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Create the story with us 12 · “Turner Channels Molly Ivins in ‘Red Hot Patriot’” 18 · The program for Red Hot Patriot 23
THE BERKELEY REP M AGA ZINE
2 014 –15 · I S S U E 3
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I N T H I S I S SU E
BE R K E L E Y R E P P R E S E N T S RE D HOT PATRIOT:
THE KIC K-AS S WIT OF MOLLY IVIN S · 2 3
M E E T T H E C A ST & C R E W · 24
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 33
A letter from the managing director · 7
Individual donors to the Annual Fund · 34
Michael Leibert Society · 36
12
R E P ORT
Be the best gift giver ever · 8
A BOU T BE R K E L E Y R E P
Companies outside the arts seek
School of Theatre’s expertise · 9
Staff, board of trustees,
and sustaining advisors · 37
Berkeley Rep welcomes
new season media sponsor · 11
15
Create the story with us · 12
FYI
F E AT U R E S
Everything you need to know about our
box office, gift shop, seating policies,
and more · 38
Kick-ass witticisms from Molly Ivins · 14
Satire without cynicism:
The life and work of Molly Ivins · 15
“Turner Channels Molly Ivins in
‘Red Hot Patriot’” · 18
Red hot playwrights: A conversation with
Margaret & Allison Engel · 20
20
T H E B E R K E L E Y R E P M AG A Z I N E
201 4–15 · I S S U E 3
The Berkeley Rep Magazine is published
at least seven times per season.
Editor
Karen McKevitt
For local advertising inquiries, please
contact Ellen Felker at 510 548-0725 or
efelker@berkeleyrep.org.
Art Director
Nora Merecicky
COV ER P H OTO BY M A R K G A R V I N
Graphic Designer
Sarah Jacczak
Writers
Neal Conan
Lexi Diamond
Julie McCormick
Billy McEntee
Karen McKevitt
Contact Berkeley Rep
Box Office: 510 647-2949
Groups (10+): 510 647-2918
Admin: 510 647-2900
School of Theatre: 510 647-2972
Click berkeleyrep.org
Email info@berkeleyrep.org
2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 3
Joann “Jo” Hummel, joined in 2009
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10/13/14 9:17 PM
P ROL OG U E
from the Artistic Director
CHRISTMAS
AT GRACE CATHEDRAL
Molly Ivins loved to kick ass. A political
reporter and muckraker from the great state of Texas who
used humor as her primary analytical tool, she once said
about Vice President Dan Quayle: “If you put that man’s brain
in a bumblebee it would fly backwards.”
She became a legendary writer, a columnist who, at the
time of her death in 2007, was syndicated in over 400 newspapers around the country. But her popularity was hard won.
The recipient of numerous literary prizes and many awards,
she was constantly at odds with her editors for creating an
intense amount of controversy. Her prose wasn’t simply smart or precise, it was combustible. She wasn’t just clever or witty, she was dangerously funny.
The bottom line was that Molly Ivins couldn’t bear politicians who were stupid or
lazy or corrupt. And she was unafraid of going after them. But her aims were much
higher than exposing the hypocrisy of nefarious individuals. She was, first and foremost, a citizen whose candor and dissent were at the heart of that messy, chaotic,
and raucous process we call American democracy. She insisted that political decisions
have a profound effect on the life of every American, and that if we ignore the football being kicked around in our city council, our state capitol, and among our leaders
in Washington…well then, we get what we deserve. She called on us to fulfill our duty
as citizens: to raise hell when hell needs raising. And if we’re worried about the consequences of behaving “badly,” Ivins counseled, well not to worry, since there’s nothing
more flat-out fun than raising hell.
So what better actress to raise hell with than Kathleen Turner? Bearing a striking
resemblance to the physically formidable Ivins (who at six feet tall once said that she
was recruited for the basketball team at age 4), Ms. Turner is likewise armed with
a wicked intelligence and a passion for political combat. She embraces Molly with
a muscular gusto that provides great entertainment and boisterous humor while
inserting herself into a serious conversation about the state of our country. It is a
great pleasure to welcome her to Berkeley, along with longtime friend and colleague,
director David Esbjornson. Together they bring the sassy truth of Molly Ivins to our
stage, with a swagger that, with any luck, can raise some holy hell.
CONCERTS
DECEMBER 9 - 21
A BRASS AND ORGAN CHRISTMAS
A Holiday Classic
December 9, 7:30 p.m.
SING YOU A MERRY CHRISTMAS
Sing Along With Your Favorite
Carols. Fun For Children.
December 13 and 20, 11 a.m.
A CATHEDRAL CHRISTMAS
The Grace Cathedral Choir of Men
and Boys in Concert
December 13, 14, 20, and 21, 3 p.m.
December 15, 7:30 p.m.
TICKETS
$5 - $50
cityboxoffice.com
(415) 382-4400
Sincerely,
Tony Taccone
music
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theater
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December 2014
Volume 47, No. 3
2014/15
S E A S O N
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Paul Heppner
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Ana Alvira, Deb Choat,
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Senior Editor
Jan 31 & Feb 1
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6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3
Season
Sponsor:
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2014 Encore Media Group. Reproduction
without written permission is prohibited.
P ROL OG U E
from the Managing Director
It’s really no accident that Red Hot Patriot: The
Kick-Ass Wit of Molly Ivins received its world premiere starring
Kathleen Turner in 2010, and that she reprised her role 2012.
Both were election years, and of course, in 2012 President
Obama was seeking a second term in a heated race against
Governor Mitt Romney. Ms. Turner will be the first to say that
she planned it that way—and I can’t help but to think that
Ms. Ivins was cheering her on with a “Give ‘em hell, Kathleen.”
With her rigorous research and infamous wit, Molly Ivins
made us pay attention to the world around us, to our politicians, and even to our own actions (or inactions). Likewise, Berkeley Rep has always
endeavored to engage you, our audience, in an ongoing dialogue of ideas through
provocative and entertaining productions. Our most recent, Party People, was more
than a look at a seminal moment in history, it also raised questions about legacy and
revolution today. Last season’s Tribes offered a profound glimpse into the inner life
of a young deaf man born to a hearing family. The House that will not Stand, a play
that we commissioned and premiered earlier this year (and which recently played
in London), unearthed a fascinating bit of history about 19th-century New Orleans.
Many of you have responded to these plays and more. We’re so gratified to read your
thoughts via email, through our post-show surveys, and on social media. We love
hearing from you.
Now Molly Ivins takes the stage once again through the immense talent of
Kathleen Turner. Though the 2014 midterm elections have come to a close, we hope
Red Hot Patriot inspires you to continue to ask questions, to learn, and to engage with
current events, political issues, and your community.
Warmly,
Susan Medak
BE THE BE ST GIF T
GI V ER E V ER
This holiday season, give a really unique gift to
your friends and loved ones.
After all, who wants to be remembered as the one who gave that last-minute 50%
off scarf or a gift card to Humongous Online Store That Sells All the Things?
Be original—give them the gift of Berkeley Rep! Our gift certificates are easy to buy,
and easy to enjoy. You choose the amount, and they choose the show, date, and even seat
location. Our 2014–15 season has something for just about everyone: a compelling family
drama, a raucous comedy, a Molière classic, and even a play about an all-American sport.
They could even get a chance to see Kathleen Turner, thanks to you!
Though most popular in December (we process up to 30 a day),
they’re great gifts year-round. Birthdays, anniversaries, graduation—
Berkeley Rep’s gift certificates are perfect for just about any occasion.
So, here’s how to be the best gift giver ever:
visit berkeleyrep.org/giftcert, or call 510 647-2949.
R E P ORT
Dave Maier (right), the School’s Jan & Howard Oringer
Outreach Coordinator, leads a workshop for employees
of the Association of Bay Area Governments
Companies outside the arts
seek School of Theatre’s expertise
P H OTO BY N O R A M ER EC I C K Y
B Y B I L LY M C E N T E E
Caterpillar employees may be trading in their
hard hats for tap shoes.
Well, not quite yet. However, more and more companies
outside the arts are looking for performative techniques as a
way to enhance teambuilding, communication, and creativity
skills among their workers. They have contacted Berkeley Rep’s
School of Theatre, seeking teachers to try out performative
workshops with their employees to better unify and stimulate
the workplace.
Arts Council England recently published an article explaining that while seeing a show causes short-term effects
like “captivation and pleasure,” it is the engaging in a creative
process that leads to long-term benefits such as “economic
growth and creation of social bonds.” The arts are also highly
valuable to adults on a personal level. In Tony Noice’s study
published in Current Directions in Psychological Sciences, he
found that “theatrical work can be used to slow cognitive
decline,” where working to memorize and act out lines from
a script helped study participants with problem solving and
word recall. This surge in research about the latent effects of
practicing the arts may have prompted outside interest in the
School of Theatre’s teachings.
“We’re applying techniques we have successfully used
and developed in the classroom to non-classroom settings for
adults,” says School of Theatre Director Rachel Fink. “We’re
seeing that there’s an interest in these skills for people other
than our school-age students. It’s another way for us to use
our expertise and experience to impact community life.”
Rachel started the School of Theatre in 2001 and with her
staff has since cultivated classes ranging from playwriting to
voice-over acting. While these classes often focus on useful
performance or writing techniques, the skills can stretch further than what’s seen on stage. “In one of our improv classes
our teacher was noticing that more and more mental health
practitioners were enrolling,” Rachel shares. “Therapists, psychologists were gravitating toward our improv classes because
they valued the technique: the comfort in speaking, being able
to make choices in the moment, any type of role playing. Out
of that two of our instructors developed an Improv for Mental
Health Practitioners class.”
Most recently Peterson Cat, a subsidiary of Caterpillar Inc.,
and the local nonprofit Association of Bay Area Governments
(abag) have requested workshops tailored to their companies’
needs. Jan & Howard Oringer Outreach Coordinator Dave
Maier led abag’s workshops, where he modified the curriculum
from the School of Theatre’s Creating Character class, gearing
it toward adult needs. Creating Character focuses on voice and
movement for characters, teaching students to comfortably
vocalize and embody who they portray onstage. “Similarly, we
worked on presentational skills, vocal quality, and non-verbal
communication through physicality with abag,” says Dave.
Employees taking these workshops not only try out theatre icebreakers and vocal exercises for perhaps the first time,
but also take the risk of being vulnerable with their colleagues
and experimenting with their vocality in front of others. “They
were skeptical, but it’s actually remarkable what they’ve gotten
KATHIE LONGINOTTI
REALTOR® and Berkeley Rep Subscriber
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1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3
out of it,” Dave observes. “Every week I
notice more presence, more consciousness of their presentations skills, and an
ability to collaborate with each other. It’s
definitely a verification that integrating
performance into their lives works.”
Dave also crafted activities for
Berkeley Rep’s annual board of trustees
retreat back in August to help clarify
and energize their understanding of the
Create Campaign, a five-year operation
supporting two key initiatives: reinvesting in the signature Thrust Stage and
developing the Harrison Street campus
into a center for new work. Rachel
explains, “In order for the trustees to
better prepare for the Create Campaign,
Dave made a curriculum to develop
short psa skits investigating the needs
of renovating the Thrust Stage.” She
adds, “The act of having a communal, interactive experience as well as sharing it
with each other solidified their grasp of
the information.” Trustees fully invested
in the exercises, ultimately donning
costumes and props to tell a story and
better articulate their role in bringing
the campaign to fruition.
“I was initially intimidated by the
idea of having to perform, but Dave
quickly made us feel totally at ease
and provided a thoroughly enjoyable
experience,” recounts trustee Robin
Edwards. “The value of working together as a team to prepare our infomercials
was also evident, showing that multiple
heads are way better than one.”
As the Create Campaign gains momentum and employees bring new skills
back to their workplaces, the School of
Theatre looks forward to more of these
workshops. Any plans of future collaborations with outside companies, however,
are still in nascent stages. “It’s an experiment, often with unintended benefits,”
Dave says. “I think abag’s employees will
feel closer as a team than before they
started, even though the original focus
was on presentational skills.”
Dave notes that all participants, regardless of age or expertise, can broaden
their outlooks, gain confidence, and learn
to work as an ensemble through drama.
He smiled at the progress he’s seen before summing up his practices: “You can
use theatre arts to teach anything.”
R E P ORT
Berkeley Rep welcomes
new season media sponsor
Akilah Monifa with The House that will not Stand actors
Petronia Paley, Harriett D. Foy, and Lizan Mitchell
BY KAREN MCKEVITT
Let’s face it: when we tune
in to our local TV stations, we don’t
usually expect good news. But kpix 5/
kbcw —Berkeley Rep’s new season
media sponsor—aims to change that by
partnering with local arts and community nonprofits and by creating positive
programming of its own.
“We support the arts because it’s a
good story,” says Akilah Monifa, kpix 5’s
director of communications and public
affairs. “It’s a way of reaching out to people and bringing beauty to their lives.
The news isn’t always good, but the arts
usually bring pleasure to people.”
