Omozé Idehenre, who plays Hermione in Cal Shakes - California

Pictured: Omozé Idehenre, who plays Hermione in Cal Shakes’ production of A Winter’s Tale; photo by Jeff Singer.

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Elizabeth Taylor in Rome, wearing a Bulgari emerald and diamond tremblant brooch, 1962. Photograph by Gamma-Keystone via Getty Images; brooch image by Antonio Barrella, Studio Orizzonte Roma; composite FAMSF

October 2013 Volume 22, No. 4

The arts come alive at College Prep

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Photo by Jay Yamada.

LOOKING FORWARD

During dinner the other night with Patricia and Paloma McGregor to talk about how rehearsals were going, we three could not help but circle back to our respective nuptials (Paloma’s already, Patricia’s upcoming, and mine in November). Seems there are even more important things than theater. And amid all the talk about what’s going wrong in the planning, how much we are spending, how we can slim down to fit in dress and suit, there was a moment in which we all recognized that we were indeed witnesses to our own miracles. Love is a miracle. Love plus time: another miracle. Deciding to commit, in front of family, friends, society—and being afforded the right to do so— perhaps the most surprising miracle of all. Especially to me. I used to believe in miracles, but somehow I drummed that notion out of myself as some of the more painful experiences of my life made it harder, if not impossible for me to believe. I grew up Catholic, and so my readings and experiences of A Winter’s Tale have, for many years, been through the lens of Biblical interpretations. To give more of this away would spoil the events of this play, but here’s where I am now: No longer religious, I am still struck, perhaps more deeply than ever, by the miracles enacted in this most exquisite Romance. More than struck, I am in awe. There is something bigger at work here but, as I see it now, what is divine is found in the human. It is within each of us: the power to hurt, to destroy, to rebuild, to expand, and to imagine; and to realize a new identity, for the self, for the family, for the community, for society. This production comes at a time when we are embarking on some profound expanding, imagining, and realizing at California Shakespeare Theater. I— and all of us at Cal Shakes, board and staff alike— envision a theater that is not just a content provider (as in “we put on a play, and you come to see it”), but rather a platform provider, a place where different people, from different communities, come together to engage in a creative exchange based on exactly this: our differences. We envision Cal Shakes learning how to create equitable experiences, for our internal stakeholders

of staff, artists, artisans, and board members; and for the communities of the Bay Area, who are so vastly different from each other, with many of them not seeing Cal Shakes as a place where they belong. And we hope that through a lot of time, effort, introspection, conversation, training, compassion, patience, diligence, bravery, honesty, relentlessness, heart, thought, risk, and, yes, joy, we can change that. And I hope to bring everyone who has been with us from day one, supporting Cal Shakes even before I came on the scene, along on this journey toward making our shared home a place where everyone belongs and everyone has a voice. This work begins at home, within the core of our organization. And this work is just barely beginning. Through the grand and small (but always great) experiments of our Triangle Lab, where we test new ways for theater, artists, and communities to play an equal role in creating a vital, thriving culture of exchange, we have learned that change is possible, that theater can tell stories as well as listen to stories. It can also make storytelling across seemingly impermeable boundaries possible by chipping away at what divides us in a way that does not negate our differences, but holds up everyone’s voice as deserving to be heard, regardless of age, circumstance, or background. Our mission claims this, and we’ve done a pretty good job of realizing it. And now we are going to step it up, take the mission to the streets and walk the walk, no matter how much work it takes. Because nothing is miraculous without mental, emotional, and financial sweat. I will be looking to each and everyone of you for guidance and support as we welcome more people to this magnificent table we have built together— inspired by the most expansive vision of William Shakespeare—to listen to new stories that will expand our minds, open our hearts, and get us to believe in miracles. Again. Thank you for another extraordinary summer, and I look forward to so many more with you.

