earl Cohen


James Shankland & Leslie Landau* in honor of the Queen’s Own

David Shapiro, M.D. & Sharon WheatleyJeff & Gretchen ShopoffBarbara Sklar◊Gary Sloan & Barbara KomasRobert St. John & M. Melanie SearleAnne Marie & Tom TaylorJeff WagnerMeredith & Jeffrey Watts

$500-$749Anonymous (6)Kay & David AakerKeren & Robert AbraBeth & Phil AcombAnn & Russ AlbanoJose & Carol AlonsoMary & Leland Anderson*Barbara Aumer-Vail & Steve VailSusan M. Avila & Stephen GongMary Jo & Norm BaiettiElizabeth BalderstonJoyce & Charles BattsL. Karin & Bob BenningSara BensonPaula Blizzard & David BrownNancy & Roger BoasLiz & Richard Bordow in honor of

Dr. Michael CedarsJean & John BrennanGermaine BrownBronwyn & Kevin BrunnerDoree & Andrew BursteinJudith ButlerErin Bydalek & Patrick BengtssonJoan ByrensJo Alice & Wayne CanterburyCarmen & Eric Castain*Katherine & Henry ChesbroughMatt ChingJane & Thomas CoulterChris & Lynn CrookJill & Chuck CrovitzTheresa CullenLina Jane Howard-Cygan & Herbert CyganDiana & Ralph DavissonMaria DichovFrank & Margaret DietrichEric Dittmar & Gayle TupperCorinne & Michael DoyleLori & Gary DurbinKarin EamesNancy & Phil EstesLynn & Bill EvansMary & Benedict FeinbergClaudia Fenelon & Mark SchoenrockScott & Joan FifePeter FisherKerry Francis & John JimersonMaribel & Jack Fraser*Doris Fukawa & Marjan PevecCharla Gabert & David FraneGopnik & Lewinski FamilyJoan GoriaMatthew Goudeau◊Kathleen & David GraevenKristi & Arthur HaighGeorge Haley & Theresa ThomasHarriet Hamlin & James FinefrockSonny & Bruce HansonWilliam HathawayPhil Hunsucker & Kristi HelmeckeLisa & Michael HolmesBen & Sarah HolzemerEllen Brody HughesLeslie & George HumeCarole & Philip JohnsonKen JohnsonKarin & Patrick JohnstonLeslie & Murray KalishMartin L. KaufmanAbby KershMr. Marshall Kido


CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTWe are grateful for the generous investment of the following foundations, corporations, and government agencies, which support our 2014 artistic and educational programs. Multiyear grants are designated with a double asterisk (**).

$100,000 and aboveThe William and Flora Hewlett

Foundation**The James Irvine Foundation**The Andrew W. Mellon

Foundation**Meyer Sound

$50,000-$99,999BARTDale Family FundThe Dean and Margaret Lesher

Foundation**Otter Cove Foundation

$25,000–$49,999KBLXMcRoskey Mattress CompanyNational Endowment for the Arts:

Art WorksNational Endowment for the Arts/

Arts Midwest: Shakespeare in American Communities

The Thomas J. Long FoundationThe Shubert Foundation

$10,000-$24,999Chevron CorporationCity National BankSidney E. Frank FoundationAnn and Gordon Getty FoundationJohn Muir HealthKCBSMCJ Amelior FoundationThe Gordon and Betty Moore

FoundationPeet’s Coffee & TeaUnited Airlines

$5,000–$9,999Baker Avenue Asset ManagementDodge & CoxEast Bay Community FoundationLafayette Park Hotel & SpaThe Bernard Osher FoundationTheater Development FundWells Fargo Foundation

Up to $4,999Amber BistroArcher NorrisAurora TheaterBerkeley Repertory TheatreBritexCafe RougeChihuly StudioClassic CateringClif Family WineryDi Rosa Art AliveFine Arts Museums of San

FranciscoFort Ross Vineyard & WineryFour Seasons Hotel San FranciscoFrancesThe FruitGuysMimi & Peter Haas FundHelicon CollaborativeIncredible AdventuresIndependent Charities of AmericaJudd’s HillKaur PhotographyKiwanis Club of Moraga ValleyLamborn Family VineyardsLinden Street BreweryMarine Mammal Center

Meadowood Napa ValleyMechanics BankMoraga RotaryMorgan StanleyMuscardini CellarsOakland Museum of CaliforniaOliver Ranch FoundationPhilharmonia Baroque OrchestraPizzaioloPricewaterhouseCoopers LLPPrima RistoranteRamen ShopRange RestaurantRHE FoundationRossmoor Rotary FoundationRotary Club of LafayetteRotary Club of Lamorinda SunriseRotary Club of OrindaSafeway, Inc.Schramsberg VineyardsSFO MuseumShotgun PlayersSonoma Valley Museum of ArtSt George SpirirtsSwan’s Fine BooksAnne SylvainTWANDA FoundationUC Berkeley Art Museum and Pacific

Film ArchiveUC Berkeley LibraryWalnut Creek Yacht ClubWaterbarWestminster Kennel ClubThe Whittier Trust Company in honor

of Jonathan Moscone

TASTING PARTNERSCaravel & Outcast WinesCoco TuttiCrofter’s OrganicMt. BeautifulPeet’s Coffee & TeaPurity OrganicsR&B CellarsUpper Crust PiesUrbano CellarsWedl Wine Cellars