Berkeley Rep and kpix 5 had
hooked up in the past—the news
station was a media sponsor for Rita
Moreno: Life Without Makeup and Let
Me Down Easy. Earlier this year, Petronia Paley, Harriett D. Foy, and Lizan
Mitchell from The House that will not
Stand appeared on Black Renaissance, a
monthly news/interview show on kbcw
produced by Akilah. “That episode was
so powerful,” she says. It was then that
kpix expressed interest in participating
more with the Theatre.
“We greatly appreciate the innovative programs, education, and outreach
that Berkeley Rep provides,” notes
Akilah. “In addition to debuting Tony
Award–winning plays, Berkeley Rep
nurtures talented artists and gives them
voice to add to the diverse community
that is the Bay Area.”
kpix also boosts popular arts organizations like the San Francisco Latino
Film Festival, the Mill Valley Film Festival,
Museum of the African Diaspora, San
Francisco Opera in the Park, and others.
The TV station brings good news
directly to the Bay Area. Through its
media partnership with Students Rising
Above, a San Francisco–based nonprofit, kpix recognizes local low-income
teenagers who overcome the odds
to become first-generation college
students. As a media partner with the
Jefferson Awards, the station selects
and highlights local “unsung heroes”
who make their communities and neighborhoods better places to live. Many
local Jefferson Award winners have
gone on to receive a national award,
known as the “Nobel Prize for community service.”
That’s only half of the story. kpix
anchors Dennis O’Donnell, Ken Bastida,
and Roberta Gonzales have participated
in the Walk to End Alzheimer’s—and
cbs matched the funds raised. The
station is currently in the midst of Food
for Bay Area Families, an annual food
drive and donation campaign which
involves local food banks and Whole
Foods stores. Last year the campaign
raised over $2 million and fed thousands
of people.
So next time you turn on your TV,
tune in to kpix 5 to discover the good
news in the Bay Area.
2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1
Take your place in the spotlight
Cross-section illustration of the Harrison Street campus development
A R C H I T EC T U R A L D E S I G N S BY PAT R I C I A M OT ZK I N A R C H I T EC T U R E · I L LU S T R AT I O N BY A R T ZE N DA R S K I
This season, we are embarking on the next
transformative chapter in the history of our
theatre company.
The bold and ambitious Create Campaign
will strengthen the relationship between
artists, audiences, and our community,
and will transform Berkeley Rep into one of the
foremost centers for new play development in
the country.
Rendering of the Narsai M. David Courtyard
A R C H I T EC T U R A L D E S I G N BY M A R C Y W O N G D O N N LO G A N A R C H I T EC T S
Two key initiatives will help us realize our vision:
a $14 million expansion of our Harrison Street
campus into a center for new work and a $6
million renovation of the signature Thrust Stage.
Be part of this exciting chapter in the
Theatre’s history and leave your mark on
Berkeley Rep.
A center for new work
By 2017, we aim to transform Berkeley Rep’s Harrison Street
campus into a center for artistic innovation, where artists and
the community can engage in the art of making theatre.
The Create Campaign will support the development of
Berkeley Rep’s pre-production complex with the construction
of artist living units, four rehearsal halls, studios, and a public
forum—and fully realize The Ground Floor: Berkeley Rep’s
Center for the Creation and Development of New Work.
A theatre for the 21st century
Thirty-five years after its opening, our signature Thrust Stage is
in urgent need of renovation to provide artists the 21st-century
tools they need and to enhance the audience experience, while
retaining the Thrust’s hallmark intimacy.
Artists will be able to take advantage of new energy-efficient lighting equipment, new electrical wiring, and a stateof-the-art Constellation Acoustic System from Meyer Sound,
which will offer incomparable sound clarity and speech intelligibility to audiences no matter where their seats are located.
Theatregoers will enjoy fresh amenities such as refurbished seats and new carpeting, additional handrails, a larger
and more central box office, and a new courtyard atrium for
the community’s year-round use.
Rendering of the theatre façade
A R C H I T EC T U R A L D E S I G N BY M A R C Y W O N G D O N N LO G A N A R C H I T EC T S
To really make a theatre work, it has to be a civic enterprise. [It’s thrilling] when you find
places like Berkeley where the city is clearly in love with this organization and this theatre
and is willing to help make this kind of expansion of the facilities possible.… We can’t have a
civilization without art and you can’t have art without the support of the people.
—TO NY KUS H N E R , PL AY WRIG HT
A rehearsal hall in the planned Harrison Street campus development
A R C H I T EC T U R A L D E S I G N S BY PAT R I C I A M OT ZK I N A R C H I T EC T U R E · I L LU S T R AT I O N BY A R T ZE N DA R S K I
Take your place in the spotlight
You have a unique opportunity to play a starring role when you
invest in the Create Campaign.
You’ll not only champion the historic renovation of the
Thrust Stage and the development of the Harrison Street
campus, but also have a chance to leave your mark on Berkeley
Rep with one of these special naming opportunities:
Be a star · $1,000 and above
Champion the renovation of the Thrust Stage with your
gift of $1,000 or more, and place your name in a new constellation of Create Campaign supporters in the revitalized
Thrust lobby.
I love the intimacy of the Thrust but I’m
excited that the Campaign will provide
much-needed updates to the lighting and
sound capabilities, enhancing artists’
and audiences’ theatre experience.
Shouldn’t a first-class theatre have
state-of-the-art equipment?
Take a seat · $3,000 and above
Claim your favorite seat with your gift of $3,000 or select
your two favorite seats with your gift of $5,000 in the
upgraded Thrust Stage. Enjoy seeing your permanent
inscription adorn the armrest of your chosen seat when
you visit the Thrust.
I’m also excited about the plans
for enhancing the space and
capabilities of the Harrison Street
campus, allowing it to continue
to attract innovative artists and
facilitate new work.
Dedicate an atrium square · $10,000 and above
Leave your footprint in the new courtyard atrium. Your
personal dedication will be engraved on a 19” x 19”
square in the Narsai M. David Courtyard, which will be
enjoyed year-round, rain or shine, by audiences, artists,
and our community.
Your Create Campaign pledge may be paid in installments
over three years, through August, 2017.
Honor someone you love
Pay tribute to the theatregoer in your life by supporting
the Theatre they love and honoring them with permanent
recognition in the renovated Thrust Stage or the new
courtyard atrium. Make your tribute gift today.
— BARBAR A PETER SON,
Longtime Berkeley Rep theatregoer &
early contributor to the Create Campaign
Interior of Thrust Stage
P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
Visit berkeleyrep.org/create
Call 510 647-2906
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Molly Ivins in her Austin home, 1993
SATIRE WITHOUT
CYNICISM:
THE LIFE AND WORK
OF MOLLY IVINS
BY LEXI DIAMOND
PHOTOS BY ALAN POGUE
“Sharp.” “Biting.” “Skewering.”
Words like these inevitably appear in any discussion
of the fiercely clever Molly Ivins and her ferocious
approach to journalism. But to get a true sense of
Ivins, one must consider her acerbic gibes and her
unforgiving scrutiny in the context of her passion
for the outrageous, for the truth, and for her readers
and country. As she once wrote, “Being a cynic is
contemptibly easy. If you let yourself think that
nothing you’re working on is ever going to make a
diﬀerence, why bust your tail over it? Why care? If
you’re a cynic, you don’t have to invest anything in
your work. No eﬀort, no pride, no compassion, no
sense of excellence, nothing.” Molly Ivins devoted
herself entirely to dissecting the political landscape
she surveyed, making a corrupt and often alienating
world accessible and even hilarious.
CO N TIN U E D O N N E X T PAG E
Born in 1944 and raised in Houston, Texas, Ivins made
her foray into journalism with a summer job working for the
Houston Chronicle complaints department between her years
as a student at Smith College. After studying at the Institute
of Political Science in Paris and earning her master’s degree at
the Columbia University Graduate School of Journalism, she
returned to the Chronicle as a columnist, and moved on shortly
after that to the Minneapolis Tribune.
Ivins was the first woman police reporter at the Tribune,
and when she accepted the position of co-editor of the Texas
Observer in 1970, she became one of just a handful of women
with a high-ranking job in the world of journalism. Despite
the progress made by the women’s movement in the 1970s,
newsrooms remained heavily male-dominated atmospheres.
Women who did write for newspapers rarely wrote about politics, and certainly not with the kind of piss and vinegar present
in every one of Ivins’ columns. She complained that most often
when newspapers hired women, it was “to cover food, fluff,
and fashion. They’d hire you to do the ‘safe’ things.” Ivins never
played it safe, always opting instead to tell the truth in bold
and ruthless terms.
In response, her critics challenged her femininity, often
taking unprofessional jabs at her physical appearance. At six
feet tall and with wild red hair and freckles, Ivins had grown
accustomed to standing out in a crowd. Ivins once wrote, “I
should confess that I’ve always been more of an observer than
a participant in Texas Womanhood: the spirit was willing, but
I was declared ineligible on grounds of size early.” Rather than
bending to take up less space or toning down the harshness of
her writing, Ivins swung the criticism to her advantage, laughing along with her detractors and reinforcing the strength of
her public persona. When the Minneapolis Police Department,
for example, named their mascot pig after her, she took it in
stride and referred to it for the rest of her life as one of her
proudest accomplishments. Her refusal to wilt under these
circumstances undermined her detractors and gave her power
over her own image.
Ivins used what has been described as a “folksy populist
voice” in her writing, relying heavily on Texas jargon and a
casual familiarity with her readers. She also extended this
familiarity to the subjects of her columns, whom she often
gave humbling nicknames (she consistently called George W.
Bush “Shrub” and Rick Perry “Governor Goodhair”). Though
she used humor as a means of access, her attacks were deeply
searing and always intended to expose with absolute precision.
“There are two kinds of humor,” she once wrote. One is the
kind “that makes us chuckle about our foibles and our shared
humanity. The other kind holds people up to public contempt
and ridicule. That’s what I do.” Ivins had a keen sense of when
her colloquial Texas voice would prove most useful, and when
it would be more effective to drop into what her friends called
her “Smith voice,” a more traditionally intellectual tone that
she groomed in her years on the East Coast. Her savviness in
balancing the “cornpone” with the highbrow earned her many
a comparison to Mark Twain.
As Ivins honed her feisty voice and satirical style writing
about the outrageous political happenings in her home state,
her pluck began to garner her national attention. In 1976, the
New York Times took notice and hired her as a political reporter. Though she was writing for a much wider audience, she
maintained her provocative flair and trademark Texas brashness. She was constantly dodging trouble with her editors for
her bawdy content, and a particularly lewd comment about
a chicken-plucking competition led to a demotion. She had
Though she used humor as a means
of access, her attacks were deeply
searing and always intended to expose
with absolute precision.
been working as Rocky Mountain Bureau Chief, but the Times
moved her back to New York City where her creativity could
be more closely monitored. In 1982, Ivins left the Times and
moved back to Texas where she wrote as a columnist for the
Dallas Times Herald and then the Fort Worth Times-Telegraph.
She also wrote freelance for publications such as Mother Jones,
The Nation, and Atlantic Monthly, creating content with wild
alacrity and making appearances on television and radio at a
similarly furious pace.
By the late 1990s, Ivins had locked her sights on an old
high school classmate whose political star was on the rise:
George W. Bush. She waged war against the eventual twoterm Commander in Chief, writing two best-selling books that
examined the records, decisions, and character of the Bush administration. She acted as a leader in the national conversation
about his presidency across many media, using her expertise
in the Texas political scene to provide special insight into his
checkered history as a politician. Ivins was not merely looking
to mock a figure she regarded as inept—she was savagely
serious about exposing a man whose policies she believed
would be detrimental to the country. In doing so, Ivins sought
to hold the president and the country accountable for what
was happening in the White House.
As she accumulated fame and recognition, Ivins also
fought many personal battles. She wrestled with loss and
isolation, and those close to her mentioned that she often
expressed feeling lonely and angry. She also struggled tremendously with alcoholism throughout her life. Hard-drinking
ways were part of her “Texas gal” persona for a good portion
of her early career, but she ultimately found that the habit got
away from her. She tried several times over the years to quit
drinking; it was to become a lifelong fight. On occasion she
wrote about her private life, but for the most part she poured
her frustration and energy into her work.
Ivins was diagnosed with breast cancer in 1999, arguably
at the height of her career. The cancer returned in 2003, 2005,
and eventually took her life in January of 2007. Throughout
her treatment she continued working just as ferociously as
ever, even writing two columns in the last month of her life just
before entering hospice. News of her death shook her loyal fan
base as well as the worlds of politics and journalism; hundreds
of tributes and obituaries appeared in many of the 400-plus
newspapers that syndicated her columns.
Time and again, our country has proven its eternal appetite for political satire. Many sources of political commentary
have faded in and out of our cultural consciousness, and
younger generations might not recognize Molly Ivins’ name
or be aware of the impact that she made. But the bite, fire,
vivacity, and heart present in all of her work secure her legacy
as a heroic American voice.
Left page: Molly Ivins with colleague Kaye Northcott at the Texas Observer office, 1975
This page: (Top) Molly smoking a cigarette at the Texas House of Representatives;
(Bottom) Molly singing with the Rock Bottom Remainders in 1998 at
Cactus Café in the Student Union, Utah;
(Right) Editing the old-fashioned way, 1975
Turner Channels
Molly Ivins in
‘Red Hot Patriot’
TA L K O F T H E N AT I O N ,
SEPTEMBER 6TH, 2012
P H OTO BY M A R K G A R V I N
Neal Conan, Host: You’re enjoying yourself in this role.
