Berkeley Rep: Red Hot Patriot: The Kick-Ass Wit of Molly Ivins

2 0 1 4 – 1 5 · I S S U E 3THE BERKELEY REP M AGA ZINE

Create the story with us 12 · “Turner Channels Molly Ivins in ‘Red Hot Patriot’” 18 · The program for Red Hot Patriot 23

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THE BERKELEY REP MAGAZINE 2014–15 · ISSUE 3

PROLOGUE

A letter from the artistic director · 5

A letter from the managing director · 7

REPORT

Be the best gift giver ever · 8

Companies outside the arts seek School of Theatre’s expertise · 9

Berkeley Rep welcomes new season media sponsor · 11

Create the story with us · 12

FEATURES

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

IN THIS ISSUE

CONTRIBUTORS

Foundation, corporate, and in-kind sponsors · 33

Individual donors to the Annual Fund · 34

Michael Leibert Society · 36

ABOUT BERKELEY REP

Staff, board of trustees, and sustaining advisors · 37

FYI

Everything you need to know about our box office, gift shop, seating policies, and more · 38

Editor Karen McKevitt

Art Director Nora Merecicky

Graphic Designer Sarah Jacczak

Writers Neal Conan Lexi Diamond Julie McCormick Billy McEntee Karen McKevitt

12

20

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 [email protected]

15

BERKELEY REP PRESENTS RED HOT PATRIOT: THE KICK-ASS WIT OF MOLLY IVINS · 23 MEET THE CAST & CREW · 24

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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 news-papers 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 com-bustible. 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 fore-most, 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 foot-ball 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 conse-quences 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. Sincerely,

Tony Taccone

from the Artistic Director

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2014–15 · I S S U E 3 · T H E B E R K E L E Y R E P M A G A Z I N E · 5


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December 2014Volume 47, No. 3

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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 politi-

cians, 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

from the Managing Director

PROLOGUE



BE THE BEST GIFT GIVER EVER

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.



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 ex-plaining 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 fur-ther 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, psy-chologists 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 the-atre 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

REPORT

Companies outside the arts seek School of Theatre’s expertiseB Y B I L LY M C E N T E E

Dave Maier (right), the School’s Jan & Howard Oringer Outreach Coordinator, leads a workshop for employees

of the Association of Bay Area GovernmentsPH OTO BY N O R A M ERECI CK Y



out of it,” Dave observes. “Every week I notice more presence, more conscious-ness 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: reinvest-ing 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, in-teractive 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 togeth-er as a team to prepare our infomercials was also evident, showing that multiple heads are way better than one.”

As the Create Campaign gains mo-mentum and employees bring new skills back to their workplaces, the School of Theatre looks forward to more of these workshops. Any plans of future collabo-rations with outside companies, however, are still in nascent stages. “It’s an exper-iment, 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, re-gardless 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 be-fore summing up his practices: “You can use theatre arts to teach anything.”

KATHIE LONGINOTTIREALTOR and Berkeley Rep Subscriber®

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REPORT

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 commu-nity 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 peo-ple 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, Petro-nia 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 innova-tive 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 orga-nizations 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 nonprof-it, 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 neigh-borhoods better places to live. Many local Jefferson Award winners have gone on to receive a national award, known as the “Nobel Prize for commu-nity 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.

Berkeley Rep welcomes new season media sponsorB Y K A R E N M C K E V I T T

Akilah Monifa with The House that will not Stand actors Petronia Paley, Harriett D. Foy, and Lizan Mitchell

2014–15 · I S S U E 3 · T H E B E R K E L E Y R E P M A G A Z I N E · 1 1


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.

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.

Take your place in the spotlight

Rendering of the theatre façadeA RCHITEC T U R A L D E SIG N BY M A RC Y WO N G D O N N LO G A N A RCHITEC T S

Cross-section illustration of the Harrison Street campus developmentA RCHITEC T U R A L D E SIG N S BY PATRI CIA MOT ZKIN A RCHITEC T U RE · ILLUS TR ATI O N BY A RT ZEN DA R SKI

Rendering of the Narsai M. David CourtyardA RCHITEC T U R A L D E SIG N BY M A RC Y WO N G D O N N LO G A N A RCHITEC T S

A center for new workBy 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 centuryThirty-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-ef-ficient lighting equipment, new electrical wiring, and a state-of-the-art Constellation Acoustic System from Meyer Sound, which will offer incomparable sound clarity and speech intelli-gibility to audiences no matter where their seats are located.

Theatregoers will enjoy fresh amenities such as refur-bished 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.



— BARBAR A PE TER SON , Longtime Berkeley Rep theatregoer & early contributor to the Create Campaign

Interior of Thrust StagePH OTO CO U RTE S Y O F K E VIN B ERN E .COM

A rehearsal hall in the planned Harrison Street campus developmentA RCHITEC T U R A L D E SIG N S BY PATRI CIA MOT ZKIN A RCHITEC T U RE · ILLUS TR ATI O N BY A RT ZEN DA R SKI

Visit berkeleyrep.org/createCall 510 647-2906

Take your place in the spotlightYou 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 aboveChampion the renovation of the Thrust Stage with your gift of $1,000 or more, and place your name in a new con-stellation of Create Campaign supporters in the revitalized Thrust lobby.

Take a seat · $3,000 and aboveClaim 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.

Dedicate an atrium square · $10,000 and aboveLeave 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.

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 N Y KU S H N E R , PL AY WRIG H T

Honor someone you lovePay 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.

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?

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.



Satire is traditionally the

weapon of the pow

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IF IGNORANCE EVER GOES TO

$40 A BARREL, I WANT DRILLIN’

RIGHTS ON THAT MAN’S HEAD.