MATCHING GIFTSAdobe Systems, Inc.Apple Matching Gifts ProgramAT&T FoundationBank of AmericaCaterpillar FoundationChevron Humankind Matching Gifts

ProgramGoogleJohn Wiley & Sons, Inc.J.P. Morgan Chase FoundationThe Gap Inc. Matching FundMcKesson FoundationSidley AustinVisaWells Fargo

ORGANIZATIONS PROVIDING DONOR-ADVISED FUNDS

Bank of America Charitable Gift FundEast Bay Community FoundationFidelity Charitable Gift FundFoundation SourceJewish Community FederationRenaissance Charitable FoundationThe San Francisco FoundationSchwab Charitable Fund

PRESENTING PARTNERS

SEASON PARTNERS


DONORS CONTINUEDMary S. KimballThomas Koegel & Anne LaFolletteTony & Kathy LagliaJoseph LeeSusan & Donald LewisKate & Thomas F. LoughranJean & Lindsay MacDermidElena MaslovaMary & Howard MatisMarsha Maytum & William LeddyYvonne Clinton-Mazalewski &

Robert MazalewskiEugene McCabeJacquelyn McCormick & Michael SalkinWill McCoyNion T. McEvoyPaul & Ellen McKaskleCharlie & Casey McKibbenKimberly & Jerry MedlinAlex Miller & Leslie LouieD. G. MitchellPia & Chris MittlestaedtTerri MocklerJennifer & Brian MoselJoseph Navarro & Billie JonesRebecca NovickAnn & John NuttRebecca O’BrienMarie & Jim O’BrientWilliam Ostrander & Janice L. JohnsonSharon & Bill OwensBerniece & Charles PattersonCarey Perloff & Anthony GilesMary C. PowelsonPam RafanelliJoyce S. RatnerHillary & Jonathan ReinisRoberta Richards & Robert SemarJudith & William RobertsJulie & Andrew SauterPatti & Paul SaxJoyce & Kenneth ScheidigKary SchulmanMarcus SegalLucille & John SerwaAnne SiglinNeil SitzmanEric & Erica SklarBetsy SmithCarrie & Jason SmithH. Marcia SmolensValerie SopherStephanie & Robert SorensonDavid StarkeTeresa & Patrick SullivanTony Taccone & Morgan ForseyRagesh Tangri & Daralyn DurieJames Topic & Terry PowellDawson & Andrew UrbanJamie & Gerry ValleWilliam Van Dyk & Margaret SullivanJackie WallaceJennifer & Perry WallersteinKelvin WateDoug WelshMartha Truett & David WhiteWendy & Mason WillrichJoe WynneLinda & Warren Zittel

$250-$499Anonymous (8)Ken AkerlyNunzio AliotoKaren & Victor AlterescuKaren AmesFaris & Laurence AndersonRich & Karen ArcherRichard & Sandy BailsMr. Wilkes BashfordBarbara & Walter Bell

Barbara Beno & Peter CrabtreeMr. & Mrs. Peter & Rachel BerkowitzSandra A. BinderJan & Brit BorhaugCathy & Robert BreuerCindy & Robert BrittainCarol & John BrownDiane & David BurnleyMary Jo & Bruce BysonPeter CelonaLinda Clark Phillips & Gordon PhillipsMr. & Mrs. Jack CorgasSusan & Don CouchKathryn & Gunther De GrootKathryn Dickson & John GeesmanDanielle DuCaine & Alex KatzMr. & Mrs. Elzy Lee Echols in honor of

Frank and Judy AguileraDr. Leila El-WakilThe Hon. Anna EshooGabriele & Reed EstabrookJeannette EtheredgeSharon & Eric Ewen in honor of

Catherine GranofMichelle & Jonathan FieldmanKevin FinckRudy & Debbie FlinkerRobin & Peter FrazierMarilyn & Paul GardnerSydney Goldstein & Charles BreyerMaya & Erik GreenMonica GreeneAnnette & Martin GreinerRebecca & Donald GretherJulie & Paul HarknessKaren & Kenneth HarleyMargaret HartmannWarren HeckrotteBeatrice HeggieRosalie HoltzJohn V. Hook & Ann MoriartySusan & Robert HughesMr. & Mrs. Harold M. IsbellRoy JohnsonCynthia & Mark JordanSusan & Henry KahnMary & James KellyJennifer KingTony Kline & Linda SarafGermaine LaBergeDebbi & David LaDueAlmon E. LarshPaula Leibovitz & Mark GoodwinYuriria Lobato & Hilary LernerCarole LobdellGarrett LoubeRobin LoveAndrew & Mardee LumleyGrace MaesAlan Markle in memory of Dr. Joan

CampagnaLaura MarlinTheresa MastersonJohn McGuirkKaren McNeillSunne & John McPeakKarla & Barry McQuainJoseph S. MetzAllan & Neanna MilesCarrie MillerPeter MondaviRobert & Joan MontgomeryNancy & Bill NewmeyerRichard and Susan NicolesJennifer NixonZeese Papanikolas & Ruth FallenbaumSteven ParkesKirk PattersonHon. Nancy Pelosi & Mr. Paul Pelosi