Kathleen Turner: Very much so. I have such fun.
And obviously, you didn’t write this play but...
No. Margaret and Allison Engel, sisters and journalists,
wrote it.
And however, this is something—a role that you must
embrace with full heart.
I do. I do. I have to confess that it’s right up my alley in
terms of her—not just her humor but also her positions and
her values. I don’t—I was asked if I could portray someone
else, say, oh, someone like Sarah Palin. I said, no, I really didn’t
think I could do that. As good an actor as I am, I really just
couldn’t get behind that one.
“I have to confess that it’s right
up my alley in terms of her—
not just her humor but also
her positions and her values.”
— K AT H L E E N T U R N E R
You think of George C. Scott, though, as Patton, someone
whose views he certainly did not endorse.
Indeed. Yes, well, perhaps I am just simply a different kind
of actor.
points in her—when she was making her point. So this is very
much true to—and 70 percent, I would say, of this piece are
Molly’s own words, you know? But to that, we have added the
circumstances of her life and her history.
Good. I was going to ask you if you inhabit a character like
that, how important is it that they be close to you—your
values, your morality, your politics?
Well, in this case, it is, because it is a political piece and
it is about the values, and it is pre-election. I mean, I’m here
because I planned it this way, to be doing Molly right up until
the election, to have her voice out there, you know? But I
would say that when it comes to more fictionalized pieces of
theater—“Who’s Afraid of Virginia Woolf?” or other performances that I have done, I don’t think that I have to necessarily
agree with the character’s values. No.
Mm-hmm. And her family. She starts out writing a column
about her father who’s clearly an important figure in her life.
Very much so. And the fact was that she and her father
disagreed drastically and emphatically, almost—I mean, she
says, I hate his world and he hates mine. He was a big oil company, gas man, far, far right Republican, everything that she
wanted to fight against.
When you did “Virginia Woolf,” for example, you’re in a
cast with a lot of volatile other people. You’re not carrying
the whole thing yourself.
No. It’s such—it’s a blessing. I’ll tell you. It’s lonely up
there. I mean, at least, what I can do, what I do get to do, is
really engage the audience as sort of a—as part of the show.
Now it’s a lot of fun playing with other actors, but you kind
of pretend, of course, there’s that fourth wall. So you sort of
don’t even acknowledge the people out there looking in. You
just concentrate on the people you’re on stage with. So I don’t
have that luxury. So—but I—the audience gives me enough to
play with.
The only other actor in the play doesn’t say a word.
The copy-boy comes in.
No. He’s just a figure that sort of comes and goes,
rather mysteriously.
And the play is almost like a scripted stand-up.
Well, she did write this way. I mean, she did write stories,
and the stories had punchlines and, you know, punctuation
And in some degree, you get the feeling that a lot of what
she did or at least started that way was rebellion.
Very much so. She says—at one point, she says, you
know, I wish I could tell you that I write and I do these things
because I can’t help myself. But the truth is it’s mostly backtalk
I wish I’d said to my father. Yeah, I think that was probably her
first—her first instinct through the rebellion to find other values and other positions, and then she grew to believe in them
most strongly.
And throughout, though, she showed such joy...
Yeah.
...in everything she did.
Yeah. I think that’s one of the things I love most about
doing her and about her. I had the opportunity to meet her a
few times. One time in particular, we really had a little time
with her and Ann Richards, which is a funny story. But I—she
says, you know, celebrate the sheer joy of a good fight. And I
have—I think she tackled everything that way.
© 2012 National Public Radio, Inc. Excerpt from npr news report titled “Turner Channels
Molly Ivins in ‘Red Hot Patriot’” was originally broadcast on npr’s Talk of the Nation on
September 6, 2012, and is used with the permission of npr. Any unauthorized duplication is
strictly prohibited.
Allison Engel (left) and Margaret Engel
P H OTO BY M A R K B ER N DT
RED HOT PLAYWRIGHTS:
A CONVERSATION WITH MARGARET AND ALLISON ENGEL
BY JULIE MCCORMICK
Red Hot Patriot playwrights Margaret and
Allison Engel are a force to be reckoned with. In their successful careers as journalists, they have written for papers like the
Washington Post, the Des Moines Register, and the San Jose Mercury News. Allison is also a media representative at her alma
mater, the University of Southern California, and Margaret
runs the prestigious Alicia Patterson Foundation in Washington, DC. These twin sisters are no strangers to long-distance
collaboration: over the years they have written three books
together while living in different states. So after Molly Ivins’
death in 2007, the Engels’ deep admiration for Molly’s work
as a journalist and lifelong love of theatre made writing a play
together about her life seem like a natural tribute. Taking a few
moments from their busy schedules, the Engels gave us the
inside scoop on Red Hot Patriot.
Julie: How did you decide that Molly Ivins’ story needed to
be a play?
Margaret: She truly is an American icon, and there is
something about her personality and her courage and her intellect that we thought would connect with audiences both on
the humor side of the equation and also through her passion.
Allison: People have referred to her as our Mark Twain,
and I think she discovered that even though she was a very
careful journalist and did a lot of original research, people
listened to her, carefully, because of her humor. She said that
when you laugh, people open up their ears and listen, and
I think that’s one of the reasons why she has endured well
past her death. She was very honest and spoke truth, but in a
humorous way, so people really remembered her comments
and her writing.
Margaret: Bill Moyers really said it best—he said “she
made the mighty humble” and “the wicked ashamed.”
When did you both first encounter Molly Ivins?
Allison: Peggy, why don’t you go ahead.
Margaret: We started reading her when we were just out
of college, or maybe even still in college, right, Allison?
Allison: I think still in college, but then we both went into
journalism. As cub reporters we certainly read everything she
wrote, because luckily she was syndicated in more than 400
newspapers across the country. You could get her column readily, and it was definitely something you wanted to look out for.
After college our first jobs were in newsrooms. So some of
the things that Molly experienced, we also experienced just a
few years later.
Margaret: I met her maybe three times, but just really
to say hello and as a fan to listen to her speak at journalism
conferences. We were going to be on some panels together in
Denver in April 2007, but she died at the end of January.
Allison, had you met her?
Allison: No, I hadn’t. I had not.
How did you both end up in journalism at the same time?
Allison: When we were growing up, our father was in
advertising, but he was a tremendous writer. He wrote a lot of
history, and had gotten a master’s in playwriting himself from
Columbia University. So, he would give us assignments to write
at home because he felt that the elementary and high school
didn’t require enough writing. And our mother is a librarian,
so she would bring home every magazine and newspaper
that we wanted. We also got the Cleveland Plain Dealer and
the Cleveland Press—we got two daily newspapers—and on
Sunday my parents would go and get the New York Times. So
there was always a lot of journalism in the house. Our dad was
also one of the few Americans who subscribed to the Congressional Record. So we also had Congressional Records all over the
house—we thought everybody got it. That being a voter, you
got the Congressional Record.
My parents both thought that journalism was a really
important profession, and I think that’s why we both ended up
in it.
What were your favorite things to read when you were
growing up? Was it journals and newspapers or..?
Allison: (Laughing) Well, our very first favorite thing was—
our library would not stock Nancy Drew mysteries because the
librarian did not feel that they were—
Margaret: literary.
Allison: They were serials. And so, Peggy and I formed the
Nancy Drew fan club, mainly because there was a girl at our
school who had the entire collection, and we asked her to be in
the club so we could all borrow her books.
Margaret: We were pretty much speed readers. We’d get
home from school and finish a Nancy Drew book before dinner.
We wrote a letter to the supposed author, Carolyn Keene,
and invited her to come to our club. We actually got a letter
back, a response.
Allison: Only later—
Margaret: Only later when we were in college, the Wall
Street Journal ran a story about the fact that Carolyn Keene was
not a real person; that it was a syndicate of 14 writers.
Allison: Anyway, they wrote us back and said that, “Due to
Carolyn Keene’s itinerary, she could not come to a meeting of
our club,” (laughter) and we had to look up the word “itinerary.”
I don’t know whether we still have that, but it was a hilarious letter.
Margaret: In retrospect. At the time, we thought it was
very official.
When did theatre first come into your purview?
Margaret: We were theatre rats growing up. We were in
children’s theatre, all the way, for me, through college.
Allison: Right. We had a really good little theatre in the
town that we lived in—the Chagrin Valley Little Theatre. We
were either taking classes there or helping out behind the
scenes in productions, or going to plays… My parents took us
to Musicarnival, which a big thing in the Cleveland area; we
went to New York, and they took us to Broadway plays—
Margaret: My father started out wanting to be a playwright and wrote a lot of plays, and ended up working for Helen Hayes at her community theatre in Nyack, New York. He
was on the production crew. My mother tells a story of going
up for a dress rehearsal, and sitting next to George S. Kaufman.
He kept looking at her and couldn’t figure out what this
woman was doing there. I’m now on the Helen Hayes Board in
Washington, because she is from Washington, DC, and from
this one auction house I have a check that Helen Hayes wrote
George Kaufman. I’ve got it framed here on my desk.
Have you ever tried to write plays, either separately or
together, before Red Hot Patriot?
Allison: When we lived in Iowa, I was the president of the
Des Moines Playhouse, which is one of the oldest and largest
community theatres in America. I was head of play selection.
Then when we moved to California, I got an mfa in screenwriting at the University of Southern California. So I wrote quite a
few screenplays there, and had to do some playwriting as well.
But those weren’t done together.
Margaret: And I was in drama and acting all the way
through my freshman year of college, and then just became
a constant theatregoer of all descriptions. Then I joined the
board of theatreWashington, which administers the Helen
Hayes Awards. There are a number of Equity theatres here in
Washington, so I’ve spent a lot of time seeing theatre—not
just here in this city, but also in New York.
In that case, can you talk a little bit about your experience
of writing a play together? What that was like?
Allison: We had written three books together, never living
in the same place. These were for HarperCollins, and they
were on regional food producers. Food Finds was really one of
the first books on the American small food producer. We then
turned it into a television series for Food Network when Food
Network was just beginning, and it ran for seven years there
and then went to the Travel Channel.
But anyway, Peggy and I did these books without being in
the same state. We started out with carbon paper and mailing
them, and of course as computers came in, it became that
much easier. So it’s actually really easy for us to write together, because being twins, we have sort of a shorthand, and we
don’t have to have these long, drawn-out conversations on the
phone. Some of our conversations are literally seven seconds
long. We can just say, “Page 27, do this!” and, “OK!” Click.
How did you make the decision of what moments to
include verbatim in the play, and what to dramatize?
Allison: In a way, there was a very dramatic thing that
actually happened in Molly’s life that really became the spine
of the play and why it opens when it does. I don’t want to
give that away for people who haven’t seen it, but we were
lucky in that sense.
Margaret: But there also was more than the usual drama
in a person’s life, with Molly’s life. And so you ask what we
wanted to cut out—I mean, obviously it’s not fascinating to
watch a person behind a typewriter pecking out a column.
Not fascinating.
But what Molly was so adept at was really sizing people’s
character up: illuminating it in a really telling and perceptive
way. Which I think we’ve captured a good deal of.
Allison: Molly was very prolific, you know. She wrote for
many years, so obviously there were a lot of things we couldn’t
include. If people really are interested in getting that kind of
year-by-year chronicle of her life, they can read her column.
This is a play, not a Wikipedia entry.
Margaret: She lived in very exciting times. Civil rights,
wars, Texas politics, the rise of George Bush… You know Molly
was the one who pegged George Bush as “Shrub.” But she did
CO N TIN U E D O N PAG E 32
N E X T AT B E R K E L E Y R E P
X’S
AND
O’S
(A Football Love Story)
By KJ Sanchez with Jenny Mercein
Directed by Tony Taccone
One Man, Two Guvnors
By Richard Bean
Directed by David Ivers
Starts May 8
P H OTO BY J O H A N P ER S S O N
Head of Passes
By Tarell Alvin McCraney
Directed by Tina Landau
Starts Apr 10
P H OTO CO U R T E S Y O F M AC F O U N D.O R G
Ticket packages still available!
Visit berkeleyrep.org
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Tartuffe
By Molière
Adapted by David Ball
Directed by
Dominique Serrand
Starts Mar 13
P H OTO BY M I C H A L DA N I EL
SEE WHAT
ELSE IS IN
STORE THIS
SEASON!