I have been attacked by Rush Limbaugh on the air, an experience somewhat akin to being

gummed by a newt. It doesn’t actually hurt, but it leaves you with slimy stuff on your ankle.

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ALL ANYONE NEEDS TO ENJOY THE STATE

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I prefer someone who burns the flag and then wraps

themselves up in the Constitution over someone who burns

the Constitution and then wraps themselves up in the flag.

Being slightly paranoid is like being slightly pregnant—it tends to get worse.

One function of the incom

e gap is that the

people at the top of the heap have a hard

time even seeing those at the bottom

. They

practically need a telescope.

I dearly love the state of Texas, but I consider that a harmless

perversion on my part, and discuss it only with consenting adults.

(Of Patrick J. Buchanan’s 1992 speech at the Republican National

Convention): Probably sounded better in the original German.

SOME DAYS, I ’D FEEL BETTER WITH PUNXSUTAWNEY

PHIL IN THE OVAL OFFICE — AT LEAST HE DOESN’T L IE

ABOUT THE WEATHER.

Y Y Y Y Y Y Y Y Y Y

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Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y

Y Y Y Y Y Y Y Y Y Y Y Y Y Y

Kick-ass witticisms

from Molly Ivins Y

With her sharp mind and sharper tongue, Molly Ivins

could cut even the mightiest down to size. Here are a

few of our favorite incisive quotes.



SATIRE WITHOUT CYNICISM: THE LIFE AND WORK OF MOLLY IVINSB Y L E X I D I A M O N DP H O T O S B Y A L A N P O G U E

“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 T I N U E D O N N E X T PAG E

Molly Ivins in her Austin home, 1993

One function of the incom

e gap is that the

people at the top of the heap have a hard

time even seeing those at the bottom

. They

practically need a telescope.


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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 poli-tics, 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, laugh-ing 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 report-er. Though she was writing for a much wider audience, she maintained her provocative flair and trademark Texas brash-ness. 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



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 two-term Commander in Chief, writing two best-selling books that examined the records, decisions, and character of the Bush ad-ministration. 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 tre-mendously 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 appe-tite 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.

Though she used humor as a means of access, her attacks were deeply searing and always intended to expose with absolute precision.

Left page: Molly Ivins with colleague Kaye Northcott at the Texas Observer office, 1975This 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 , S E P T E M B E R 6 T H , 2 0 1 2

PH OTO BY M A RK G A RVIN18 · T H E B E R K E L E Y R E P M A G A Z I N E · 2014–15 · I S S U E 3


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.

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.

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 perfor-mances that I have done, I don’t think that I have to necessarily agree with the character’s values. No.

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

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.

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 com-pany, gas man, far, far right Republican, everything that she wanted to fight against.

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 val-ues 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.

“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.”

— KATHLEEN TURNER



Red Hot Patriot playwrights Margaret and Allison Engel are a force to be reckoned with. In their success-ful careers as journalists, they have written for papers like the Washington Post, the Des Moines Register, and the San Jose Mer-cury 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 Washing-ton, 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 in-tellect 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 read-ily, 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

B Y J U L I E M C C O R M I C K

RED HOT PLAYWRIGHTS:A CONVERSATION WITH MARGARET AND ALLISON ENGEL

Allison Engel (left) and Margaret EngelPH OTO BY M A RK B ERN DT



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 Congres-sional 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 hilari-ous 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 play-wright and wrote a lot of plays, and ended up working for Hel-en 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 screenwrit-ing 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 togeth-er, 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 T I N U E D O N PAG E 32



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

By KJ Sanchez with Jenny Mercein Directed by Tony Taccone

World premiereS TA RT S J A N 16

N E X T AT B E R K E L E Y R E P

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One Man, Two GuvnorsBy Richard Bean

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TartuffeBy Molière

Adapted by David BallDirected by

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PRO D U C TIO N S TAFFScenic Design John Arnone

Costume Design Elizabeth Hope ClancyLighting Design Daniel Ionazzi

Sound Design & Original Music Rob Milburn & Michael Bodeen

Projection Design Maya CiarrocchiCasting Amy Potozkin, csa

Stage Manager Michael Suenkel

C A S TMolly Ivins Kathleen Turner

Helper Michael Barrett Austin

Berkeley Repertory Theatre presents B E RK E LE Y RE PE R TO RY TH E ATRE TO N Y TACCO N E , MICHAEL LEIBERT ARTISTIC DIREC TOR

S U SA N M E DA K , M ANAGING DIREC TOR

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

D IREC TE D BY

David EsbjornsonN OV E M B E R 21, 2014–JAN UARY 4, 2015RO 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

S E A S O N S P O N S O R SJack & Betty Schafer The Strauch Kulhanjian Family

LE A D S P O N S O R SBruce Golden & Michelle MercerMary & Nicholas Graves

E X ECU T IV E S P O N S O R SPam & Mitch NichterMarjorie RandolphMichael & Sue SteinbergJean & Michael Strunsky

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A S S O CIAT E S P O N S O R SShelley & Jonathan BaggCarole B. BergSusan ChamberlinLinda Jo FitzMary 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.

Partial support of open captioning is provided by Theatre Development Fund.