Barebara Peterson, Ph.D. & Michael Cochrane

Regina PhelpsGail & Gerald PogorilerHarry Pollack & Joanne BackmanKathleen QuennevilleKiranjit S. RanaWendy ReadEphraim & Lily RegelsonRuth Major & William C. ReuterPriscilla & Robert RichEllen RichardMark Richards & Theresa Speake in

honor of Jessica RichardsKaren & Jeffery RichardsonDavid & Carla RiemerAllan RoseAlex & Tinka Ross*Alexander RossTed & Susie SchaeferMary & Thomas SchmitzTherese & Richard SchoofsDr. Brenda Buckhold ShankPatty SiskindElizabeth SmithKaren StevensonRick A. SuerthMargid & Randy SugarmanRenee SweeneyWilliam TaggartJill TarlauSonya TaylorSharon Thygesen & Gordon CummingGregory Tiede & Lori Leigh GieleghemFei TsenJohn & Clem UnderhillJanet & Christian von DoeppNorma WalkleyVirginia WallaceDiane & Keith WardinCindy WatterH. Victoria WelshPriscilla, Barry, Amy & Sarah WetmoreMary Ann & Larry WightLyndon F. WilliamsArlene & Victor WillitsIrmgard & Bruce Willock*Ann K. WilloughbyJulia ZanettiDanusia Zaroda & Mark Whatley*

$100-$249Anonymous (17)Tarliena Aamir-BalintonJamil & Karen Abu-HamdehRon & Patricia AdlerSally AllenMargaret & Donald AlterEugene R. AlwardClare Ames-KleinBarbara & Tom AndersKristin AndersenJo Anne AppelMary Ashby & Robert BeggsIlene & Steve AultmanRose Marie & Roger AveryHoward & Anita BackerMarilyn BairVanessa BakerEugene & Nancy Bardach in honor of

Buddy & Jodi WarnerJacqueline BarnesMaria BarsottiLynn BartlettJulie Baughman & Tom AlbaneseKaren BaumanRobert BeachRobbin BeebeKathleen BellCharles BenedictJanet Berckefeldt

Mr. Roy C. BergstromDenny BerthiaumeJeanne BeyerNancy & Peter BickelJane BinderDwight & Mina BissellLucia BlakesleeJudith & Bob BlombergSusan & Stephen BoothJoan Bradus & Dale Friedman*Lucia & Steve BrannonElizabeth BrashersKate BreckenridgeCheryl & Michael BrodskyLisa & Carl BrodskyBarbara BuckleyDonna Buessing-Johnson & Roger

JohnsonHonorable John BurtonPatricia & Michael BuskKatharine ByrneMr. & Mrs. Donald & Kathe CairnsIan L. CalahooSusan & David CalkinsRobert CalvinLianne CampodonicoJames CaprileLeo J. & Celia Carlin FundSusan CartwrightKyle ChangMaureen & David ChangKim Chilvers & John FoxSusan & Harvey ChinEd Roberts & Alice ChindblomHelene & Gary ClassJanice & Alan CoeMurray & Betty CohenAndrea C. ColfackRobert Cook & Blanca HaendlerDouglas & Rosemary CorbinKristen CorrellTeresa CountrymanA. Donald CrossDermott & Elinor CullenDeborah Cullinan & Kevin CunzDamon & Susan DameleLynda Dann & Jorge Rojas in honor of

Barclay & Sharon SimpsonPaul DannhauserRobert & Sandra DavidsonAllan DefragaDarlene & David DeRoseDr. & Mr. RoselleSuzanne & Benjamin DibbleeRochelle & Roger DolanAmy & Christopher DornDeborah Doyle & Melvin WhartnabyMadelyn Dreyer*Benita & Bob DriskellMarilyn & Les DumanStacy Dunbar*Mose DurstPaul EbnerThomas Edwards & Rebecca Parlette-

EdwardsGuy Eigenbrode & Patricia NicholsSue & Peter ElkindCarolyn EllisJames and Laura EmeryRhonda & Steven EtheredgeMarna & Phillip EyringClaudia FalconerFrancine Falk-Allen & Richard FalkTony Farrell & Kathy HeinzeArthur & Barbara FatumDana FelizKarin Fetherston & Carolyn MahoneyJim & Pat FloreyLinda FogelJudith & Thomas Folden


Donna FoliartVirginia FontanaLorraine ForceNatalie ForrestRuth & Douglas FortuneRobert FossumKaty & David FoulkesChristie FraserAnna FreitasStephanie FreyJeremy FriedmanSandra & Gary FryerVictor K. FujiiSarah & Frank FullerCherie Garcia-Day & Larry DayMargaret E. GarmsDennis & Darlene GeeSuzanne & Richard Gerson in memory of

Richard HeggieAna & Amit GhoshDoreen & John GilesDavid M. GiltinanJoan GlasseyBeth GleghornLaura Glickman & James LeewongMr. & Mrs. Thomas T. GliddenCarleen GoeckelDavid GoldsteinRobert A. Goldstein & Anna MantellLloyd & Marla GoldwasserJo & Michael GolubStanley GoodmanBarbara Gordon & Peter KaneVishal GoyalAnita GrandpreDonald & Maryann GraulichLisa GreenElizabeth & Philip GreeneDoug & Connie GreigAnn Guthrie*Roger Guy-BrayMichael HamiltonMichael T. HardiePeter & Diane Hart in honor of