World premiere
STARTS JAN 16
SEASON SPONSORS
Berkeley Repertory Theatre presents
B E RKE LE Y RE PE RTO RY TH E ATRE
TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R
SUSAN M E DAK , M ANAGIN G D IREC TO R
By Margaret Engel and Allison Engel
CAST
D IREC TE D BY
David Esbjornson
Molly Ivins Kathleen Turner
Helper Michael Barrett Austin
N OVE M B E R 21, 2014–JAN UARY 4, 2015
RO DA TH E ATRE · M AIN S E A SO N
Red Hot Patriot: The Kick-Ass Wit of Molly Ivins is made possible
thanks to the generous support of
SEASON SPONSORS
Jack & Betty Schafer
The Strauch Kulhanjian Family
LE A D S P O N S O R S
Bruce Golden & Michelle Mercer
Mary & Nicholas Graves
PRODUC TION S TAFF
Scenic Design
Costume Design
Lighting Design
Sound Design & Original Music
John Arnone
Elizabeth Hope Clancy
Daniel Ionazzi
Rob Milburn &
Michael Bodeen
Projection Design Maya Ciarrocchi
Casting Amy Potozkin, csa
Stage Manager Michael Suenkel
E XECU TIV E S P O N S O R S
Pam & Mitch Nichter
Marjorie Randolph
Michael & Sue Steinberg
Jean & Michael Strunsky
The actors and stage manager are members of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States.
Red Hot Patriot is presented by special arrangement with Samuel French, Inc.
World Premiere Produced by Philadelphia Theatre Company
Sara Garonzik, Producing Artistic Director
Diane Claussen, Managing Director
March 24, 2010
SPONSORS
Dixon Long
Sandra & Ross McCandless
Leonard X & Arlene B. Rosenberg
Partial support of open captioning is provided by
Theatre Development Fund.
A S S O CIAT E S P O N S O R S
Shelley & Jonathan Bagg
Carole B. Berg
Susan Chamberlin
Linda Jo Fitz
Mary Ann & Lou Peoples
Affiliations
The director is a member of the Society of
Stage Directors and Choreographers, Inc., an
independent national labor union. The Scenic,
Costume, Lighting, and Sound Designers in
lort Theatres are represented by United
Scenic Artists Local usa-829, iatse.
BE R K E L E Y R E P P R E S E N T S
Kathleen Turner
M O L LY I V I N S
Screen icon Kathleen
Turner has garnered
critical acclaim for her
performances in various
movies including Body
Heat, for which she was
nominated for a Golden
Globe; Romancing the
Stone and Prizzi’s Honor,
which earned her a
Golden Globe Award for each; Peggy Sue Got
Married, which brought her both an Academy Award nomination and a Golden Globe
nomination; and War of the Roses with another
Golden Globe nomination. Ms. Turner’s extensive film credits also include The Man with
Two Brains with Steve Martin, Jewel of the Nile
with Michael Douglas, The Accidental Tourist,
V.I. Warshawski, John Waters’ Serial Mom,
Naked in New York, Moonlight and Valentino,
The Real Blonde, and Sofia Coppola’s The Virgin
Suicides. Ms. Turner has also starred on Broadway in Cat on a Hot Tin Roof, for which she
received a Tony nomination for Best Actress;
Indiscretions; The Graduate; and Who’s Afraid
of Virginia Woolf?, for which she received a
second Tony nomination for Best Actress. Ms.
Turner had a major recurring role as Sue Collini
on Showtime’s hit series, Californication. In
the spring of 2010 Ms. Turner starred as Molly
Ivins in the world premiere of Red Hot Patriot:
The Kick-Ass Wit of Molly Ivins at Philadelphia
Theatre Company and immediately following
that shot the starring role in an independent
film called The Perfect Family. Ms. Turner most
recently starred on Broadway in High, and
in addition to her film and stage credits, she
wrote of her many accomplishments and life
experiences in her 2008 autobiography titled
Send Yourself Roses: Thoughts on My Life, Love,
and Leading Roles, which secured a position on
the New York Times Best-Seller List.
Michael Barrett Austin
HELPER
Michael last worked
with Berkeley Rep on
The Lieutenant of Inishmore. Most recently,
he was in the world
premiere of Manic Pixie
Dream Girl at the New
York International Fringe
Festival. Other theatrical productions include
Bloody Bloody Andrew Jackson (San Francisco
Playhouse), Dracula (Center Rep), The Grapes
of Wrath (Theatrefirst), and The Internationalist (Just Theater). Michael has also played
locally with 42nd Street Moon, San Francisco
Shakespeare Festival, Aurora Theatre, TheatreWorks, California Shakespeare Theater,
PlayGround, Pacific Repertory Theatre, the
profiles
Carmel Shakespeare Festival, San Jose Stage,
and Brava, among others. Michael toured Italy
with Shakespeare at Stinson and the U.S. with
the National Theatre for Children, and has appeared in numerous films, television series, and
advertisements. He earned his theatre degree
from Whitman College, and has also enjoyed
work as a director, propmaster, and dramaturg
on both coasts. Michael is a proud member of
Just Theater and PlayGround. Find out more at
michaelbarrettaustin.com.
Allison Engel
P L AY W R I G H T
Allison Engel has been a newspaper reporter
for the Des Moines Tribune, San Jose Mercury
News, and Pacific News Service, and was a
Knight Journalism Fellow at Stanford University. She has also been a political speechwriter
and aide for former Iowa governor Tom Vilsack and lieutenant governor Sally Pederson.
In Iowa, she was active in the Des Moines
Playhouse, serving as president and head of
play selection. She has been a food columnist
for Saveur, an architecture columnist for Renovation Style, and has written for many other
national publications. She recently spent five
years as director of communications at usc
before becoming the associate director of the
Los Angeles Institute for the Humanities at
the university. She received an MA in screenwriting from usc in 2009. She is married to
Scott Kirkpatrick, and they have two children,
Miles and Nora.
Margaret Engel
P L AY W R I G H T
Margaret Engel was a reporter for the Washington Post, Des Moines Register, and Lorain
Journal, and was a Nieman fellow at Harvard
University. She directs the Alicia Patterson
Journalism Foundation and was the managing editor of the Newseum, the museum for
news, in Washington, DC. She co-wrote Food
Finds: America’s Best Local Foods and the People
Who Produce Them with her twin, Allison,
and helped turn the book into a show for
Food Network, where it ran for seven years.
It appears today on the Travel Channel. She
serves on the boards of theatreWashington/
Helen Hayes Awards, the Fund for Investigative Journalism and the Nieman Foundation.
She chairs the Robert F. Kennedy Journalism
awards board. She and her husband, Bruce
Adams, wrote three editions of a travel guide
to America’s baseball parks, with the help of
their children, Emily and Hugh.
David Esbjornson
DIREC TOR
David’s premieres include Edward Albee’s The
Goat, or Who is Sylvia? (Broadway) and The Play
About the Baby (the Century Center), The Ride
Down Mt. Morgan (Broadway) and Resurrection
Blues (the Guthrie Theater) by Arthur Miller,
Angels in America: Millennium Approaches and
the first staged presentation of Perestroika (Eureka Theatre), Homebody/Kabul (London), Neal
Bell’s Thérèse Raquin (Classic Stage Company),
In the Blood by Suzan-Lori Parks (the Public
Theater), Albom/Hatcher’s Tuesdays with Morrie (Minetta Lane Theatre), Israel Horowitz’s My
Old Lady (the Promenade Theatre), Kathleen
Tolan’s Memory House (Actors Theatre of Louisville and Playwrights Horizons), Ariel Dorfman’s Purgatorio, and Kevin Kling’s How? How?
Why? Why? Why? (Seattle Repertory Theatre).
His recent work includes Measure for Measure
(New York Shakespeare Festival Delacorte),
Moira Buffini’s Gabriel and Peter Parnell’s
Trumpery (Atlantic Theatre Company), and Allison and Margaret Engels’ Red Hot Patriot: The
Kick-Ass Wit of Molly Ivins (Philadelphia Theatre
Company and Geffen Playhouse). He directed
the revivals of Driving Miss Daisy (Broadway
and West End); Death of a Salesman (Gate
Theatre in Dublin); Hamlet (Theatre for a New
Audience); A Few Good Men (West End); All My
Sons (the Huntington Theatre Company); Much
Ado About Nothing (nysf); The Normal Heart
(the Public); Mud and Drowning (Signature
Theatre); The Entertainer, The Maids, Endgame,
and Entertaining Mr. Sloane (csc); Who’s Afraid
of Virginia Woolf? and Summer and Smoke (the
Guthrie); Twelfth Night and Lady From Dubuque
(Seattle Rep); and Farmyard (New York Theatre
Workshop). David has served as artistic
director of Classic Stage Company and Seattle
Repertory Theatre and is the current chair of
theatre at Rutgers University.
John Arnone
SCENIC DESIGNER
Tony Award winner John began his career
designing critically acclaimed productions off
Broadway for which he received two Obie
Awards. He designed more than 30 sets at
the Public Theater with legendary producer
Joseph Papp, the Lion Theatre, Playwrights
Horizons, and Circle Rep. He has worked
with Garland Wright and Joe Dowling at the
Guthrie Theater and Des McAnuff at La Jolla
Playhouse and the Stratford Shakespeare
Festival. In 1993, The Who’s Tommy opened
on Broadway, for which John received a Tony,
Dora Mavor Moore, Drama Desk, Outer Critics Circle, and Olivier Awards. Other Broadway designs include How to Succeed in Business
without Really Trying; Twilight: Los Angeles,
1992; Sacrilege; Tommy Tune’s productions
of The Best Little Whorehouse Goes Public and
Grease; Sex and Longing; Patio/Porch; The Goat,
or Who is Sylvia?; Fortune’s Fool; The Full Monty;
Marlene; The Deep Blue Sea; Lone Star & Pvt
Wars; Minnelli on Minnelli; The Best Man; The
Ride Down Mt. Morgan; Lennon: The Musical;
and next season’s All That Glitters. John’s work
has been seen in Canada, London, Vienna,
Berlin, Japan, and Australia.
Elizabeth Hope Clancy
COSTUME DESIGNER
Elizabeth’s Broadway credits include A Christmas Story; Passing Strange; Bobbi Boland; The
Goat, or Who Is Sylvia?; and The Ride Down Mt.
Morgan. She also designed A Few Good Men,
which played in the West End, and Death of a
Salesman for the Gate Theatre in Dublin. Her
off-Broadway credits include The Lady from
Dubuque, The Oldest Profession, and The Last
of the Thorntons at Signature Theatre; Measure
for Measure at New York Shakespeare Festival;
Hamlet at Theatre for a New Audience; In the
Blood and A Dybbuk at the Public Theater;
Memory House, Recent Tragic Events, and The
Wax at Playwrights Horizons; Waiting for
Godot, Endgame, and The Entertainer at Classic
Stage Company; and Finer Noble Gases and
Acts of Mercy at Rattlestick Playwrights Theater. She also designed costumes for productions at George Street Playhouse, Philadelphia
Theatre Company, the Guthrie Theater,
Seattle Repertory Theatre, Intiman Theatre,
the Huntington Theatre Company, the Mark
Taper Forum, Kansas City Repertory Theatre,
Oregon Shakespeare Festival, Hartford Stage,
Long Wharf Theatre, the Geffen Playhouse,
Yale Repertory Theatre, and many others. She
is resident designer for Sally Silvers & Dancers.
Elizabeth holds an mfa from Yale School of
Drama and is on the faculty of Mason Gross
School of the Arts at Rutgers.
Daniel Ionazzi
LIGHTING DESIGNER
Daniel makes his debut at Berkeley Rep with
Red Hot Patriot. His work has also been seen at
Steppenwolf Theatre Company, Arena Stage,
South Coast Repertory, the Denver Center
Theatre Company, and the Geffen Playhouse,
where he originally designed Red Hot Patriot.
His design for the New York production of The
Jacksonian garnered a Lucille Lortel nomination. He designed the lighting installation for
Il Teatro alla Moda for the Wallis Annenberg
Center for the Performing Arts and Trajectoire
and Catapult for Diavolo Dance Theatre. His
design work can also be seen in the 4-D cinematic experience, Beyond all Boundaries, at the
National WWII Museum. Daniel is the production manager for the Geffen and a member of
the faculty of the ucla School of Theater, Film
and Television and director of production for
the Department of Theater. He is the author
of The Stage Management Handbook and The
Stagecraft Handbook.
Rob Milburn & Michael Bodeen
SOUND DESIGNERS AND
ORIGINAL MUSIC
Rob and Michael composed music and
designed sound for Berkeley Rep’s productions of No Man’s Land and Vanya and Sonia
and Masha and Spike and designed sound
for Comedy on the Bridge/Brundibar. Their
Broadway credits include music composition and sound for Waiting for Godot & No
Man’s Land, Breakfast at Tiffany’s, The Miracle
Worker, and One Flew Over the Cuckoo’s Nest,
and sound for This is Our Youth, Of Mice and
Men, Superior Donuts, reasons to be pretty, A
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profiles
Year with Frog and Toad, King Hedley II, Buried
Child, The Song of Jacob Zulu, and The Grapes
of Wrath. Their off-Broadway credits include
music and sound for Sticks and Bones, The
Notebooks of Leonardo Da Vinci, and Marvin’s
Room; sound for Jitney and The Pain and the
Itch; and music direction and sound for Ruined.
Rob and Michael have created music and
sound at many of America’s resident theatres
(often with Chicago’s Steppenwolf Theatre)
and at several international venues. Please
visit milbomusic.com.
Maya Ciarrocchi
PROJEC TION DESIGNER
MEET US IN THE BAR
We offer a selection of premium spirits, including
craft cocktails curated by East Bay Spice Company,
and a satisfying array of sweets and savories.