Jonathan Moscone Artistic Director

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At 23, Donte Clark did not intend to become his community’s resident Shakespeare expert. That is exactly the kind of magic, however, that happens when young people are given the tools to unlock their imaginations; and Richmond-based creative arts program RAW Talent (Richmond Artists with Talent) makes that magic with and for young people. Founded in 2007 by poet and teacher Molly Raynor, RAW Talent focuses on using spoken-word poetry to help Richmond’s youth give voice to the complicated truths of their lives and their community. In February 2013, the program debuted Te’s Harmony, student-turned-program coordinator Clark’s reimagined modern-day adaptation of Romeo & Juliet, a production using spoken-word poetry to tell the tale of star-crossed teenage lovers caught in the center of Richmond’s very real gang violence. “What I loved most about Te’s Harmony was how they made it their own,” says actor Omozé Idehenre, who plays Hermione and others in A Winter’s Tale, and saw the RAW Talent production. “On that stage, Richmond, CA, and Verona were no different. They were spectacular.” In our work in connecting art with communities, the Triangle Lab (Cal Shakes’ joint program with Intersection for the Arts) has now partnered with RAW Talent to produce a month-long workshop series called Phoenix Rysing: A Spoken Word Workshop on Loss, Love, and Healing. Building on themes from the upcoming Cal Shakes production of A Winter’s Tale, the workshop will ask Richmond youth age 13–21 to explore how they find healing and forgiveness amid the violent loss in their lives. The gang violence between North Richmond and Central Richmond dates back to the early 2000s; by 2007 it was a standard thread in the fabric of these neighborhoods. Even still, Molly Raynor does not pretend that her founding of RAW Talent was completely altruistic: “I was hired to be an academic reading and writing teacher for Making Waves (an organization that provides intensive academic and auxiliary support services after school and on Saturdays for students in Richmond), but my passion was spoken word and I needed a creative outlet…so I asked if I could start a poetry workshop.” A staff member suggested Raynor’s first student be Clark, an aspiring rapper who many feared might eventually find himself caught up in the city’s dangerous street drama. Clark proved to be the perfect gatekeeper, getting about five other kids to join the then-nameless weekly poetry workshop. His charisma and talent was exactly what the program needed to grow—and RAW Talent was exactly what Clark needed to flourish.

“At that time I was interested in my writing,” Clark says of those early days. “It was a place of solitude. I was at a lost place and the writing saved my life. I had a lot of things that were balled up inside and it was powerful to get it out of me. And I was good at it.” Raynor also saw that Clark was “good at it” and, of the five students who participated that first year, it was Donte she invited back after graduation to be a paid intern and co-teacher the following semester. “Once he started leading the workshops, he discovered his power as a teacher,” Raynor recalls. “That year we had 10 kids. Our biggest performance was for 20 folks in a kitchen.” When asked the difference between being a student and being a teacher, Clark says, “As a student you get out what you put in, but as a teacher you have to make sure it is engaging. [You have to] meet each person where they are while pushing them too. Being a teacher challenges me to be on point as an artist, learn about different artists and styles of writing, and to discover my own.” This transition from artist to teacher is one of the unique elements of RAW Talent’s programming. All of its teaching artists are young people who began in the program as students. RAW Talent’s teaching artists come to the table with a connection to what moves young people to create: They know how to access the strategies that are going to be the most engaging and electrifying for those kids, because they were those kids. Raynor knew that she needed a methodology that would speak to these young people in ways that much of traditional educational strategies just did not. “The kids drawn to RAW Talent were the kids who had always struggled. Those kids are often the critical thinkers who feel ignored by traditional teaching and classes,” says Raynor. Six years into the program, RAW Talent has reached hundreds of people, young and old alike, with powerful community performances and spoken-word poetry workshops that tackle big social issues such as prison reform, poverty, sexual assault, and, currently, healing from trauma, loss, and violence. What can participants expect out of the Triangle Lab RAW Talent workshop series? “I think they will find their own voices if they are not confident in what they are doing,” says Clark. “They will find an opportunity to share and process the things they have been going through alone. Learn some tactics for how to deal with the trauma, and, hopefully, one day, be able to forgive.” This work of healing and forgiving is central to the upcoming Cal Shakes production of A Winter’s Tale but, more importantly, it is central to the human experience. RAW Talent—with the vision of Molly Raynor and the leadership of young people like Donte Clark—is taking that lesson straight to the youth of Richmond through the transformative vehicle of art. They know that, with hard work, RAW Talent will one day be “a shelter for homeless hearts,” says Clark, a place that changes the culture of Richmond, the Bay, and hopefully, the world.”