Judy Huey & Leland LevyDennis & Juanita Harte in memory of

Bret HarteLeslynn & Cliff HartleyHelen & Peter HasselmanAnne & Dave HawkeMargaret HellwegLucinda R. Henderson-Nigro &

Henry S. NigroLaurentius Marais & Susan Hendrie-

MaraisLynn HickmanDouglas HillChristine HIlls & Mark GuthrieHenrietta HirschMarjorie HolmesKaren & Robert HoltermannEric Holt-GimenezDr. Steven J. Holtz in memory of

Gilbert J. HoltzJennifer Hughes & Doug SmithDavid C. HungerfordSarah HutchesDiana HutchinsonRichard IngallsBeverly IngramKen JaffeeDebra & Doug JalenDon F. Javete in memory of Carol JaveteBarbara & Thomas JobMartha & John JonesRoxy JonesThomas JopsonClay & Kathi JordanDenya & Tom JurAnn & John Kadyk

Adeline & Stanley KahnJohn & Catharine Kalin in honor of

Jonathan MosconeDr. Michelle Louise KalinaInga & Jim KeldsenLinda & Martin KelpMargaret Kendall in memory of

Cassandra CoatesPamela KendallDavid KennySheila KeppelCarol KernRobert KieckheferJohn KikuchiDiane KlingeJohn KlopfMarian Kohlstedt & Gary SmithDebbie Koppman & Andy NortonNancy KornfieldLinda Kroll & Dennis CreekVlad J. KrollPamela LaeschJane Ann LamphSharyn & Robert LarsenVictoria & Richard LarsonChris Laszcz-Davis & Stephen DavisAnne LeaMarston LeighCynthia & Benjamin Leslie-BoleHaskel LeviKaren & Richard LevittGisela LewaldRenee & John LewisPamela & William LindsayAleeza LipkinEdith C. LocodoKim & Thomas MacKenzieCarolyn MahoneyJanet & Bill MaimoneHugh & Carol MaioccoRobert ManloveDebra MargolisAshley MartensBunny Martin & David KurtzmanHolly & Stephen MasseySusan & Willy MautnerNeil McChesneyLaura McCrea & Robert RagucciBrad & Jennifer McCullough*Jean McGregor & Nathan MeyerKaren & Frank McKeownSusan MedakDavid J. MellorKathleen & Michael Merchant in honor of

Sharon SimpsonJane Meyerhoff PerryHarriett & John MichaelBert & Joyce MichalczykRandi MillerGayle MinerMaryanne C. MitchellDixie & Michael MohanMr. Donald MonacoStephanie & Donald MooersTina & Bryan MorgadoGeraldine & Gary MorrisonJerry MosherJanet & Dennis MulshineMaureen Lynn MurrayMs. Susan E. MurrayBarbara & John NagleVasudha NarayananMary & Jeffrey NewmanJim & Brenda NirensteinKarl F. NygrenGail OakleyBarbara & John OhlmannSusan & Paul OpsvigLarry and Pat PagendarmIan Patten

Retha PedigoBarbara PenningtonSylvia PerezMaggie V. PetersenGini Erck & David PettaSuzanne & Neal PierceJoyce & Lloyd Plank*Robert A. PlummerDawn Polvorosa & Frank ReichertLucille & Arthur PoskanzerDavid L. PrattCarla & Michael PreislerBarbara E. PriceAndrea RamiskeyMary & David RamosEzra P. RanzMatthew & Dana RaphaelsonToni Raymus & Andrew SephosElizabeth & Edward AdasiakToby & Lawrence RismanLynn & Brent RobertsonMaria A. RoccaCarlamaria T. RodriguesJoan RoebuckEdward & Sandra RoginRonald RognessRuth Rosen & David GalinMarjorie RothPriscilla RoyalGail & Dan RubinfeldBarbara & James RutherfordDiane & Ed RykenElizabeth SalvesonThe Sandefur FamilyMaria & Robert SartinErik Zapien & Nicole Sattler*Bob & Barbara SawyerDarlene Schumacher & Jason BradyRobert A.D. & Debbra Wood SchwartzCraig SemmelmeyerLorraine & Donald SharmanAlice M. SheehanMarketta SilveraFrances L. SingerLinda SlaterSally SmallHelen M. SmithJohn L. SmithWinnie SmithMargaret SnyderTom Spalding & Carol BrownAnn & Robert SpearsElaine & John SpieckerDonald Stang & Helen WickesKristina & John Staten in memory of

Norman McCleanLarry SteinerLarry StrieffBruce SuehiroDaniel SullivanJoan Sullivan & Walter NortonSally & William SutcliffeRobert SweibelJohn TaitTracy TapperoDayna & Tom TaylorMr. & Mrs. Nat & Susan TaylorRichard & Marcy TerryRebecca & Robert TracyTom Trent & Laurel Schaefer-TrentRichard TrumblySally & Frederic TubachGayle & James TunnellAnthony L. TuranoJanis Turner & Stu FineHenry & Ruth Anne TysonLaurie van Loben SelsValerie VillanuevaSusan & Bradford WaitMark Waite

Susan & Arthur WalentaJohn and Rosemary WalkerHolly & Barry WalterMarcia & John WaterburyFlorence & Carl WeberMrs. Ilene WeinrebWilliam A. WernerJames & Barbara WesleyJoseph A. WhartonAndrew & Linda WilliamsPatricia & Jeffrey WilliamsCheryl & Steve WilskeJohn & Bobbie WilsonGary Wolff & Ruth HartmanDr. Marie-Anne WoolleyMarguerite YaghjianIrene Y. YamamotoMelinda Yee-Franklin & Dennis FranklinDara ZandanelSteve & Vicki ZatkinErick ZieglerClaus E. ZielkeRobert & Mary ZimmermanCharles Zukow

With Shakespeare's depth of humanity as our touchstone, we build character and community through authentic, inclusive, and joyful theater experiences.

The Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the late son of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis, NY, on December 14, 1942. He came to California with his family at the age of seven, and attended Pleasant Hill High School, where he played football and took the North Coast Championship in Greco-Roman wrestling. At the Air Force Academy, he became the AAU wrestling champion. He earned a Master’s Degree in Mechanical Engineering from Ohio State University. George rode Brahma bulls and saddle broncs, and loved to ride horses through the Siesta Valley where the Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobile accident just before he was due to ship out for service in Vietnam. California Shakespeare Theater honors the memory of Lt. George H. Bruns III.

Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks to serve the public with a community facility while preserving the watershed with minimal disruption to the pastoral surroundings. This land may be open to the public for performances and private events, but remains restricted private property at all other times.

ABOUT THE BRUNS AMPHITHEATER

IN MEMORY

BOARD OF DIRECTORS

EXECUTIVE COMMITTEE

Buddy Warner PRESIDENT

Jean Simpson FIRST VICE PRESIDENT

Susie Falk VICE PRESIDENT* AND MANAGING

DIRECTOR

Jonathan Moscone VICE PRESIDENT* AND ARTISTIC

DIRECTOR

Marshall Kido VICE PRESIDENT

Alan Schnur VICE PRESIDENT

Kate Stechschulte VICE PRESIDENT

Ellen Dale SECRETARY

Jay Yamada TREASURER

*ex-officio

DIRECTORSJeff BharkhdaMichael CedarsPhil CherninMike ClelandJoshua Cohen Sonny Hanson Erin Jaeb Tony KallingalMaureen Knight Craig Moody Richard Norris Nancy Olson Linda Clark Phillips Jim RoetheJohn RuskinSharon Simpson Frank Starn

ADVISORY COUNCILWayne Canterbury Bob EpsteinPeter FisherAllison Goldstein Jeff GreenAnne Grodin Nancy Kaible Jennifer KingLesa McIntoshTapan MunroeSusan Rainey Carole RathfonPeter Read Hugh Richmond John SearsFrancesca Vietor Sarah Woodard

PICTURED, TOP TO BOTTOM: TWELFTH NIGHT YOUTH UPRISING (PHOTO BY JAMIE BUSCHBAUM); SUMMER SHAKESPEARE CONSERVATORY STUDENTS (PHOTO BY JAY YAMADA); LADY WINDERMERE'S FAN (PHOTO BY JAY YAMADA); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).

MISSION

FYI IMPORTANT INFORMATION FOR OUR PATRONS

FIRE HYDRANTS

UPPER GROVE

EXIT ROUTE

PRIMARY AREA OF REFUGE(MEETING PLACE FOR ALL AUDIENCE MEMBERS)

SECONDARY AREA OF REFUGE

P

EVACUATION PLAN

THE SHARON SIMPSON CENTER

STAGE

EXIT

EXITEXIT

EXIT

CONTACT US Box Office: 510.548.9666 or [email protected] (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm)Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710Website: calshakes.orgSocial Media: Facebook.com/calshakes Twitter.com/calshakes Pinterest.com/calshakes Instagram.com/calshakestheaterGroup Sales (10+): 510.809.3290General: 510.548.3422 or [email protected] Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 x105 or [email protected] Rental: 510.548.3422 x123Costume Rental: 510.548.3422 x111

TICKETS AND SEATINGTicket Exchange & Replacement: Subscribers and Flex Subscribers may ex-change tickets at no cost up to 24 hours in advance of the time and date of their scheduled performance; single ticket holders may do so for a $10 fee. If you lose or misplace your tickets, the Box Office can arrange for replace-ments at no extra charge.Discounts: For information on discounted tickets for military, age 30 and younger, and student/senior rush, visit calshakes.org/discounts.20 for $20 Policy: We’ve set aside 20 $20 tickets for each performance this season, making it easier for more people to enjoy theater. Simply call the Box Office between noon and 2pm the day of the show and ask to purchase “20 for $20” tickets. (Subject to availability.)Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections, you will need to bring your own chair or rent one from us. If you choose to bring your own, it must be a low-backed beach chair with a seat no more than six inches off the ground and a backrest no taller than shoulder height. If you need to rent a chair from us, you’ll find them at the upper entrance to the Terrace for just $3.

BRUNS AMPHITHEATER 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing address)Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of the main Amphitheater entrance for a suggested $2 donation; please dress warmly for cold nights and bring sunscreen and a hat for matinees. To keep yellow jackets at bay, keep food covered whenever possible and promptly dispose of trash and recyclables. We’ve also found fabric softener dryer sheets work well to repel yellow jackets.Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift-equipped shuttle service between the Orinda BART station and the Theater beginning 2 hours prior to and at the end of each performance. The shuttle runs approximately every 20 minutes; the final shuttle leaves the Orinda BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza.