Maya designed the video and projection for
Berkeley Rep’s production of Ghost Light. She
is a New York City–based video artist and
projection designer. She has created projections for performance with such artists as
Merce Cunningham, Ping Chong, and Bebe
Miller, as well as for regional theatre. Her work
has been exhibited in New York at Anthology Film Archives, Chashama, the Chocolate
Factory, Microscope Gallery, and New York
Live Arts, and around the country and world
at Artisphere (VA), Borderlines Film Festival
(UK), Hammer Museum (CA), and Moving
Pictures Festival (Canada). Maya has received
residencies from the Kala Arts Institute, the
Lower Manhattan Cultural Council, and the
Ucross Foundation, and is a recipient of Bessie
and Jeff Awards for projections design. Maya
earned a bfa in dance from suny Purchase
and an mfa in computer art from the School
of Visual Arts.
Paul Huntley
WIG DESIGNER
London-born, Paul has worked on hundreds
of Broadway shows since his 1972 arrival
in New York, most memorably the original
productions of Amadeus, Cats, Evita, Les
Misérables, Sweeney Todd, The Producers, and
Hairspray. A recipient of Drama Desk and Tony
Awards, he has also worked with some of the
most legendary leading ladies of the cinema,
ranging from Bette Davis, Mae West, Marlene
Dietrich, and Vivien Leigh to Jane Fonda, Faye
Dunaway, Glenn Close, and Jessica Lange.
He also worked on Anything Goes, War Horse,
Other Desert Cities, and Man and Boy.
Amy Potozkin
CASTING DIREC TOR /
A R T I S T I C A S S O C I AT E
This is Amy’s 25th season at Berkeley Rep.
Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona
Theatre Company, Aurora Theatre Company, B
Street Theatre, Bay Area Playwrights Festival,
Dallas Theater Center, Marin Theatre Com26 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3
pany, the Marsh, San Jose Repertory Theatre,
Social Impact Productions Inc., and Traveling
Jewish Theatre. Amy cast roles for various
indie films, including Conceiving Ada, starring
Tilda Swinton; Haiku Tunnel and Love & Taxes,
both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa
from Brandeis University, where she was also
an artist in residence. She has been a coach to
hundreds of actors, has taught acting at Mills
College and audition technique at Berkeley
Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay
Area. Prior to working at Berkeley Rep, she
was an intern at Playwrights Horizons in New
York. Amy is a member of csa, the Casting
Society of America.
Michael Suenkel
S TAG E M A N AG E R
Michael began his association with Berkeley
Rep as the stage management intern for the
1984–85 season and is now in his 21st year
as production stage manager. Some of his
favorite shows include 36 Views, Endgame,
Eurydice, Hydriotaphia, and Mad Forest. He has
also worked with the Barbican in London, the
Huntington Theatre Company, the Juste Pour
Rire Festival in Montreal, La Jolla Playhouse,
Pittsburgh Public Theater, the Public Theater
and Second Stage Theater in New York, and
Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’
Breaking the Code and Sam Shepard’s The Late
Henry Moss.
Tony Taccone
MICHAEL LEIBERT
ARTISTIC DIREC TOR
During Tony’s tenure as artistic director
of Berkeley Rep, the Tony Award–winning
nonprofit has earned a reputation as an
international leader in innovative theatre. In
those 18 years, Berkeley Rep has presented
more than 70 world, American, and West
Coast premieres and sent 23 shows to New
York, two to London, and one to Hong
Kong. Tony has staged more than 35 plays in
Berkeley, including new work from Culture
Clash, Rinde Eckert, David Edgar, Danny Hoch,
Geoff Hoyle, Quincy Long, Itamar Moses, and
Lemony Snicket. He directed shows that transferred to London, Continental Divide and Tiny
Kushner, and two that landed on Broadway
as well: Bridge & Tunnel and Wishful Drinking. Prior to working at Berkeley Rep, Tony
served as artistic director of Eureka Theatre,
which produced the American premieres of
plays by Dario Fo, Caryl Churchill, and David
Edgar before focusing on a new generation of
American writers. While at the Eureka, Tony
commissioned Tony Kushner’s legendary
Angels in America and co-directed its world
premiere. He has collaborated with Kushner
on eight plays at Berkeley Rep, including last
season’s The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the
Scriptures. Tony’s regional credits include
Actors Theatre of Louisville, Arena Stage,
Center Theatre Group, the Eureka Theatre,
the Guthrie Theater, the Huntington Theatre
Company, Oregon Shakespeare Festival, the
Public Theater, and Seattle Repertory Theatre.
As a playwright, he debuted Ghost Light, Rita
Moreno: Life Without Makeup, and Game On,
written with Dan Hoyle. In 2012, Tony received
the Margo Jones Award for “demonstrating a
significant impact, understanding, and affirmation of playwriting, with a commitment to the
living theatre.”
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing
director since 1990, leading the administration and operations of the Theatre. She has
served as president of the League of Resident
Theatres (lort) and treasurer of Theatre
Communications Group, organizations that
represent the interests of nonprofit theatres
across the nation. Susan chaired two panels
for the Massachusetts Arts Council and has
also served on program panels for Arts Midwest, the Joyce Foundation, and the National
Endowment for the Arts. Closer to home,
Susan chairs the Downtown Berkeley Association (dba). She is the founding chair of the
Berkeley Arts in Education Steering Committee for Berkeley Unified School District and
the Berkeley Cultural Trust. She was awarded
the 2012 Benjamin Ide Wheeler Medal by the
Berkeley Community Fund. Susan serves on
the faculty of Yale School of Drama and is
a proud member of the Mont Blanc Ladies’
Literary Guild and Trekking Society. She lives
in Berkeley with her husband.
Extraordinary Performance.
Proudly serving Berkeley, Albany, Kensington, El Cerrito, Emeryville,
Oakland and Piedmont
Lorri Arazi
Leslie Avant
Milton Boyd
Norah Brower
Carla Buffington
Jackie Care
Stina Charles-Harris
Chris Cohn
Carla Della Zoppa
Francine Di Palma
Debra Dryden
Leslie Easterday
Gini Erck
Debi Fitzgerrell
Jennie A. Flanigan
Wendy Gardner Ferrari
Toni Hanna
Nancy Hinkley
Maureen Kennedy
Jack McPhail
Denise Milburn
Bob & Carolyn Nelson
Nancy Noman
Sandy Patel-Hilferty
Amy Robeson
Ira & Carol Serkes
Geri Stern
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Robin Sutherland
PRINCIPAL PIANIST, SF SYMPHONY
Karen Racanelli
G E N E R A L M A N AG E R
Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley
Rep’s programs for education provided live
theatre for more than 20,000 students annually. In 1995, she became general manager, and
since then has overseen the day-to-day operations of the Theatre. She has represented the
League of Resident Theatres during negotiations with both Actors’ Equity Association
and the union of stage directors and choreographers. Prior to her tenure at Berkeley Rep,
Karen worked for Theatre Bay Area as director
of theatre services and as an independent
producer at several Bay Area theatre companies. She has served on the boards of Climate
Theater, Overtone Theatre Company, Park Day
School, and the Julia Morgan Center. Karen is
married to arts attorney MJ Bogatin.
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Liesl Tommy
A S S O C I AT E A R T I S T
Liesl is Berkeley Rep’s associate director and
helmed the acclaimed productions of Party
People and Ruined. She directed the premieres
of Appropriate by Branden Jacobs-Jenkins
(Woolly Mammoth Theatre Company,
Signature Theatre Company), Party People by
universes (Oregon Shakespeare Festival),
The White Man—A Complex Declaration of Love
by Joan Rang (DanskDansk Theatre, Denmark),
Peggy Picket Sees the Face of God by Roland
Schimmelpfennig (Luminato Festival/Canadian Stage Toronto), Eclipsed by Danai Gurira
(Yale Repertory Theatre, Woolly Mammoth),
The Good Negro by Tracey Scott Wilson (the
Public Theater, Dallas Theater Center), A
History of Light by Eisa Davis (Contemporary
American Theatre Festival), Angela’s Mixtape
by Eisa Davis (Synchronicity Performance
Group, New Georges), and Bus and Family
Ties (Play Company for the Romania Kiss Me!
Festival). Other credits include American
Buffalo, Les Misérables, Hamlet, A Raisin in the
Sun, and Ma Rainey’s Black Bottom, as well
as a four-city tour of Ruined. She has also
worked at California Shakespeare Theater, the
Huntington Theatre Company, Center Stage
in Baltimore, Oregon Shakespeare Festival, La
Jolla Playhouse, and Sundance East Africa on
Manda Island in Kenya, among others. Liesl
serves as a program associate at Sundance
Institute Theatre Program and as an artist
trustee with the Sundance Institute’s board
of trustees, and she facilitated the inaugural
Sundance East Africa Theatre Director’s Lab
in Addis Ababa, Ethiopia. Liesl has earned an
Obie Award, a Lillian Hellman Award, and the
Alan Schneider Award for directing, the inaugural Susan Stroman Directing Award from
the Vineyard Theatre, the nea/tcg Directors
Grant, and the New York Theatre Workshop
Casting/Directing Fellowship. She has taught
or guest directed at Yale Repertory Theatre,
Juilliard, nyu, and Brown University. Liesl is an
alum of Trinity Rep Conservatory and a native
of Cape Town, South Africa.
Madeleine Oldham
R E S I D E N T D R A M AT U R G /
D I R E C T O R , T H E G R O U N D F LO O R
Madeleine is the director of The Ground Floor:
Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning
and new play development, and dramaturged
the world premiere productions of The House
that will not Stand, Passing Strange, and In the
Next Room (or the vibrator play), among others.
As literary manager and associate dramaturg
at Center Stage in Baltimore, she produced
the First Look reading series and headed up
its young audience initiative. Before moving
to Baltimore, she was the literary manager at
Seattle Children’s Theatre, where she oversaw
an extensive commissioning program. She also
acted as assistant and interim literary manager
at Intiman Theatre in Seattle. Madeleine
served for four years on the executive committee of Literary Managers and Dramaturgs
of the Americas and has also worked with
act (Seattle), Austin Scriptworks, Crowded
Fire, the Eugene O’Neill Theatre Center, the
Kennedy Center, New Dramatists, Playwrights
Center, and Portland Center Stage.
SEASON SPONSORS
Roger Strauch is a former president of
Berkeley Rep’s board of trustees and is
currently chair of the trustees committee. He
is chairman of the Roda Group (rodagroup.
com), a venture-development company based
in Berkeley focused on cleantech investments,
best known for launching Ask.com and for
being the largest investor in Solazyme, a
renewable oil and bio-products company
(Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical
technology company, and a member of the UC
Berkeley Engineering Dean’s college advisory
board. He is chairman of the board of trustees
for the Mathematical Sciences Research
Institute; a member of the board of Northside
Center, a mental-health services agency based
in Harlem, New York City; and a co-founder
of the William Saroyan Program in Armenian
Studies at Cal. His wife, Julie A. Kulhanjian, is
an attending physician at Oakland Children’s
Hospital. They have three children.
SEASON SPONSORS
Betty and Jack are proud to support Berkeley
Rep. Jack, one of the Theatre’s trustees, also
sits on the boards of San Francisco Opera and
the Straus Historical Society. He is vice-chair
of the Oxbow School in Napa and an emeritus
trustee of the San Francisco Art Institute,
where he served as board chair. Betty, a retired life coach, has resumed her earlier career
as a nonfiction writer and poet. She serves on
the boards of Brandeis Hillel Day School, Coro
Foundation, Earthjustice, and Sponsors for
Educational Opportunity (seo).
LEAD SPONSORS
Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they
moved with two young children in tow to
Berkeley. Their favorite evenings at Berkeley
Rep were usually the discussion nights where
often friends would join them as well. Michelle
and Bruce always felt that Berkeley Rep was an
exceptional Bay Area cultural treasure as it was
willing to support courageous new works and
nurture innovative young playwrights. In 2002,
Bruce and Michelle moved to London, where
they nourished themselves on a steady diet of
English theatre (note the proper spelling) until
they could return to their beloved Berkeley Rep.
They are delighted once again to be back in the
very center of leading-edge theatre and are
honored to be lead sponsors for two of this season’s great productions. Their two now grown
children are also tremendous theatre junkies
and will hopefully be joining Bruce and Michelle
for some of this season’s performances.
Adult, teen, and youth classes
start Jan 5—register today!
berkeleyrep.org/classes
Nicholas & Mary Graves
LEAD SPONSORS
Nick and Mary live in San Francisco and enjoy
many days and evenings each year in Berkeley
and at Berkeley Rep. Nick is a past president of
the Theatre’s board of trustees and serves on
the boards of several other nonprofits in the
Bay Area. He is retired from the San Francisco–based asset management firm Osterweis
Capital Management. Mary was awarded her
doctor of education by Rutgers University in
2005. She is a past voting member of the Girl
Scouts of the usa and a past board president
of the Colorado Rocky Mountain School.