NEXT UP

By Margaret Engel and Allison Engel



Kathleen TurnerM 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 Acade-my Award nomination and a Golden Globe nomination; and War of the Roses with another Golden Globe nomination. Ms. Turner’s ex-tensive 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 Broad-way 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 AustinH E L P E R

Michael last worked with Berkeley Rep on The Lieutenant of Inish-more. Most recently, he was in the world premiere of Manic Pixie Dream Girl at the New York International Fringe Festival. Other theatri-cal productions include

Bloody Bloody Andrew Jackson (San Francisco Playhouse), Dracula (Center Rep), The Grapes of Wrath (Theatrefirst), and The Internation-alist (Just Theater). Michael has also played locally with 42nd Street Moon, San Francisco Shakespeare Festival, Aurora Theatre, The-atreWorks, California Shakespeare Theater, PlayGround, Pacific Repertory Theatre, the

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 ap-peared 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 Univer-sity. She has also been a political speechwriter and aide for former Iowa governor Tom Vil-sack 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 Ren-ovation 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 screen-writing 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 Wash-ington 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 manag-ing 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 Investiga-tive 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 D I R E C T O R

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 (Eu-reka 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 Mor-rie (Minetta Lane Theatre), Israel Horowitz’s My Old Lady (the Promenade Theatre), Kathleen Tolan’s Memory House (Actors Theatre of Louis-ville and Playwrights Horizons), Ariel Dorf-man’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 Al-lison 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 S C E N I C D E S I G N E R

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 Crit-ics Circle, and Olivier Awards. Other Broad-way 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.

profilesBERKELEY REP PRESENTS



Elizabeth Hope Clancy C O S T U M E D E S I G N E R

Elizabeth’s Broadway credits include A Christ-mas 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 The-ater. She also designed costumes for produc-tions 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 L I G H T I N G D E S I G N E R

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 nomina-tion. 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 cine-matic experience, Beyond all Boundaries, at the National WWII Museum. Daniel is the produc-tion 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 S O U N D D E S I G N E R S A N D O R I G I N A L M U S I C

Rob and Michael composed music and designed sound for Berkeley Rep’s produc-tions 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 composi-tion 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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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 P R O J E C T I O N D E S I G N E R

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 projec-tions 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 Antholo-gy 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 HuntleyW I G D E S I G N E R

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 PotozkinC A S T I N G D I R E C T O R / 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 plea-sure of casting plays for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Com-

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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 Redemp-tion 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 work-shops 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 SuenkelS TA G E M A N A G 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 The-atre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Tony TacconeM I C H A E L L E I B E R TA R T I S T I C D I R E C T O R

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 trans-ferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drink-ing. 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 affirma-tion of playwriting, with a commitment to the living theatre.”

Susan MedakM A N A G I N G D I R E C T O R

Susan has served as Berkeley Rep’s managing director since 1990, leading the administra-tion and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre 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 Mid-west, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Associ-ation (dba). She is the founding chair of the Berkeley Arts in Education Steering Commit-tee 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.

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Karen RacanelliG E N E R A L M A N A G E R

Karen joined Berkeley Rep in 1993 as educa-tion director. Under her supervision, Berkeley Rep’s programs for education provided live theatre for more than 20,000 students annu-ally. In 1995, she became general manager, and since then has overseen the day-to-day opera-tions of the Theatre. She has represented the League of Resident Theatres during negoti-ations with both Actors’ Equity Association and the union of stage directors and choreog-raphers. 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 compa-nies. She has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin.

Liesl TommyA 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/Cana-dian 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 inau-gural 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 OldhamR 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 L O O R

Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and De-velopment of New Work and the Theatre’s res-ident 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 com-mittee 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.

The Strauch Kulhanjian FamilyS E A S O N S P O N S O R S

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 chair-man 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.

Jack & Betty SchaferS E A S O N S P O N S O R S

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


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of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a re-tired 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).

Bruce Golden & Michelle MercerL E A D S P O N S O R S

Michelle and Bruce have been ardent sup-porters 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 sea-son’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.

Nicholas & Mary GravesL E A D S P O N S O R S

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 Francis-co–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.

Pam & Mitch NichterE X E C U T I V E S P O N S O R S

Pam is the chief operating officer, chief financial officer, and a founding principal at Osterweis Capital Management, a San Francisco invest-ment 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-for-profit organizations, including Audubon Can-yon 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.

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Marjorie RandolphE X E C U T I V E S P O N S O R

Marjorie is the immediate past president of Berkeley Rep’s board of trustees and a long-time 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 Leader-ship 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.

Michael & Sue SteinbergE X E C U T I V E S P O N S O R S

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/ Jean & Michael StrunskyE X E C U T I V E S P O N S O R S

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.

Dixon LongS P O N S O R

Dixon moved to the Bay Area in 1990 after a career as professor of political science and dean at Case Western Reserve University. He stud-ied 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.

Sandra & Ross McCandlessS P O N S O R S

Sandra, a long-standing Berkeley Rep trustee, currently serves on the Campaign steer-ing 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 three-year 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 perfor-mance at Harvard College in William Saroy-an’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. RosenbergS P O N S O R S

Len is a partner in the Palo Alto and San Fran-cisco offices of Mayer Brown llp, an interna-tional 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 refrig-erator. Now removed from the cold winters of their former Chicago home and its thriving theatre environment, Len and Arlene have en-joyed deepening their attachment to Berkeley

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Rep over the years, and are delighted to be sponsoring Red Hot Patriot.

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

Bay Area Rapid Transit (bart) is a 104-mile, au-tomated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. The Oakland Airport Connector opens this fall. For more info, visit bart.gov.

KPIXM E D I A S P O N S O R

kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” em-phasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytell-ing. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative—look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organiza-tions such as Berkeley Rep, and are proud to serve as season media sponsors.