SHARON SIMPSON CENTER AMENITIESCafé by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two hours before the performance and at intermission. Catering is available for groups (10+) and special events; call 925.939.9224.Restrooms: Located to the left of the Café. (Additional restrooms are located in the Upper Grove.)First Aid: For assistance, please go to the House Management Office, located inside to the left of the restrooms. Emergency Phone: Since we ask all patrons to silence cell phones during performances, you may leave the House Office phone number (925.254.2395) as your contact number during a performance.

ACCESSIBILITYWheelchair Lift-equipped Shuttle: See info above, under “Take BART and our free shuttle.” Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes.

We can also book seats, adjacent to yours, for up to three companions. (Make sure to request this seating at time of purchase.)Assistive Listening Devices: Available at no charge from the blanket kiosk on a first-come, first-served basis.Open-captioned Performances: Cal Shakes is proud to provide open caption-ing for patrons who are deaf or hard-of-hearing on the following dates: August 6 (Pygmalion), and September 10 (A Midsummer Night’s Dream). Open captioning utilizes an unobtrusive screen at the front of the theater to display dialogue spoken during a performance. No special equipment is required by patrons; one can simply glance at the screen to read the text while watching the action on stage.

AMPHITHEATER ETIQUETTE Be respectful: Part of Cal Shakes' mission is to inspire and cultivate diverse and inclusive theater experiences. We reserve the right to ask patrons to leave.Arrive on time: Latecomers will be seated at an appropriate interval at the House Manager’s discretion.Silence all electronic devices before the performance begins.Recording: Do not take photos of the performance. The use of any type of camera, video or audio recorder in the amphitheater is strictly prohibited. Such devices may be confiscated at the House Manager’s discretion.Keep the aisles clear during the performance. Observe all signage including directional signage on the grounds. It is posted for your safety.Smoking is restricted to area designated: Look for the bench and ashtray on the plaza across from the café. Electronic cigarettes are allowed in the groves, plaza, and anywhere on the grounds with the exception of the Amphi-theater.Be scentsitive: Perfumes or scented lotions may cause discomfort to other patrons and may attract yellow jackets. Please keep use to a minimum. Picnicking: You’re welcome to enjoy food and beverages during the perfor-mance, but please be courteous to others. Unwrap all items before the per-formance begins or at intermission so as not to disturb your fellow patrons.

ENVIRONMENTAL STEWARDSHIPRecycling: Please use the labeled recycling bins to discard glass, aluminum, plastic, and paper; a portion of the proceeds from the value of our recycled materials is donated to area schools.Solar: Cal Shakes is one of the largest solar-powered outdoor professional theaters in the country. The 144 260-watt panels and four 9000-watt invert-ers of our Turn Key 37.4 kilowatt DC solar electric system are designed to supply up to 98% of the power needs to the Bruns Amphitheater.Living Roof: Like much of the Bruns Amphitheater grounds, the Sharon Simpson Center’s living roof boasts native, drought-resistant plants.


S E A S O N S P O N S O R S

Call 510 647-2949 Click berkeleyrep.org

Written by and starring Meow MeowChoreographed by Tiger Martina

Musical direction by Lance HorneAdapted and Directed by Emma Rice

Starts Sep 5

“DEVILISH FUNNY BONES, HEAVENLY VOCAL CHORDS!”—THE LOND ON E VENING STANDARD

GET TO KNOW

14–15TICKETS START AT JUST $25 EACH. RESERVE NOW!Kathleen

Turner UNIVERSES Meow Meow Tartuffe KJ SanchezTarell Alvin McCraney

Richard Bean

PH

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BY

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2014 COMPANYJonathan Moscone ARTISTIC DIRECTOR Susie Falk MANAGING DIRECTOR