R
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Pam & Mitch Nichter
EXECUTIVE SPONSORS
Pam is the chief operating officer, chief financial
officer, and a founding principal at Osterweis
Capital Management, a San Francisco investment manager. Pam serves on the board of
trustees at Berkeley Rep. Osterweis Capital and
its principals support and are on the governing
boards of numerous Bay Area organizations,
including the Contemporary Jewish Museum,
Marin Summer Theater, San Francisco Ballet,
San Francisco Free Clinic, San Francisco Jewish
Film Festival, and Summer Search. Mitch
practices corporate and securities law at Paul
Hastings, a global law firm, where he is a
partner and heads up the firm’s hedge fund
practice. Paul Hastings provides pro bono and
other support to a number of Bay Area not-forprofit organizations, including Audubon Canyon Ranch, East Bay Community Law Center,
United Way, and WildCare. Pam and Mitch live
in the North Bay and have been enthusiastic
supporters of Berkeley Rep for years.
F I N A N C I A L A I D F O R YO U T H A N D T E E N C L A S S E S
The arts come alive at College Prep!
profiles
Marjorie Randolph
Dixon Long
Marjorie is the immediate past president of
Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She is retired
as the head of worldwide human resources
for Walt Disney Studios. During her tenure
at Berkeley Rep, she has sponsored 30 plays.
A member of the California Bar and a former
president of California Women Lawyers, she
serves as a community board member and
treasurer of the Psychoanalytic Institute of
Northern California, a member of the Chabot
Space & Science Center Foundation Leadership Council, and a member of the National
Leadership Council for Futures Without
Violence. She also serves on the boards of UC
Press and Kronos Quartet.
Dixon moved to the Bay Area in 1990 after a
career as professor of political science and dean
at Case Western Reserve University. He studied fiction, and his first novel was published in
2001, followed by five more novels and a book
of short stories. His subject matter varies from
family drama to an international political thriller
to a story of academic administration gone
haywire. His non-fiction guidebook, Markets of
Paris, is now in a second edition. Dixon keeps
bees with his son Sam, and has helped to create
public gardens in San Rafael and Mill Valley.
Music, art, and drama are lifelong interests.
EXECUTIVE SPONSOR
CollegePrep
E MG
A private high school for grades 9-12
Our approach to learning requires
collaboration, patience, and creativity—
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EXECUTIVE SPONSORS
Michael and Sue have been interested in the
arts since they met and enjoy music, ballet,
and live theatre. Michael, who recently retired
as chairman and chief executive officer of
Macy’s West, served on Berkeley Rep’s board
of trustees from 1999 to 2006 and currently
serves on the board of directors of the Jewish
Museum. Sue serves on the board of the
World of Children Award. The Steinbergs
have always enjoyed regional theatre and are
delighted to sponsor Red Hot Patriot.
The Ira and Leonore Gershwin
Philanthropic Fund/
EXECUTIVE SPONSORS
A Berkeley Institution Since 1985
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Michael and Jean have a long history with the
arts. Mike manages the estate of his late uncle,
Ira Gershwin, and promotes Gershwin music
worldwide. He helped facilitate the Gershwin
Room in Washington, DC, the Ira Gershwin
Gallery at the Disney Concert Hall in LA,
and the annual Gershwin Prize for Popular
Song. Mike is a sustaining advisor to Berkeley
Rep and serves on the board of the Michael
Feinstein Foundation. He is a past member of
the boards of the Goodspeed Opera House,
the Jewish Home of San Francisco, and the
San Francisco Symphony. Jean and Mike
co-manage the Ira and Leonore Gershwin
Philanthropic Fund and a Trust for the Music
Division of the Library of Congress. They are
members of the Library of Congress’ James
Madison Council. Jean is an active Berkeley
Rep trustee and has served as co-chair of our
annual gala multiple times. She serves on
Theatre Communications Group’s National
Council and is a former board member of jvs,
where she continues to co-chair the Employee
of the Year Awards to select winners for the
annual jvs Strictly Business Lunch.
SPONSOR
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Sandra, a long-standing Berkeley Rep trustee,
currently serves on the Campaign steering committee and is the past chair of the
corporate committee and member of the
executive committee. Sandra is a national and
international labor and employment attorney
and a partner of the global law firm Dentons
US llp. She is also a neutral arbitrator for the
American Arbitration Association. Sandra is
a leader of the American Bar Association, the
largest professional services organization in
the world, having recently completed a threeyear term on the aba’s board of governors
and as chair of its finance committee. Ross
teaches science and mathematics at Mount
Diablo High School and is an avid dancer and
birdwatcher. The McCandless’ love of theatre
dates back to Sandra and Ross’ joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter Phyra
McCandless and son-in-law Angelos Kottas
are also enthusiastic members of the Berkeley
Rep family.
Leonard X Rosenberg &
Arlene B. Rosenberg
SPONSORS
Len is a partner in the Palo Alto and San Francisco offices of Mayer Brown llp, an international law firm, where he is the co-head of the
West Coast real estate practice and a leader
of the cross-border real estate investment
practice. He is a member of Berkeley Rep’s
board of trustees and is currently secretary
of the board. Len also heads the local alumni
chapter of his alma mater, Brandeis University,
and serves on the alumni association board of
directors. Arlene, a recovering lawyer, serves
on the board of the couple’s local educational
foundation and is active in their synagogue,
Peninsula Temple Sholom. Len and Arlene
have two teenaged sons and an empty refrigerator. Now removed from the cold winters
of their former Chicago home and its thriving
theatre environment, Len and Arlene have enjoyed deepening their attachment to Berkeley
Rep over the years, and are delighted to be
sponsoring Red Hot Patriot.
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kpix 5 shares a commitment with cbs News to
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Manager Bruno Cohen. “And just like Berkeley
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E MG
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As the top corporate giver to San Francisco Bay Area nonprofits (according to the
SF Business Times), Wells Fargo recognizes
Berkeley Rep for its leadership in supporting
the performing arts and its programs. As the
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Keith Haring, Untitled, 1982. Enamel and Day-Glo paint on metal. Collection of the Keith Haring Foundation. Keith Haring artwork © Keith Haring Foundation
SEASON SPONSOR
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bart’s all-electric trains make it one of the
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an ecofriendly alternative to cars. The Oakland
Airport Connector opens this fall. For more
info, visit bart.gov.
NOVEMBER 8, 2014–FEBRUARY 16, 2015
This exhibition is organized by the Fine Arts Museums of San Francisco.
Director’s Circle: Penny and James George Coulter. Curator’s Circle: Sloan
and Roger Barnett, Ray and Dagmar Dolby Family Fund, Holly Johnson
Harris and Parker Harris, and the Shimmon Family. Conservator’s Circle:
The Buena Vista Fund of Horizons Foundation. Supporter’s Circle:
Nancy and Joachim Bechtle, Juliet de Baubigny, and Richard and Peggy
Greenfield. Community Partner: WEBCOR Builders
Media Sponsors
Hotel Partner
Untitled-16 1
10/14/14 4:07 PM
Additional staff
Electrics
Stephanie Buchner
Melina Cohen-Bramwell
Jack Horwitch
Kelly Kunaniec
Alex Marshall
William Poulin
Andrea J. Schwartz
Molly Stewart-Cohn
Thomas Weaver
Lauren Wright
Followspot operator
Thomas Weaver
Props artisans
Ashley Nguyen
Rebecca Willis
Sound engineers
Brendan Aanes
Xochitl Loza
Stage carpenter
Kourtney McCrary
Video programmer
Alex Marshall
Teletype appears courtesy of the
Associated Press Corporate Archives
Red hot playwrights: A conversation with
Margaret and Allison Engel
CO N TIN U E D FRO M PAG E 21
more than just slap labels on people. She burned a lot of midnight oil working,
going through the Medicaid budgets to see how children were faring. So her
outrage and her humor had a terrific foundation, which is why I think people still
quote her. We have a Google alert, and there’s not a day that goes by that someone
isn’t picking up something from her column, or wondering what Molly would say
about something contemporary.
Allison: I think that’s an important point because it does seem that a lot of
commentary these days is just reacting to what someone else said or reacting to
what has happened. Molly was so original in that she really did do her reporting and
her legwork. And she also did it from outside the Washington–New York power-political axis. She deliberately made her base in Austin, Texas but talked about national
subjects. So that really set her apart from kind of the chattering classes that were
repeating the same topics.
Did you notice any similarities between playwriting and journalism as you were
working on the play?
Allison: Oh sure. You have to catch people’s interest right at the beginning, you
have to be able to edit, and you have to be able to tell a story economically. I’m surprised more journalists don’t write plays, because there are so many stories, so many
great stories that are such perfect vehicles for plays. And I guess now that the fad of
10-minute plays is firmly entrenched, maybe there will be more journalists who do that.
Do you think that you’ll try writing a play together again?
Margaret: Oh we’ve already been asked to do two others. One by the literary
estate of Erma Bombeck; that’s done and we’ve had a staged reading. And one we’re
working on about Damon Runyon that his literary estate asked us to do.
In the past several years, there have been a lot of discussions about the state
of journalism and where it’s going, particularly print journalism. Where do you
think we are headed, and where are we right now?
Margaret: There’s still a home and a thirst and an interest in real stories and
terrific journalism. It just is that there are fewer practitioners who are able to do it because the money isn’t there. But when a good story comes up and terrific journalism is
being committed day in and day out—both of us serve as judges on a lot of journalism
contests, and there’s just amazing material being produced. So I’m less pessimistic
than some others because I still see these amazing stories. And of course, the courage that it takes to be a foreign correspondent today, where for the first time really in
history journalists are being targeted for murder. It’s always been dangerous, but you
were going to die in a plane crash or train collision; now it’s the easiest way to silence
the truth.
Allison: Peggy runs a journalism foundation, and her fellows turn in just really
extraordinary journalism, so it is still being done and in fact I guess what makes me
feel positive about it is that as Peggy said, the financial rewards and the job security
are no longer there, and despite that, people are finding ways to get journalism accomplished and get it out. I think it is easier to publish your own things, online, than it
was pre-internet. But I do worry about the fourth estate not really acting as a watchdog as much as it should on government and the military and so forth, just because
the numbers of journalists are being decimated. But somehow, there is still good
journalism being done and it’s just almost more being done out of love than money.
That feels very similar to what’s happening in the playwriting world right now.
Allison: You don’t want these amazing professions to become hobbies, rather
than professions.
We thank the many institutional partners who enrich our community by
championing Berkeley Rep’s artistic and community outreach programs.
We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who
made their gifts between September 2013 and October 2014.
BE R K E L E Y R E P T H A N K S
G IF T S O F $ 10 0,0 0 0 A N D A B OV E
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G IF T S O F $2 5,0 0 0 –49,9 9 9
Anonymous
The Ira and Leonore Gershwin Philanthropic Fund
Wallis Foundation
Woodlawn Foundation
G IF T S O F $50,0 0 0 –9 9,9 9 9
The Bernard Osher Foundation
National Endowment for the Arts
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Berkeley Civic Arts Program
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Perforce · Ruppenthal Foundation for the Arts ·
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Disney Company · visa u.s.a., Inc. · Willis Lease
Finance Corporation
BE R K E L E Y R E P
THANKS
Donors to the Annual Fund
We thank the many individuals in our community who help Berkeley Rep produce
adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands
of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual
Fund, who made their gifts between September 2013 and October 2014.
To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
S P ON S OR C I RC L E
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Anonymous (7) · Peggy & Don Alter · Pat
Angell, in memory of Gene Angell · Todd
& Diane Baker · Don & Gerry Beers M ·
Daniel Boggan Jr · Harry Bremond & Peggy
Forbes · Fred Brown & Barbara Kong Brown ·
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Carl · Paula Carrell · Stan & Stephanie
Casper · Naveen Chandra & James Lengel ·
Leslie Chatham & Kathie Weston · Ed & Lisa
Chilton · Terin Christensen · Ralph & Rebecca
Clark · Earl T. Cohen & Heidi M. Shale ·
Barbara & Tim Daniels M · Alecia A.