Wells FargoS E A S O N S P O N S O R

As the top corporate giver to San Francis-co Bay Area nonprofits (according to the SF Business Times), Wells Fargo recognizes Berkeley Rep for its leadership in supporting the performing arts and its programs. As the oldest and largest financial services company headquartered in California, Wells Fargo has top financial professionals providing business banking, investments, brokerage, trust, mort-gage, insurance, commercial and consumer finance, and much more. Talk to a Wells Fargo banker today to see how we can help you become more financially successful.



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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

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Additional staff Electrics Stephanie Buchner Melina Cohen-BramwellJack Horwitch Kelly Kunaniec Alex MarshallWilliam PoulinAndrea J. Schwartz Molly Stewart-Cohn Thomas WeaverLauren Wright

Followspot operatorThomas Weaver

Props artisansAshley NguyenRebecca Willis

Sound engineersBrendan AanesXochitl Loza

Stage carpenterKourtney McCrary

Video programmerAlex Marshall

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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-po-litical 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 sur-prised 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 be-cause 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 cour-age 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 ac-complished 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 watch-dog 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.

Red hot playwrights: A conversation with Margaret and Allison EngelCO N T I N U E D FRO M PAG E 21



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.

act CateringAngeline’s Louisiana KitchenAurora CateringAutumn PressBelli OsteriaBistro LiaisonBogatin, Corman & GoldCafé ClemC.G. Di Arie Vineyard & WineryComalCyprusDomaine Carneros by TaittingerDonkey & Goat WineryEast Bay Spice Companyetc CateringEureka!Four Seasons Hotel San FranciscofiveGather RestaurantGrace Street CateringGreenbar Craft Distillery

Greene Radovsky Malone Share & Hennigh llp

Grocery Outlet, San LeandroHafner VineyardHotel Shattuck PlazaHugh Groman Catering &

Greenleaf PlattersJazzcaffèKevin Berne ImagesLa MediterraneeLa NoteLatham & Watkins, llpMacallan ScotchMatch VineyardsPat Paulsen VineyardsPathos Organic Greek KitchenPatricia Motzkin ArchitecturePhil’s SlidersPicantePiQPyramid Alehouse

Quady WineryRevival Bar + Kitchen Ricola usaShalleck CollaborativeSt. George Spirits Sweet AdelineTiger Lily Indian BrasserieTres AgavesVenus RestaurantZut! on 4th

Hotel Shattuck Plaza is the official hotel of Berkeley Rep.

Pro-bono legal services are generously provided by Latham & Watkins, llp.

MATCHING GIFTSThe following companies have matched their employees’ contributions to Berkeley Rep. Please contact your company’s HR office to find out if your company matches gifts.

Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Dolby Laboratories · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · Salesforce.com · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation

G I F T S O F $ 10 0,0 0 0 A N D A B OV EThe William & Flora Hewlett FoundationThe James Irvine FoundationThe Shubert FoundationThe Harold and Mimi Steinberg Charitable Trust

G I F T S O F $50,0 0 0 –9 9,9 9 9The Bernard Osher FoundationNational Endowment for the Arts

G I F T S O F $2 5,0 0 0 –49,9 9 9AnonymousThe Ira and Leonore Gershwin Philanthropic FundWallis FoundationWoodlawn Foundation

G I F T S O F $ 10,0 0 0 –24,9 9 9Koret FoundationThe Kenneth Rainin Foundation

G I F T S O F $5,0 0 0 –9,9 9 9AnonymousBerkeley Civic Arts ProgramEast Bay Community FoundationAnn and Gordon Getty FoundationRamsay Family Foundation

G I F T S O F $ 750 –4,9 9 9Alameda County Arts Commission/artsfundJoyce & William Brantman FoundationCivic FoundationThe Entrekin Foundationjec FoundationThe Ida and William Rosenthal Foundation

S P O N S O R S G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9hsbc Private BankMechanics Bank Wealth ManagementThe Morrison & Foerster FoundationUnion Bank

CO R P O R AT E PA R T N E R S G I F T S O F $ 6 ,0 0 0 –1 1 ,9 9 9Armanino llpCity National BankDeloitteLG Wealth Management llcMeyer SoundOliver & CompanyPacific Office AutomationPanoramic InterestsPeet’s Coffee & TeaSchoenberg Family Law GroupubsU.S. Bank

CORPORATE SPONSORS

S E A S O N S P O N S O R SG I F T S O F $ 1 0 0,0 0 0 A N D A B OV E

E X ECU T IV E S P O N S O R S G I F T S O F $ 2 5,0 0 0 –49,9 9 9

LE A D S P O N S O R G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

IN-KIND SPONSORS

Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community.

For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.

Institutional PartnersBERKELEY REP THANKS

PE R FO R M A N C E S P O N S O R S G I F T S O F $ 3,0 0 0 – 5,9 9 94U SportsBayerGallagher Risk Management Services

B U S I N E S S M E M B E R S G I F T S O F $ 1 , 5 0 0 –2 ,9 9 9Bank of the WestBluesCruise.comMacy’s

C H A M PI O NG I F T S O F $ 1 ,0 0 0 –1 , 49 9Cooperative Center Federal Credit Union

American Express



PA R T N E R S$ 3,0 0 0 – 5,9 9 9Anonymous (5)Linda R. AchEdith BarschiCaroline BoothJim ButlerBrook & Shawn ByersC. William ByrneJennifer Chaiken & Sam HamiltonConstance CrawfordKaren & David CrommieLois M. De DomenicoDelia Fleishhacker EhrlichNancy & Jerry FalkRichard & Lois HallidayEarl & Bonnie HamlinVera & David HartfordJames C. Hormel & Michael P. NguyenLynda & Dr. J. Pearce HurleyKathleen & Chris JacksonAshok JanahSeymour Kaufman & Kerstin EdgertonDuke & Daisy KiehnChristopher & Clare LeeNancy & George Leitmann, in memory of