Below is the poem “Mansion of Hearts,” a reinterpretation of Romeo & Juliet’s balcony scene written by Donte Clark and staged at Target as part of Te’s Harmony.

RAW TALENT’S TEACHING ARTISTS COME TO THE TABLE WITH A CONNECTION TO WHAT MOVES YOUNG PEOPLE TO CREATE: THEY KNOW HOW TO ACCESS THE STRATEGIES THAT ARE GOING TO BE THE MOST ENGAGING AND ELECTRIFYING FOR THOSE KIDS, BECAUSE THEY WERE THOSE KIDS.

MANSION OF HEARTS DAMN, SHE LOOKS GOOD WHY NOT SHE SPREAD HER BEAUTY ACROSS THE SKIES SHED HER LIGHT TO SHAME THE DIMMING STARS OR IS SHE A FLAME SLOW TO DEATH I IMAGINE THERE IS NO HOME WHERE HER HEART IS IT’S PROBABLY MILES AWAY FROM SERENITY OF THE SUBURBS NO PICKET FENCE TO SURROUND BLACK-EYED SUSAN VINES OR ORANGE & PURPLE BLOOMING IN A GARDEN A PATHWAY OF A POLISHED GRANITE SLATE THAT LEADS TO A WELCOME TO GREET THIS WEARY SPIRIT IN SEARCH FOR A RESTING PLACE IN A SOUL MATE I BET IF I KNOCK NO ONE WILL ANSWER, CAUSE TRUST DON’T LIVE THERE NO MORE THERE’S NO HOME WHERE HER HEART IS JUST BEATEN CHIPPED METAL, REDDISH BROWN RUST FORMED FROM CONSTANT THUNDERSTORMS PROBABLY BEEN A WHILE SINCE THE LAST TIME THE SUN ROSE IN HER CHEST OR DAWN DEEP ENOUGH TO REACH INTO THE CRACKS OF THAT CONCRETE, SHINE THROUGH BULLET WHOLE OF WINDOWS DECADE WALLS MOLDY FROM THE OUTSIDE YOU CAN TELL, YOU CAN SMELL THAT SOMETHING DIED INSIDE OF HER, I WONDER WHAT IT WAS THAT WAS LEFT TO ROT IN THIS VACANT LOT IF TIME PERMITS THESE HANDS OF MY LOVE WILL RENOVATE THAT BROKEN SHACK BEHIND HER BREAST I’LL BUILD OF IT A MANSION OF ALL COLORS

TO LEARN MORE ABOUT RAW TALENT CHECK OUT THEIR FACEBOOK PAGE: WWW.FACEBOOK.COM/RICHMONDARTISTSWITHTALENT Photo of Donte Clark by Sean Greene, courtesy of Richmond Confidential.

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When Jon Moscone asked me to write a few words about the “why” of Artistic Learning— what makes this work so crucial to students, teachers, and the Cal Shakes mission—my mind immediately jumped to the “how.” There’s a call-and-response I have used to close every class and rehearsal I have led in my 10-plus years as a teaching artist here at Cal Shakes. A mantra reminding us that performing arts education is something that cannot be done alone. “How do we do this? Together.”

How and why: questions that ultimately can’t be separated from one another. In a similar way, the kinesthetic learning that happens in performing arts education brings together mind and body to create an integrated learning experience. This sort of learning allows students to actively use their own voices and bodies to approach

subjects in new ways. Research shows that kinesthetic learners may account for as much as 45% of the average grade school population; yet traditional teaching approaches to the humanities do not always take this into account. It’s exciting to be in the classroom and see our students’ comprehension and enjoyment of Shakespeare dramatically enhanced when they are allowed to act out his words and characters, rather than simply reading them on the page.