2014 ARTISTIC COMPANYRotimi Agbabiaka, ACTOR

Dede M. Ayite, SET DESIGNER

Nina Ball, SET DESIGNER

Ajani Barrows, ACTOR

Beaver Bauer, COSTUME DESIGNER

Maria Calderazzo, ASSISTANT DIRECTOR

L. Peter Callender, ACTOR

Liam Callister, ACTOR

Ron Campbell, ACTOR

Nancy Carlin, VOCAL/TEXT COACH

James Carpenter, ACTOR

Catherine Castellanos, ACTOR

Nemuna Ceesay, ACTOR

Dan Clegg, ACTOR

Shana Cooper, DIRECTOR

Tristan Cunningham, ACTOR

David Cuthbert, LIGHTING DESIGNER

Adrian Danzig, ACTOR

Julie Eccles, ACTOR

Lauren English, ACTOR

Caitlin Evenson, ACTOR

Anthony Fusco, ACTOR

Patty Gallagher, ACTOR

Ponder Goddard, ACTOR

Margo Hall, ACTOR

Marcus Henderson, ACTOR

Christina Hogan, ASSISTANT STAGE

MANAGER

Cheryle Honerlah, PRODUCTION ASSISTANT

Howard Johnson Jr., ACTOR

Laxmi Kumaran, STAGE MANAGER

Charles Lewis III, ACTOR

Sharon Lockwood, ACTOR

Irene Lucio, ACTOR

Catherine Luedtke, ACTOR

Dave Maier, FIGHT DIRECTOR

Craig Marker, ACTOR

Gabe Maxson, LIGHTING DESIGNER

Will McCandless, SOUND DESIGNER

Patricia McGregor, DIRECTOR

Jonathan Moscone, DIRECTOR

Katherine Nowacki, COSTUME DESIGNER

Anna Oliver, COSTUME DESIGNER

Katherine O’Neill, COSTUME

Nicholas Pelczar, ACTOR

Chien-Yu Peng, ASSISTANT SCENIC

DESIGNER

Ryan Nicole Peters, ACTOR

Andre Pluess, SOUND DESIGNER

Paul James Prendergast, SOUND

DESIGNER

Elyse Price, ACTOR

Zion Richardson, ACTOR

Jake Rodriguez, SOUND DESIGNER

Travis Santell Rowland, ACTOR

Danny Scheie, ACTOR

Erika Chong Shuch, MOVEMENT DIRECTOR

Annie Smart, SET DESIGNER

Krista Smith, ASSISTANT LIGHTING

DESIGNER

Lynne Soffer, DIALECT AND TEXT COACH

Stephen Strawbridge, LIGHTING DESIGNER

Daisuke Tsuji, ACTOR

Liam Vincent, ACTOR

York Walker, ACTOR

Drew Watkins, ACTOR

TEACHING ARTISTS Elizabeth Carter, Scott Coopwood, Allysa Evans, Brett Jones, ZZ Moor, Dan Saski, Anna Shneiderman,

Lauren Spencer, Jacinta Sutphin, Trish Tillman, Marissa Wolf, Clive Worsley, Elena Wright, CLASSROOM RESIDENCIES

Molly Aaronson-Gelb, Heidi Abbott, Elizabeth Carter, Allysa Evans, Brit Frazier, Susan-Jane Harrison, Laura Marlin, Erin Merritt, Ryan O’Donnell, Carla Pantoja, Patrick Russell, Michael Shipley, Clair Slattery, Anna Smith, Anika Solvieg, Tommy Statler, Jacinta Sutphin, Trish Tillman, Elizabeth Vega, Maryssa Wanlass, Laura Wayth, Alison Whismore, Wendy Wisely, Marissa Wolf, Elena Wright, Kat Zdan, SUMMER

SHAKESPEARE CONSERVATORY DIRECTORS AND

TEACHERS

Derek Fischer, Anna Smith, Jacinta Sutphin, Trish Tillman, Elena Wright, CLASSES & AFTER SCHOOL PROGRAMS

Katy Adcox, Brett Jones, SUMMER

SHAKESPEARE CONSERVATORY COORDINATORS

ARTISTIC & DRAMATURGYRebecca Novick, DIRECTOR OF ARTISTIC

ENGAGEMENT

Sonya Taylor, COMMUNITY PARTICIPATION

COORDINATOR

Clea Shapiro, ARTISTIC ASSOCIATE

Philippa Kelly, RESIDENT DRAMATURG

ARTISTIC LEARNINGClive Worsley, DIRECTOR OF ARTISTIC

LEARNING

Beverly Sotelo, ARTISTIC LEARNING

PROGRAMS MANAGER

Whitney Grace Krause, ARTISTIC

LEARNING COORDINATOR

DIVERSITY & INCLUSION Carmen Morgan, DIVERSITY & INCLUSION

CONSULTANT

Megan Barton, Jamie Buschbaum, Derik Cowan, Susie Falk, Joyce Fleming, Marilyn Langbehn, Jonathan Moscone, Andrew Page, Clea Shapiro, Sonya Taylor, Tirzah Tyler, Pam Webster, Clive Worsley, TASK FORCE