Helen BarberPeter & Melanie MaierCharlotte & Adolph MartinelliThe McBaine FamilyPhyra McCandless & Angelos KottasSusan Medak & Greg Murphy, in honor of

Marcia SmolensEddie & Amy OrtonJanet OstlerSandi & Dick PantagesPease Family FundKermit & Janet PerlmutterIvy & Leigh RobinsonDavid S. H. Rosenthal & Vicky ReichRiva RubnitzBeth & David SawiStephen C. SchaeferJoyce & Jim SchnobrichStephen Schoen & Margot FraserLinda & Nathan SchultzLisa & Jim TaylorJames & Lisa WhitePatricia & Jeffrey WilliamsSally WoolseyAlan & Judy Zafran

B E N E FAC TO R S$ 1 , 5 0 0 –2 ,9 9 9Anonymous (8)Anonymous, in memory of Vaughn &

Ardis HerdellMartha & Bruce AtwaterNina AuerbachLinda & Mike BakerMichelle L. BarbourDavid Beery & Norman AbramsonBluesCruise.comCynthia & David BogolubLinda BrandenburgerBroitman-Basri FamilyDrs. Don & Carol Anne BrownKatherine S. Burcham M

Kerry Tepperman CampbellRonnie CaplaneStephen K. Cassidy & Rebecca L. PowlanPaula Champagne & David WatsonAndrew CombsJulie Harkness CookePenny Cooper & Rena RosenwasserThomas & Suellen CoxEd Cullen & Ann O’ConnorJames CuthbertsonRichard & Anita DavisIra DearingIlana DeBare & Sam SchuchatFrancine & Beppe Di PalmaJerome & Thao DodsonBen DouglasBecky DraperMerle & Michael FajansCynthia A. FarnerTracy & Mark FerronLisa & Dave FinerMartin & Barbara FishmanPatrick FlanneryThomas & Sharon FrancisHerb & Marianne FriedmanDon & Janie Friend, in honor of Bill &

Candy FalikJames GalaKarl & Kathleen GeierDennis & Susan Johann GilardiMarjorie Ginsburg & Howard SlyterDaniel & Hilary B. GoldstineBob GoodmanPhyllis & Eugene GottfriedMrs. Gale K. GottliebRobert & Judith GreberWilliam James GregoryGarrett Gruener & Amy SlaterMs. Teresa Burns Gunther &

Dr. Andrew Gunther

Migsy & Jim HamasakiBob & Linda HarrisAnn & Shawn Fischer HechtRuth HennigarTom & Bonnie HermanHoward Hertz & Jean KroisSue Hoch K Bill Hofmann & Robbie Welling M

The Hornthal Family FoundationRick Hoskins & Lynne FramePaula Hughmanick & Steven BergerGeorge & Leslie HumeMr. & Mrs. Harold M. IsbellBeth & Fred KarrenDoug & Cessna KayeRosalind & Sung-Hou KimLynn Eve Komaromi, in honor of the

Berkeley Rep StaffMichael Kossman & Luis OrricoJohn Kouns & Anne Baele KounsHelen E. LandRobert Lane & Tom CantrellWilliam & Adair LangstonRandy Laroche & David LaudonLouise Laufersweiler & Warren SharpSherrill Lavagnino & Scott McKinneyAndrew Leavitt & Catherine LewisEllen & Barry LevineBonnie Levinson & Dr. Donald KayJennifer S. LindsayTom Lockard & Alix MarduelVonnie MadiganJoan & Roger MannNaomi & Bruce MannHelen Marcus & David WilliamsonLois & Gary MarcusMichael MargolisSumner & Hermine MarshallRebecca MartinezJill MatichakErin McCune & Nicholas VireneJanet & Michael McCutcheonSteven McGlocklinKaren & John McGuinnMiles & Mary Ellen McKeyKirk McKusick & Eric AllmanMichele & John McNellisToby Mickelson & Donald BrodyRoger & Satomi MilesDan MillerKaren MillerAndy & June MonachScott Montgomery & Marc RandMarvin & Neva MoskowitzPatricia Motzkin & Richard FeldmanShanna O’Hare & John Davis

Judith & Richard OkenSteve OlsenJudy O’Young, MD & Gregg HauserMatt PagelGerane Wharton ParkBob & MaryJane PauleyTom & Kathy PendletonGladys Perez-MendezMichael A. Petonic & Veronica A. WatsonDavid PrattAndrew Raskopf & David GundermanElizabeth RatnerSue Reinhold & Deborah NewbrunBill Reuter & Ruth MajorJames & Maxine RisleyJohn & Jody RobertsHoracio RodriguezDeborah Romer & William TuckerSheli Rosenberg, in honor of

Leonard X RosenbergMarc RothBoyard & Anne RoweEnid & Alan RubinMitzi Sales & John ArgueLisa Salomon & Scott ForrestMonica Salusky & John K. SutherlandJeane & Roger SamuelsenJackie & Paul SchaefferMark Shusterman, M.D.Edie Silber & Steve BomseBeryl & Ivor SilverAmrita Singhal & Michael TubachKae SkeelsSherry & David SmithStephen & Cindy SnowAudrey & Bob SockolovJacques SoenensJennifer Heyneman Sousae & William SousaeDavid G. SteeleStephen Stublarec & Debra S. BelagaGayle Tapscott K Andrew & Jody TaylorDeborah TaylorAlison Teeman & Michael Yovino-YoungSusan & David TerrisAma Torrance & David DaviesBernard & Denise TysonBuddy & Jodi WarnerJonathan & Kiyo WeissBeth WeissmanSteven & Linda WolanCharles & Nancy WolframRon & Anita WornickSam & Joyce ZanzeJane & Mark Zuercher