DeCoudreaux · Harry & Susan Dennis · Ivan &
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Debra Engel, in honor of Barry Williams & Lalita
Tademy · Susan English & Michael Kalkstein ·
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Randolph · Paul Feigenbaum & Judy Kemeny ·
Frannie Fleishhacker · Lisa Franzel & Rod
Mickels · Donald & Dava Freed · Christopher
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Holman · Douglas Hardman & Karla Martin ·
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Hirt & Jeffrey Rodman · Elaine Hitchcock ·
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Shapiro · Christopher Killian & Carole
Ungvarsky · Steve K. Kispersky · Suzanne
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R. Jay & Eileen Love · J.E. Luckett · Bruce
Maigatter & Pamela Partlow · Meg Manske ·
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& Eloise Middleton · David L. Monroe · Timothy
Muller · Margo Murray · Claire Noonan &
Peter Landsberger · Pier & Barbara Oddone,
in memory of Michael Leibert · Sheldeen
Osborne · Richard Ostreicher & Robert
We gratefully recognize
the following members
of the Annual Fund whose
contributions were
received from September
to October 2014
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Hartman Brotsky M · Dorothy & Michael
Herman · Ruth Medak · Lewis Perry · Laurel
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LEGEND
K
in-kind gift
M
Sleasman · Lynette Pang & Michael Man ·
Gregory C. Potts · Dan & Lois Purkett M ·
Kenneth & Frances Reid · Charles R. Rice ·
Edward & Jeanette Roach · Brian Bock and
Susan Rosin · Rob & Eileen Ruby · John Sanger ·
Seiger Family Foundation · Neal Shorstein,
MD & Christopher Doane · Ann Shulman &
Stephen Colwell · Dave & Lori Simpson · Ed &
Ellen Smith · Sigrid Snider · John St. Dennis &
Roy Anati · Gary & Jana Stein · Annie Stenzel ·
Tim Stevenson & David Lincoln King · Pate &
Judy Thomson · Deborah & Bob Van Nest ·
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& Clarence Scott · Jerry & Seda Arnold · Naomi
Auerbach & Ted Landau · Mary Bailey · David
& Christine Balabanian · Barbara Jones &
Massey J. Bambara · Leslie & Jack Batson ·
Jonathan Berk & Rebecca Schwartz · Richard
& Kathy Berman · Robert Berman & Jane
Ginsburg · Caroline Beverstock · Steve
Bischoff · Patti Bittenbender · Marilyn Bray ·
Wendy Buchen · Rike & Klaus Burmeister ·
Alex Byron & Nicole Maguire · Don Campbell
and Family · Kawika Campbell · Dr. Paula
Campbell · Doug Carlston & Kathy Williams ·
Bruce Carlton · Davis Carniglia & Claire
Baker · John Carr · Carolle J. Carter & Jess
Kitchens · Kim & Dawn Chase · Patty Chin ·
Carol T. Christ · Karen Clayton & Stephen
Clayton · Dennis Cohen & Deborah Robison ·
Leonard & Roberta Cohn · Ruth Conroy ·
Robert & Blair Cooter · John & Izzie Crane M ·
Philip Crawford · Robert & Loni Dantzler · Pat
& Steve Davis · Abby & Ross Davisson · Daryl
Dichek & Kenneth Smith, in honor of Shirley &
Phil Schild · Drs. Nancy Ebbert & Adam
CO N T RIB U TO R S
$ 15 0 –2 49
Keira Armstrong & Steve Thompson · Jim &
Donna Beasley · Charles Benedict · Rollin &
Pamela Coville · Susan G. Duncan, in memory
of Marilyn Goodman · Sue & Peter Elkind · Bill
Hendricks · Robert & Bonnie Hepps, in honor of
Daria & Franco · Beth Jordan & Andy Schwartz ·
Roy Kaplan, in memory of Barbara Kaplan ·
Thomas & Barbara Lasinski · John & Barbara
Ohlmann · Beth Polland · James Walsh
FRIE N D S
$ 75 –149
Anonymous (4) · Jean A. Amos · Larry &
Barbara Babow · Adriane & Barry Bosworth ·
Barbara Cannella · Renate & Robert Coombs ·
Judith Fireman · David & Christine Goldin ·
Rochmes · Jeanene E. Ebert M · Anita C. Eblé ·
Burton Peek Edwards & Lynne Dal Poggetto ·
Roger & Jane Emanuel · Michael Evanhoe ·
Nancy H. Ferguson · Robert Fleri, in memory
of Carole S. Pfeffer · Michael & Victoria Flora ·
Stephen Follansbee & Richard Wolitz · Jacques
Fortier · Dean Francis · Nancy H. Francis ·
Stuart & Joyce Freedman · Kate & Ted
Freeland · Daniel Friedland & Azlynda Alim ·
Tim Geoghegan · Paul Gill & Stephanie
D’Arnall · Jane Gottesman & Geoffrey Biddle ·
Dan Granoff · Sheldon & Judy Greene · Don &
Becky Grether · Dan & Linda Guerra · John G.
Guthrie · Robert L. Harris & Glenda
Newell-Harris · Dan & Shawna Hartman
Brotsky · Geoffrey & Marin-Shawn Haynes ·
Daria Hepps · Irene & Robert Hepps · Wilbur
& Carolyn Ross Hobbs · Judith Holland ·
Morgan Hough · Olivia & Thacher Hurd Fund ·
Mr. & Mrs. Edwin Ives · Ken & Judith Johnson ·
Marc & Lisa Jones · Helmut H. Kapczynski &
Colleen Neff · Dennis Kaump · Beverly Phillips
Kivel · Jeff Klingman & Deborah Sedberry ·
Joan & David Komaromi · Janet Kornegay and
Dan Sykes · Jennifer Kuenster & George
Miers · Charles Kuglen · Larry & Ruth Kurmel ·
Woof Kurtzman & Liz Hertz · Henry & Natalie
Lagorio · Thomas LaQueur · Mr. & Mrs. Richard
Larsen · John Leys · Ray Lifchez · Dottie
Lofstrom · Judy MacDonald Johnston · Sue &
Phil Marineau · Sarah McArthur & Michael
LeValley · Betsy McDaniel · Marie S. McEnnis ·
Sean McKenna · Christopher McKenzie &
Manuela Albuquerque · Ash McNeely · Mary &
Gene Metz · Aliza and Peter Metzner K · Caryl
& Peter Mezey · Geri Monheimer · Rex
Morgan & Greg Reniere · Brian & Britt-Marie
Morris · Ronald Morrison · Jerry Mosher ·
Moule Family Fund · Lance Nagel · Ron
Nakayama · Kris Carpenter Negulescu, in
memory of Maxine Carpenter · Jeanne E.
Newman · Marlowe Ng & Sharon Ulrich ·
Hung Nguyen · Judy Ogle · Carol J. Ormond ·
Nancy Park · P. David & Mary Alyce Pearson ·
Bob & Toni Peckham · James F. Pine M ·
Malcolm & Ann Plant · John & Anja Plowright ·
Gary F. Pokorny · Charles Pollack & Joanna
Cooper · Susie & Eric Poncelet · Fred & Judy
Porta · Roxann R. Preston · Paula Pretlow ·
Kathleen Quenneville K · Chuck & Kati
Quibell · Sheldon & Catherine Ramsay · Ian
Reinhard · Helen Richardson · Paul &
Margaret Robbins · Joshua Robison · Joan
Roebuck · Roberta Romberg · Galen Rosenberg
& Denise Barnett · Jirayr & Meline Roubinian ·
Deborah Dashow Ruth, in memory of Leo P.
Ruth · June & Bob Safran · Dorothy R. Sax ·
Laurel Scheinman · Bob & Gloria Schiller ·
Mark Schoenrock & Claudia Fenelon · Teddy
& Bruce Schwab · Brenda Buckhold Shank,
M.D., Ph.D. · Steve & Susan Shortell · William
& Martha Slavin · Carra Sleight · Suzanne
Slyman · Jerry & Dick Smallwood · Mark Smith
& Pam Callowa · Christina Spaulding · Louis &
Bonnie Spiesberger · Robert & Naomi
Stamper · Ms. Joelle Steefel · Herbert
Steierman · Lynn M. & A. Justin Sterling ·
Monroe W. Strickberger · Shayla Su M · Ellen
Sussman & Neal Rothman · Ruthann Taylor ·
Nancy & Fred Teichert · Jeff & Catherine
Thermond · Michael Tilson Thomas & Joshua
Robison · Prof. Jeremy Thorner & Dr. Carol
Mimura, in memory of James Toshiaki
Mimura · Karen Tiedemann & Geoff Piller ·
Janet Traub · William van Dyk & Margi
Sullivan · Gerald & Ruth Vurek · Scott Wachter
& Barbara Malina · Louise & Larry Walker ·
Dena & Wayne Watson-Lamprey · William R.
Weir · Sallie Weissinger · Dr. Ben & Mrs.
Carolyn Werner · Elizabeth Werter · Ann
Harriman · Diane & Scott Wieser · Oliver
Williamson · Fred Winslow & Barbara
Baratta K · Carol Katigbak Wong
Laurie Hill · Joe & Ann Jensen · Dr. & Mrs.
Ernest Newbrun · Diane Raile · Ann & Don
Rathjen · Steve Spellman · Bill and Sandy
Threlfall · Alice Wilkins
Laconsay · Iris C. Libby · Christian Lorentzen ·
Elaina Lovejoy · Anna Lushtak · John S.T. Mark ·
Redge & Carole Martin · Deborah McKinney ·
Christia Mulvey · Deborah Peterson · Ronald N.
Peterson · Sarah Pollak · Albertha Richardson ·
Jenny Robertson · Helen Rosen · Mark Ruben ·
Sue Scott · Gail & Larry Siegel · Arlene Sirott ·
Barry & Meryl Smith · Robert Strochak · Anna
Swigart · Clarence Travis · Liliana Vallejos ·
Kelley Vanda · Glen Walton · Carole Watkins ·
Gene Weinstein · Monty Worth · Tia Wu ·
Linda Young
PAT RO N S
$ 1 –74
Anonymous (4) · Tarliena Aamir-Balinton ·
Darcy Babbitt · Joseph Baxter · Paul Bendix ·
Taylor Berg-Kirkpatrick · Alice K. Berglas ·
Jayaram Bhat · Laura Billings · William Bridges ·
Pamela S. Burdman · Ramiro Calvo · Tony
Cheng · Judy Chiu · Connie Clark · Susan
Cohen · Cathleen Daley · Dr. Paul Abrinko & Dr.
Monika Eckfield · Greg Ehrensing · Susan Evans ·
James M. Hall · Kathy Haranzo · Barbara
Harriman · Joan Hecker · Roy Henninger ·
Charlton Holland · John P. Judd · Velma
matching gift
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
Michael Leibert Society Members
Sustaining members
as of October 2014:
The Society welcomes the
following new members:
John G. McGehee
Anonymous (6)
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edith Barschi
Neil & Gene Barth
Carole B. Berg
Linda Brandenburger
Broitman-Basri Family
Jill Bryans
Bruce Carlton &
Richard G. McCall
Stephen K. Cassidy
Andrew Daly & Jody Taylor
M. Laina Dicker
Thalia Dorwick
Rich & Robin Edwards
Bill & Susan Epstein
William Espey & Margaret
Hart Edwards
Carol & John Field
Dr. Stephen E. Follansbee &
Dr. Richard A. Wolitz
Kerry Francis
Dr. Harvey & Deana Freedman
Joseph & Antonia Friedman
Paul T. Friedman
Dr. John Frykman
Laura K. Fujii
David Gaskin &
Phillip McPherson
Marjorie Ginsburg &
Howard Slyter
Elizabeth Greene
Jon & Becky Grether
Richard & Lois Halliday
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Douglas J. Hill
Hoskins/Frame Family Trust
Lynda & Dr. J. Pearce Hurley
Robin C. Johnson
Lynn Eve Komaromi
Bonnie McPherson Killip
Scott & Kathy Law
Zandra Faye LeDuff
Ines R. Lewandowitz
Dot Lofstrom
Dale & Don Marshall
Sumner & Hermine Marshall
Rebecca Martinez
Suzanne & Charles McCulloch
Miles & Mary Ellen McKey
Margaret D. & Winton McKibben
Susan Medak & Greg Murphy
Stephanie Mendel
Toni Mester
Shirley & Joe Nedham
Pam & Mitch Nichter
Sheldeen G. Osborne
Sharon Ott
Amy Pearl Parodi
Gladys Perez-Mendez
Barbara Peterson
Regina Phelps
Margaret Phillips
Marjorie Randolph
Bonnie Ring Living Trust
Tom Roberts
Tracie E. Rowson
Patricia Sakai &
Richard Shapiro
Betty & Jack Schafer
Brenda Buckhold Shank,
M.D., Ph.D.
Valerie Sopher
Dr. Douglas & Anne Stewart
Jean Strunsky
Henry Timnick
Phillip & Melody Trapp
Janis Kate Turner
Dorothy Walker
Weil Family Trust — Weil Family
Karen & Henry Work
Martin & Margaret Zankel
Gifts received by
Berkeley Rep:
Estate of Suzanne Adams
Estate of Helen Barber
Estate of Fritzi Benesch
Estate of Nelly Berteaux
Estate of Nancy Croley
Estate of John E. &
Helen A. Manning
Estate of Richard Markell
Estate of Margaret Purvine
Estate of Peter Sloss
Estate of Harry Weininger
Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise,
planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic
excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.
For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.
Make great theatre
part of your legacy.