PRODUCTION Tirzah Tyler, DIRECTOR OF PRODUCTION &

FACILITIES

Jamila Cobham, ASSISTANT PRODUCTION

MANAGER

Chris Hammer, TECHNICAL DIRECTOR

Naomi Arnst, COSTUME DIRECTOR

STAGE MANAGEMENTChristina Hogan, Laxmi Kumaran, Karen Szpaller, STAGE MANAGERS

Cheryle Honerlah, Christina Larson, Cordelia Miller, PRODUCTION ASSISTANTS

SCENERYColin Suemnicht, ASSISTANT TECHNICAL

DIRECTOR

Matthew Rohner, MASTER CARPENTER

Patrick Fitzgerald, CARPENTER

SCENIC ARTLetty Samonte, SCENIC CHARGE ARTIST

Sophia Fong, Shannon Walsh, OVERHIRE

PAINTERS

ELECTRICSDel Medoff, MASTER ELECTRICIAN

Sarina Renteria, Kevin Sweetser, Ashley Taylor-Frampton ASSISTANT MASTER

ELECTRICIANS

Savannah Brandt, SEASON FOLLOWSPOT

Hamilton Guillén, LIGHTING RUN

SUPERVISOR

SOUNDBrendan Aanes, Lawton Lovely, Xochitl Loza, MIXERS

Christopher Lossius, Charles Trombadore, SOUND BOARD OP

Will McCandless, AUDIO SYSTEMS

CONSULTANT

COSTUMES & WARDROBEJessa Dunlap, RENTALS MANAGER/

CRAFTSPERSON

Eva Herndon, DESIGN ASSISTANT

Karly Tufenkjian, FIRST HAND

Sarah Roland, Brooke Wright, CUTTER/

DRAPER

Linda Ely, Nelly Flores, Franzesca Mayer, Coeli Polanski, STITCHER

Meave Kelly, Suzanne Ryan, VOLUNTEER

STITCHERS

Marcy Frank, CRAFTS OVERHIRE

Jessica Carter, , WIG & MAKEUP DESIGNER

Shannon Dunbar, WARDROBE LEAD

Leandra Watson, Eva Herndon, DRESSERS

PROPERTIESSeren Helday, PROPERTIES MASTER

Sarah Spero, PROPERTIES ARTISAN

Shaun Carroll, Manino Mendez, Kirsten Royston, PROPERTIES OVERHIRES

FACILITIESManino Mendez, Brittany White, FACILITY

MANAGERS

Patrick Fitzgerald, Erin Gibb, MAINTENANCE TECHNICIAN

Shirley Dunbar, Porscha Owens, Reva Owens, SHUTTLE DRIVERS

FINANCE AND ADMINISTRATIONNoralee Rockwell, DIRECTOR OF FINANCE

Joyce Fleming, DIRECTOR OF HUMAN

RESOURCES

Jamie Buschbaum, OPERATIONS

MANAGER/EXECUTIVE ASSISTANT

Maria Napoli, ACCOUNTING ASSISTANT

Marivie Koch, BUSINESS OFFICE ASSISTANT

DEVELOPMENTMegan Barton, DIRECTOR OF

DEVELOPMENT

Andrew Page, GRANTS MANAGER

Ian Larue, ANNUAL FUND MANAGER

Shelly Jackson, SPECIAL EVENTS MANAGER

Renée Gholikely, DEVELOPMENT

COORDINATOR

MARKETING & COMMUNICATIONSJanet Magleby, DIRECTOR OF MARKETING &

COMMUNICATIONS

Marilyn Langbehn, MARKETING & PR

MANAGER

Keith Spencer, PUBLICATIONS MANAGER

Callie Cullum, GRAPHIC DESIGNER/

WEBMASTER

Renée Gholikely, CORPORATE PARTNER

RELATIONS COORDINATOR

PATRON SERVICESPam Webster, PATRON SERVICES MANAGER

Molly Conway, PATRON SERVICES

ASSISTANT MANAGER

Aliya Charney, Ashleigh Edelsohn, Nan Noonan, Rhoda Slanger, Tommy Statler, Sheila Yee, PATRON SERVICES ASSOCIATES

BOX OFFICE Derik Cowan, BOX OFFICE MANAGER

Kelvyn Mitchell, ASSISTANT BOX OFFICE

MANAGER

Diego Briones, Molly Conway, Kimberlee Hicks, Mary Cait Hogan, Kendra Johnson, Ethan Stan, BOX OFFICE

ASSOCIATES

FRONT OF HOUSEMichael Ross, HOUSE MANAGER

Jordan Battle, LEAD ASSISTANT HOUSE

MANAGER

Carolyn Arnold, Sarah Austin, Karla Barahona, Anna Boer, Heidi Hayame, Sarah Lamb, Adam Navarrete, Charles RainingBird, Belgica Rodriquez, Alexus Williams, HOUSE ASSOCIATES

Molly Conway, Pam Webster, WELCOME

CENTER COORDINATORS

Karla Barahona, Claire Patterson, TRIANGLE LAB COORDINATORS

2014 PROFESSIONAL IMMERSION PROGRAMRegina Fields, Olivia Mertz, ARTISTIC

Diego Briones, Shannon Coulson, Beth Hitchcock, Samantha Hyde, Michelle Kazanowski, Mara Morgantti Minchillo, Jenna Nilson, Mary Zildjian Pigao, Hayley Wilcox, Jessica Wilcox, ARTISTIC

LEARNING

Monica Ammerman, CASTING

Sabine Balden, Megan Finley, Morgen Warner, COSTUME DESIGN

Erica Frost, COSTUME DESIGN/WARDROBE

Shreya Carey, COSTUME SHOP

Rachel Hart, DEVELOPMENT

Esther Ho, MARKETING

Alex Liu, PRODUCTION MANAGEMENT

Grace Jeong, PROPERTIES

James Rollins, SCENIC CONSTRUCTION/

TECHNICAL DIRECTION

Randy Wong-Westbrooke, SCENIC

PAINTING

Charles Trombadore, SOUND DESIGN

Sarah Lamb, SPECIAL EVENTS

Tazwell Caputo, Lauren Frazier, Tianyi Hao, Jessica Lucey, STAGE MANAGEMENT

Stephanie Foster, TEACHING ARTIST

FELLOW

Skye Gable, HOSPITALITY AND SPECIAL

EVENTS

Alex Higgins, DONOR ENGAGEMENT

PRODUCTION PROGRAMVolume 23, No. 4Keith Spencer, EDITOR-IN-CHIEF

Callie Cullum, ART DIRECTOR

Janet Magleby, EXECUTIVE EDITOR


All listings current as of July 25, 2014.

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