S E A S O N S P O N S O R S$ 1 0 0,0 0 0 +The Strauch Kulhanjian FamilyJack & Betty Schafer

LE A D S P O N S O R S$ 5 0,0 0 0 – 9 9,9 9 9Bruce Golden & Michelle MercerMary & Nicholas GravesWayne Jordan & Quinn DelaneyJohn & Helen MeyerStewart & Rachelle OwenMary Ruth Quinn & Scott ShenkerSteve Silberstein

E X ECU T IV E S P O N S O R S$ 2 5,0 0 0 –49,9 9 9Rena BranstenMartha Ehmann ConteJohn & Stephanie DainsBill Falik & Diana CohenKerry Francis & John Jimerson M

Frances Hellman & Warren BreslauPam & Mitch NichterMarjorie RandolphDr. & Mrs. Philip D. SchildMichael & Sue Steinberg

Jean & Michael StrunskyGuy TiphaneGail & Arne WagnerBarry Lawson Williams & Lalita Tademy

S P O N S O R S$ 12 ,0 0 0 –2 4 ,9 9 9Anonymous (2)Barbara & Gerson BakarDavid & Vicki CoxThalia DorwickRobin & Rich EdwardsDavid & Vicki FleishhackerPaul Friedman & Diane Manley M

Scott & Sherry HaberJack KlingelhoferSusan & Moses LibitzkySandra & Ross McCandlessDugan MooreLeonard & Arlene RosenbergJoan Sarnat & David HoffmanLiliane & Ed SchneiderNorah & Norman StoneFelicia Woytak & Steve RasmussenMartin & Margaret Zankel

A S S O CIAT E S P O N S O R S$ 6 ,0 0 0 – 1 1,9 9 9Anonymous (3)Shelley & Jonathan BaggEdward D. BakerNeil & Gene BarthValerie Barth & Peter Wiley M

Stephen Belford & Bobby MinklerCarole B. Berg K Lynne CarmichaelSusan ChamberlinDaniel Cohn & Lynn BrintonRobert Council & Ann Parks-CouncilOz Erickson & Rina AlcalayWilliam Espey & Margaret Hart EdwardsJohn & Carol Field, in honor of

Marjorie RandolphLinda Jo FitzVirginia & Timothy FooJill & Steve FugaroCarol A. GilesPaul Haahr & Susan KarpDoug & Leni Herst, in honor of Susie MedakHitz FoundationMs. Wendy E. JordanJean & Jack Knox

Wanda KownackiTed & Carole KrumlandZandra Faye LeDuffDixon LongDale & Don MarshallMartin & Janis McNairSteven & Patrece MillsMary Ann & Lou PeoplesPeter Pervere & Georgia CasselBarbara L. PetersonKaye RossoPat RougeauPatricia Sakai & Richard ShapiroCynthia & William SchaffEmily Shanks M

Pat & Merrill ShanksKaren Stevenson & Bill McClaveJacqueline & Stephen SwireWendy WilliamsSheila Wishek

ARTISTIC DIRECTOR’S CIRCLE

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.Donors to the Annual Fund

SPONSOR CIRCLE

BERKELEY REP THANKS



LEGEND K in-kind gift M matching gift

We gratefully recognize the following members of the Annual Fund whose contributions were received from September to October 2014 S U PP O R T E R S$ 2 5 0 –49 9Anonymous · Lynda H. Barber · Patricia & Peter Coffin · Louise Coleman · Dan & Shawna Hartman Brotsky M · Dorothy & Michael Herman · Ruth Medak · Lewis Perry · Laurel Przybylski · Barbara & Jerry Schauffler

CO N T R I B 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

FR I E 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 ·

Laurie Hill · Joe & Ann Jensen · Dr. & Mrs. Ernest Newbrun · Diane Raile · Ann & Don Rathjen · Steve Spellman · Bill and Sandy Threlfall · Alice Wilkins

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

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

C H A M PI O N S$ 1 ,0 0 0 –1 , 49 9Anonymous (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 · Barbara & Robert Budnitz · Dan & Allyn 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 & Sarah Diamond · Corinne & Mike Doyle · Debra Engel, in honor of Barry Williams & Lalita Tademy · Susan English & Michael Kalkstein · Bill & Susan Epstein, in honor of Marge Randolph · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Christopher R. Frostad M · Judith & Alex Glass · Robert Goldstein & Anna Mantell · Diana Grand & Jon Holman · Douglas Hardman & Karla Martin · Richard N. Hill & Nancy Lundeen · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Herrick and Elaine Jackson, The Connemara Fund · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro · Christopher Killian & Carole Ungvarsky · Steve K. Kispersky · Suzanne LaFetra · Joe W. Laymon · Erma Lindeman · R. Jay & Eileen Love · J.E. Luckett · Bruce Maigatter & Pamela Partlow · Meg Manske · John E. Matthews · John G. McGehee · Dennis & 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

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 · Michael Weinberger & Julianne Lindemann · Lee Yearley & Sally Gressens

A DVO C AT E S$ 5 0 0 – 9 9 9Anonymous (18) · Daphne Allen K · Fred & Kathleen Allen · Gertrude & Robert Allen · Robert & Evelyn Apte · Shellye L. Archambeau & 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

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

Donors to the Annual FundBERKELEY REP THANKS

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.