Visit berkeleyrep.org/plannedgiving
or call 510 647-2904
Mona Golabek in The Pianist of Willesden Lane
P H OTO CO U R T E S Y O F M EL LO P I X .CO M
BOA R D OF
T RU ST E E S
BE R K E L E Y R E P STA F F
Michael Leibert Artistic Director
Tony Taccone
Managing Director
Susan Medak
General Manager Karen Racanelli
ARTISTIC
Associate Director
Liesl Tommy
Artistic Associate
& Casting Director
Amy Potozkin
Artistic Associate
Mina Morita
Director, The Ground Floor/
Resident Dramaturg
Madeleine Oldham
Literary Associate
Julie McCormick
Artists under Commission
David Adjmi · Christina Anderson ·
Glen Berger · Julia Cho · Jackie
Sibblies Drury · Rinne Groff · Dave
Malloy · KJ Sanchez
Wardrobe Supervisor
Barbara Blair
Associate Costume Director/
Hair and Makeup Supervisor
Amy Bobeda
ELECTRICS
Master Electrician
Frederick C. Geffken
Production Electricians
Christine Cochrane
Kenneth Coté
SOUND
Sound Supervisor
James Ballen
Sound Engineer
Angela Don
P R ODUC T ION
A DM I N I S T R AT ION
Production Manager
Peter Dean
Associate Production Manager
Amanda Williams O’Steen
Company Manager
Jean-Paul Gressieux
Controller
Suzanne Pettigrew
Director of Technology
Gustav Davila
Associate Managing Director/
Manager, The Ground Floor
Karena Fiorenza Ingersoll
Executive Assistant
Andrew Susskind
Bookkeeper
Kristine Taylor
Associate General Manager/
Human Resources Manager
David Lorenc
Payroll Administrator
Valerie St. Louis
Human Resources Consultant
Laurel Leichter
Database Manager
Diana Amezquita
Systems Assistant
Debra Wong
S TAG E M A NAG E M E N T
Production Stage Manager
Michael Suenkel
Stage Managers
Leslie M. Radin
Karen Szpaller
Kimberly Mark Webb
Production Assistants
Sofie Miller
Amanda Warner
S TA G E OP E R AT ION S
Stage Supervisor
Julia Englehorn
P R OP E R T I E S
Properties Supervisor
Jillian A. Green
Associate Properties Supervisor
Gretta Grazier
Properties Artisan
Viqui Peralta
S C E N E S HOP
Technical Director
Jim Smith
Associate Technical Director
Colin Babcock
Shop Foreman
Sam McKnight
Master Carpenter
E.T. Hazzard
Carpenter
Jamaica Montgomery-Glenn
SCENIC ART
Charge Scenic Artist
Lisa Lázár
DE V E L OPM E N T
Director of Development
Lynn Eve Komaromi
Associate Director of Development
Daria Hepps
Director of Individual Giving
Laura Fichtenberg
Campaign Manager
Libbie Hodas
Institutional Grants Manager
Bethany Herron
Special Events Manager
Lily Yang
Individual Giving Associate
Joanna Taber
Development Database
Coordinator
Jane Voytek
Donor Relations Associate
Kelsey Hogan
Development Associate
Beryl Baker
COSTUMES
B OX OF F I C E
Costume Director
Maggi Yule
Draper
Kitty Muntzel
Tailor
Kathy Kellner Griffith
First Hand
Janet Conery
Ticket Services Manager
Destiny Askin
Subscription Manager &
Associate Sales Manager
Laurie Barnes
Box Office Supervisor
Terry Goulette
Box Office Agents
Amos Cass · Christina Cone · Samanta
Cubias · Julie Gotsch · Eliza Oakley ·
Amanda Warner · Crystal Whybark
M A R K E T I NG &
C OM M U N I C AT ION S
Director of Marketing
& Communications
Robert Sweibel
Director of Public Relations
Voleine Amilcar
Art Director
Nora Merecicky
Video & Multimedia Producer
Pauline Luppert
Communications Manager
Karen McKevitt
Audience Development Manager
Sarah Nowicki
Marketing Manager
Peter Yonka
Webmaster
Christina Cone
Program Advertising
Ellen Felker
Patron Services Manager
Katrena Jackson
House Manager
Debra Selman
Assistant House Managers
Natalie Bulkley · Aleta George ·
Tuesday Ray · Ayanna Makalani ·
Anthony Miller · Sarah Mosby
Concessions Supervisor
Hugh Dunaway
Concessionaires
Jessica Bates · Samantha Burse ·
Steve Coambs · Emerald Geter ·
Charmenaca Keelen · Devon Labelle ·
Kelvyn Mitchell · Benjamin Ortiz ·
Jenny Ortiz · Alonso Suarez
OP E R AT ION S
Facilities Director
Mark Morrisette
Facilities Manager
Lauren Shorofsky
Building Engineer
Thomas Tran
Maintenance Technician
Johnny Van Chang
Facilities Assistants
Sonny Hudson · Sophie Li ·
Carlos Mendoza · Jesus Rodriguez ·
LeRoy Thomas
BERKELEY REP
S C HO OL OF T H E AT R E
Director of the School of Theatre
Rachel L. Fink
Associate Director
MaryBeth Cavanaugh
Jan & Howard Oringer
Outreach Coordinator
Dave Maier
Community Programs Manager
Benjamin Hanna
School Administrator
Kashara Robinson
Registrar
Katie Riemann
Faculty
Alva Ackley · Bobby August Jr. · Erica
Blue · Larry Bogad · Patric Cambra ·
Ron Campbell · Rebecca Castelli ·
Sally Clawson · Iu-Hui Chua · Jiwon
Chung · Laura Derry · Deborah
Eubanks · Sara Felder · Maria Frangos ·
Christine Germain · Nancy Gold · Gary
Graves · Marvin Greene · Kathleen
Hermesdorf · Gendell Hing-Hernández · Andrew Hurteau · Ben Johnson ·
Julian López-Morillas · Dave Maier ·
Patricia Miller · Edward Morgan ·
Slater Penney · Marty Pistone · Diane
Rachel · Rolf Saxon · Elyse Shafarman ·
Rebecca Stockley · Libby Vega
Outreach Teaching Artists
Bobby August Jr. · Jessica Bates ·
Gendell Hing-Hernández · Marilet
Martinez · Sarita Ocon · Carla Pantoja ·
Patrick Russell · Tommy Shepherd ·
Patricia Wright · Elena Wright
Teacher Advisory Council
Molly Aaronson-Gelb · Julie Boe · Amy
Crawford · Beth Daly · Jan Hunter ·
Marianne Philipp · Richard Silberg ·
John Warren · Jordan Winer
Teen Core Council
Asè Bakari · Bridey Bethards · Abram
Blitz · Charlotte Dubach-Reinhold ·
Carson Earnest · Jet Harper · David
Kaus · Eleanor Maples · Eli MillerLeonard · Alexander Panagos · Samuel
Shain · Maya Simon · Chloe Smith ·
Ella Zalon
Docent Committee
Thalia Dorwick, Chair
Matty Bloom, Core Content
Nancy Fenton, Procedures
Selma Meyerowitz, Off-site contact &
Recruitment
Red Hot Patriot Docents
Selma Meyerowitz, Lead Docent
Carole Breen · Carol Dembling · Dee
Kursh · Joy Lancaster · Stephen Miller ·
Joan Sullivan
2014–1 5 B E R K E L E Y R E P
FELLOWSHIPS
Bret C. Harte Young
Director Fellow
Adam L. Sussman
Company/Theatre
Management Fellow
Faith Nelson
Costume Fellow
Andrea Phillips
Development Fellow
Haley Bierman
Education Fellow
Rachel Eisner
Graphic Design Fellow
Sarah Jacczak
Harry Weininger Sound Fellow
Annemarie Scerra
Lighting / Electrics Fellow
Sarina Renteria
Marketing &
Communications Fellow
Billy McEntee
Peter F. Sloss Literary/
Dramaturgy Fellow
Lexi Diamond
Production Management Fellow
Margaret Clement
Properties Fellow
Amelia Burke-Holt
Scenic Art Fellow
Anna McGahey
Scenic Construction Fellow
Will Gering
Stage Management Fellow
Brad Hopper
President
Thalia Dorwick, PhD
Vice President
Jill Fugaro
Vice President
Stewart Owen
Treasurer
Emily Shanks
Secretary
Leonard X Rosenberg.
Chair, Trustees Committee
Roger A. Strauch
Chair, Audit Committee
William T. Espey
Immediate Past President
Marjorie Randolph
Board Members
Carrie Avery
Edward D. Baker
Becky Bleich
Martha Ehmann Conte
David Cox
Robin Edwards
William Falik
Lisa Finer
David Fleishhacker
Kerry L. Francis
Paul T. Friedman
Bruce Golden
Nicholas M. Graves
David Hoffman
Sandra R. McCandless
Susan Medak
Helen Meyer
Pamela Nichter
Jack Schafer
Richard M. Shapiro
Jean Z. Strunsky
Tony Taccone
Gail Wagner
Felicia Woytak
Past Presidents
Helen C. Barber
A. George Battle
Carole B. Berg
Robert W. Burt
Shih-Tso Chen
Narsai M. David
Nicholas M. Graves
Richard F. Hoskins
Jean Knox
Robert M. Oliver
Harlan M. Richter
Richard A. Rubin
Edwin C. Shiver
Roger A. Strauch
Warren Widener
Martin Zankel
Sustaining Advisors
Carole B. Berg
Rena Bransten
Diana J. Cohen
William T. Espey
John Field
Scott Haber
Richard F. Hoskins
Carole Krumland
Dale Rogers Marshall
Dugan Moore
Mary Ann Peoples
Peter Pervere
Pat Rougeau
Patricia Sakai
Michael Steinberg
Michael Strunsky
Martin Zankel
F OU N DI NG DI R E C T OR
Michael W. Leibert
Producing Director, 1968–83
FYI
Latecomers
Please arrive on time. Late seating is not guaranteed.
Connect with us online!
Theatre info
Considerations
Visit our website berkeleyrep.org
You can buy tickets and plan your visit,
watch video, sign up for classes, donate to
the Theatre, and explore Berkeley Rep.
Emergency exits
Please note the nearest exit. In an emergency,
walk—do not run —to the nearest exit.
No food or glassware in the house
Beverages in cans or cups with lids
are allowed.
Accessibility
Both theatres offer wheelchair seating
and special services for those with vision
or hearing loss. Assistive listening devices
are available at no charge in both theatre
lobbies. Scripts are available in the box office.
Open captioning is available for at least one
performance of every season production.
No smoking
The use of e-cigarettes is prohibited in
Berkeley Rep’s buildings and courtyard.
facebook.com/
berkeleyrep
@berkeleyrep
foursquare.com/
berkeleyrep
yelp.com/
berkeleyrep
We’re mobile!
Download our free iPhone or Google Play
app — or visit our mobile site —to buy
tickets, read the buzz, watch video, and plan
your visit.
Tickets/box office
Educators
Box office hours: noon–7pm, Tue–Sun
Call 510 647-2949
Click berkeleyrep.org anytime
Fax: 510 647-2975
Bring Berkeley Rep to your school! Call the
School of Theatre at 510 647-2972 about free
and low-cost workshops for elementary,
middle, and high schools. Call Sarah Nowicki
at 510 647-2918 for $10 student-matinee
tickets. Call the box office at 510 647-2949
about discounted subscriptions for preschool
and K–12 educators.
Under 30? Half-price advance tickets!
For anyone under the age of 30, based on
availability. Proof of age required. Some
restrictions apply.
Senior/student rush
Full-time students and seniors 65+ save $10
on sections A and B. One ticket per ID, one
hour before showtime. Proof of eligibility
required. Subject to availability.
Group tickets
Bring 10–14 people and save $5 per ticket;
bring 15 or more and save 20%. And we
waive the service charge.
Entourage tickets
If you can bring at least 10 people, we’ll give
you a code for 20% off tickets to up to five
performance dates. Learn more at
berkeleyrep.org/entourage.
Student matinee
Tickets are just $10 each. Learn more at
berkeleyrep.org/studentmatinees.
For group, Entourage, and student matinee
tickets, please call us at 510 647-2918.
Sorry, we can’t give refunds or offer
retroactive discounts.
Theatre store
Berkeley Rep merchandise and show-related
books are available in the Hoag Theatre
Store in the Roda Theatre.
Please keep perfume to a minimum
Many patrons are sensitive to the use of
perfumes and other scents.
Phones / electronics / recordings
Please make sure your cell phone or watch
alarm will not beep. Use of recording
equipment or taking of photographs in the
theatre is strictly prohibited.
Please do not touch the set or props
You are welcome to take a closer look, but
please don’t step onto the stage.
No children under 7
Many Berkeley Rep productions are
unsuitable for young children. Please inquire
before bringing children to the Theatre.
No babes in arms.
Theatre maps
stage
T H RU S T
Ticket exchange
Only subscribers may exchange their tickets
for another performance of the same show.
Exchanges can be made online until midnight
(or 7pm by phone) the day preceding the
scheduled performance. Exchanges are made
on a seat-available basis.
stage
seating sections:
• premium • a • b
stage
RO DA
Request information
To request mailings or change your
address, write to Berkeley Rep, 2025
Addison Street, Berkeley, CA 94704; call
510 647-2949; email info@berkeleyrep.org;
or click berkeleyrep.org/joinourlist. If you
use Gmail, Yahoo, or other online email
accounts, please authorize patronreply@
berkeleyrep.org.
stage
stage
seating sections:
• premium • a • b
stage
BEGINS JAN 14
INDIAN INK
BY
TOM STOPPARD
DIRECTED BY
CAREY PERLOFF
“Enticing”
The New York Times
“Romantic”
Associated Press
“Astonishing! Sexy,
funny and deeply
entertaining.”
New York Magazine
“Carey Perloff
has done right . . .
go with confidence!”
The Wall Street Journal
A.C.T. MINI-PACKAGES BEGIN AT $12 A PLAY!
ORDER TODAY AT ACT-SF.ORG/JOIN
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