Donors to the Annual FundBERKELEY REP THANKS

Sustaining members as of October 2014:Anonymous (6)Sam AmblerCarl W. Arnoult & Aurora PanKen & Joni AveryNancy AxelrodEdith BarschiNeil & Gene BarthCarole B. BergLinda BrandenburgerBroitman-Basri FamilyJill BryansBruce Carlton &

Richard G. McCallStephen K. CassidyAndrew Daly & Jody TaylorM. Laina DickerThalia DorwickRich & Robin Edwards Bill & Susan EpsteinWilliam Espey & Margaret

Hart EdwardsCarol & John FieldDr. Stephen E. Follansbee &

Dr. Richard A. Wolitz Kerry Francis

Dr. Harvey & Deana FreedmanJoseph & Antonia FriedmanPaul T. FriedmanDr. John FrykmanLaura K. FujiiDavid Gaskin &

Phillip McPhersonMarjorie Ginsburg &

Howard SlyterMary & Nicholas GravesElizabeth GreeneJon & Becky GretherRichard & Lois Halliday Linda & Bob HarrisFred HartwickRuth HennigarDouglas J. HillHoskins/Frame Family TrustLynda & Dr. J. Pearce HurleyRobin C. JohnsonLynn Eve KomaromiBonnie McPherson KillipScott & Kathy LawZandra Faye LeDuffInes R. LewandowitzDot LofstromDale & Don Marshall

Sumner & Hermine MarshallRebecca MartinezSuzanne & Charles McCullochMiles & Mary Ellen McKeyMargaret D. & Winton McKibbenSusan Medak & Greg MurphyStephanie MendelToni MesterShirley & Joe NedhamPam & Mitch NichterSheldeen G. OsborneSharon Ott Amy Pearl ParodiGladys Perez-MendezBarbara PetersonRegina PhelpsMargaret PhillipsMarjorie RandolphBonnie Ring Living TrustTom RobertsTracie E. RowsonPatricia Sakai &

Richard ShapiroBetty & Jack SchaferBrenda Buckhold Shank,

M.D., Ph.D.Valerie Sopher

Michael & Sue SteinbergDr. Douglas & Anne Stewart Jean StrunskyHenry TimnickPhillip & Melody TrappJanis Kate TurnerDorothy WalkerWeil Family Trust —Weil FamilyKaren & Henry WorkMartin & Margaret Zankel

Gifts received by Berkeley Rep:Estate of Suzanne AdamsEstate of Helen BarberEstate of Fritzi BeneschEstate of Nelly BerteauxEstate of Nancy CroleyEstate of John E. &

Helen A. ManningEstate of Richard MarkellEstate of Margaret PurvineEstate of Peter SlossEstate of Harry WeiningerEstate 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 [email protected].

Michael Leibert Society MembersBERKELEY REP THANKS

The Society welcomes the following new members:

John G. McGehee

Make great theatre part of your legacy.

Visit berkeleyrep.org/plannedgiving or call 510 647-2904

Mona Golabek in The Pianist of Willesden LanePH OTO CO U RTE S Y O F M ELLO PIX .COM



Michael Leibert Artistic Director Tony Taccone

Managing Director Susan Medak

General Manager Karen Racanelli

BERKELEY REP STAFF

ARTISTIC

Associate DirectorLiesl TommyArtistic Associate & Casting DirectorAmy PotozkinArtistic AssociateMina MoritaDirector, The Ground Floor/ Resident Dramaturg Madeleine OldhamLiterary AssociateJulie McCormickArtists under CommissionDavid Adjmi · Christina Anderson · Glen Berger · Julia Cho · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · KJ Sanchez

PRODUCTION

Production ManagerPeter DeanAssociate Production ManagerAmanda Williams O’SteenCompany ManagerJean-Paul Gressieux

STAGE MANAGEMENT

Production Stage ManagerMichael SuenkelStage ManagersLeslie M. Radin Karen Szpaller Kimberly Mark WebbProduction AssistantsSofie Miller Amanda Warner

STAGE OPERATIONS

Stage SupervisorJulia Englehorn

PROPERTIES

Properties SupervisorJillian A. GreenAssociate Properties SupervisorGretta GrazierProperties ArtisanViqui Peralta

SCENE SHOP

Technical DirectorJim SmithAssociate Technical DirectorColin BabcockShop ForemanSam McKnightMaster CarpenterE.T. HazzardCarpenterJamaica Montgomery-Glenn

SCENIC ART

Charge Scenic ArtistLisa Lázár

COSTUMES

Costume Director Maggi YuleDraperKitty MuntzelTailorKathy Kellner GriffithFirst HandJanet Conery

Wardrobe SupervisorBarbara BlairAssociate Costume Director/ Hair and Makeup SupervisorAmy Bobeda

ELECTRICS

Master ElectricianFrederick C. GeffkenProduction ElectriciansChristine Cochrane Kenneth Coté

SOUND

Sound SupervisorJames BallenSound EngineerAngela Don

ADMINISTRATION

ControllerSuzanne PettigrewDirector of TechnologyGustav DavilaAssociate Managing Director/ Manager, The Ground FloorKarena Fiorenza IngersollExecutive AssistantAndrew SusskindBookkeeperKristine TaylorAssociate General Manager/ Human Resources ManagerDavid LorencPayroll AdministratorValerie St. LouisHuman Resources ConsultantLaurel LeichterDatabase ManagerDiana AmezquitaSystems Assistant Debra Wong

DEVELOPMENT

Director of DevelopmentLynn Eve KomaromiAssociate Director of DevelopmentDaria HeppsDirector of Individual Giving Laura Fichtenberg Campaign Manager Libbie HodasInstitutional Grants ManagerBethany HerronSpecial Events ManagerLily YangIndividual Giving AssociateJoanna TaberDevelopment Database CoordinatorJane VoytekDonor Relations AssociateKelsey HoganDevelopment AssociateBeryl Baker

BOX OFFICE

Ticket Services ManagerDestiny AskinSubscription Manager & Associate Sales ManagerLaurie BarnesBox Office SupervisorTerry Goulette

Box Office AgentsAmos Cass · Christina Cone · Samanta Cubias · Julie Gotsch · Eliza Oakley · Amanda Warner · Crystal Whybark

MARKETING & COMMUNICATIONS

Director of Marketing & CommunicationsRobert SweibelDirector of Public RelationsVoleine AmilcarArt DirectorNora MerecickyVideo & Multimedia ProducerPauline Luppert Communications ManagerKaren McKevittAudience Development ManagerSarah NowickiMarketing ManagerPeter YonkaWebmasterChristina ConeProgram AdvertisingEllen FelkerPatron Services ManagerKatrena JacksonHouse ManagerDebra SelmanAssistant House ManagersNatalie Bulkley · Aleta George · Tuesday Ray · Ayanna Makalani · Anthony Miller · Sarah MosbyConcessions SupervisorHugh DunawayConcessionairesJessica Bates · Samantha Burse · Steve Coambs · Emerald Geter · Charmenaca Keelen · Devon Labelle · Kelvyn Mitchell · Benjamin Ortiz · Jenny Ortiz · Alonso Suarez

OPERATIONS

Facilities DirectorMark MorrisetteFacilities ManagerLauren ShorofskyBuilding EngineerThomas TranMaintenance TechnicianJohnny Van ChangFacilities AssistantsSonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · LeRoy Thomas

BERKELEY REP SCHOOL OF THEATRE

Director of the School of TheatreRachel L. Fink Associate DirectorMaryBeth CavanaughJan & Howard Oringer Outreach CoordinatorDave MaierCommunity Programs ManagerBenjamin HannaSchool AdministratorKashara RobinsonRegistrarKatie RiemannFacultyAlva 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-Hernán-dez · 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 ArtistsBobby August Jr. · Jessica Bates · Gendell Hing-Hernández · Marilet Martinez · Sarita Ocon · Carla Pantoja · Patrick Russell · Tommy Shepherd · Patricia Wright · Elena WrightTeacher Advisory CouncilMolly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan WinerTeen Core CouncilAsè Bakari · Bridey Bethards · Abram Blitz · Charlotte Dubach-Reinhold · Carson Earnest · Jet Harper · David Kaus · Eleanor Maples · Eli Miller-Leonard · Alexander Panagos · Samuel Shain · Maya Simon · Chloe Smith · Ella ZalonDocent CommitteeThalia Dorwick, Chair Matty Bloom, Core Content Nancy Fenton, Procedures Selma Meyerowitz, Off-site contact & RecruitmentRed Hot Patriot DocentsSelma Meyerowitz, Lead Docent Carole Breen · Carol Dembling · Dee Kursh · Joy Lancaster · Stephen Miller · Joan Sullivan

2014–15 BERKELEY REP FELLOWSHIPS

Bret C. Harte Young Director FellowAdam L. SussmanCompany/Theatre Management FellowFaith NelsonCostume FellowAndrea PhillipsDevelopment FellowHaley BiermanEducation FellowRachel EisnerGraphic Design FellowSarah JacczakHarry Weininger Sound FellowAnnemarie ScerraLighting / Electrics FellowSarina RenteriaMarketing & Communications FellowBilly McEnteePeter F. Sloss Literary/ Dramaturgy FellowLexi DiamondProduction Management FellowMargaret ClementProperties FellowAmelia Burke-HoltScenic Art FellowAnna McGaheyScenic Construction FellowWill GeringStage Management FellowBrad Hopper

BOARD OF TRUSTEES

FOUNDING DIRECTORMichael W. Leibert Producing Director, 1968–83

PresidentThalia Dorwick, PhDVice PresidentJill FugaroVice PresidentStewart OwenTreasurerEmily ShanksSecretaryLeonard X Rosenberg.Chair, Trustees CommitteeRoger A. StrauchChair, Audit CommitteeWilliam T. EspeyImmediate Past PresidentMarjorie Randolph

Board MembersCarrie 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 PresidentsHelen 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 AdvisorsCarole 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



LatecomersPlease arrive on time. Late seating is not guaranteed.

Connect with us online!Visit our website berkeleyrep.orgYou can buy tickets and plan your visit, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Theatre infoEmergency exitsPlease note the nearest exit. In an emergency, walk—do not run—to the nearest exit.

AccessibilityBoth theatres offer wheelchair seating and special services for those with vision or hearing 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.

Ticket exchangeOnly 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.

EducatorsBring 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.

Theatre storeBerkeley Rep merchandise and show-related books are available in the Hoag Theatre Store in the Roda Theatre.

ConsiderationsNo food or glassware in the houseBeverages in cans or cups with lids are allowed.

No smokingThe use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard.

Please keep perfume to a minimumMany patrons are sensitive to the use of perfumes and other scents.

Phones / electronics / recordingsPlease 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 7Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. No babes in arms.

Tickets/box officeBox office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click berkeleyrep.org anytime Fax: 510 647-2975

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 rushFull-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 ticketsBring 10–14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge.

Entourage ticketsIf 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 matineeTickets 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.

Request informationTo request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647-2949; email [email protected]; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize [email protected].

Theatre maps

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T H R U S T

RO DA

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FYI

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.

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Documents

Berkeley Rep: Red Hot Patriot: The Kick-Ass Wit of Molly Ivins