For many Bay Area students, this sort of learning isn’t available. Race and class profoundly inform the sorts of opportunities available to some students but not others. According to a national study,

African-American and Latino students are disproportionately impacted by declines in arts education: In recent years there has been a 49% drop in exposure to arts education among African Americans and 40% drop among Latinos1. Cal Shakes develops relationships with foundations, donors, and organizations like the National Endowment for the Arts to create opportunities for students who would not normally be exposed to arts education in their classrooms; from there, our teaching artists work in close collaboration with classroom teachers to develop the kind of integrated curriculum that allows students the benefit of different approaches to language arts, history, and social studies, while at the same time meeting California state standards for education in a number of areas. These collaborations can produce dramatic results in student test scores: In a fifth-grade classroom at the Fruitvale Elementary School where I taught a unit on the Civil War and its connections to the Civil Rights movement, students wrote their own poems on the unit and performed these as a group. After the residency, class test scores in fluency increased by a dramatic 20%. Arts education also has a profound effect on long-term education. Students who are excited about school and about learning stay in school. By some estimates, approximately 50% of male students from underserved communities of color leave school before graduation2, and students with a low socioeconomic status who have high arts participation in their education have a dropout rate five times lower than peers who experience low or no exposure to the arts in school3.

But teachers know testing isn’t everything. Many of the long-lasting impacts of Artistic Learning are precisely those qualities that don’t show up on tests: things like increased self-esteem, respect, and tolerance of people from different backgrounds, trust, emotional intelligence, and the importance and benefit of working with others.

In the end, Artistic Learning is about helping our students realize their potential. As famed educator Elliot Eisner states, “The ultimate aim of education is to enable individuals to become the architects of their own education and, through that process to continually reinvent themselves.” Sometimes the greatest gift we can give our students is the ability to see a future for themselves they could not imagine before. A world where options exist for them beyond what they may encounter on their street corner or playground. encore art sprograms.com 9 28. Continued on page

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C A L I F O R N I A JONATHAN MOSCONE

S H A K E S P E A R E

ARTISTIC DIRECTOR

SUSIE FALK

T H E AT E R

MANAGING DIRECTOR

PRESENTS

SEPTEMBER 25–OCTOBER 20, 2013 BRUNS MEMORIAL AMPHITHEATER, ORINDA MOVEMENT DIRECTOR SET DESIGNER

PALOMA MCGREGOR MICHAEL LOCHER

COSTUME DESIGNER

KATHERINE NOWACKI

LIGHTING DESIGNER

RUSSELL CHAMPA

COMPOSER SOUND DESIGNER VOCAL/TEXT COACH RESIDENT FIGHT DIRECTOR DRAMATURG FABRIC CONNOISSEUR STAGE MANAGER ASSISTANT STAGE MANAGER ASSISTANT DIRECTOR ASSISTANT LIGHTING DESIGNERS PRODUCTION ASSISTANT

E.E. BRADMAN WILL MCCANDLESS LYNNE SOFFER DAVE MAIER CATHLEEN SHEEHAN ERICA VARIZE LAXMI KUMARAN JANETTE COTÉ MARIA CALDERAZZO STEPHANIE BUCHNER, JUSTIN PARTIER CORDELIA MILLER

CAST POLIXENES, ENSEMBLE LEONTES, SHEPHERD, ENSEMBLE PERDITA, EMILIA, ENSEMBLE PAULINA, CLOWN, ENSEMBLE HERMIONE, MOPSA, ENSEMBLE AUTOLYCUS, ANTIGONUS, ENSEMBLE FLORIZEL, CAMILLO, ENSEMBLE SECOND LADY, DORCAS, ENSEMBLE MAMILLIUS, ENSEMBLE

ALDO BILLINGSLEA L. PETER CALLENDER TRISTAN CUNNINGHAM MARGO HALL OMOZÉ IDEHENRE CHRISTOPHER MICHAEL RIVERA TYEE TILGHMAN MACKENZIE KWOK, VERONICA LARKIN AKILI MOREE, ZION RICHARDSON

THERE WILL BE ONE 15-MINUTE INTERMISSION.

EXECUTIVE PRODUCERS: Ellen & Joffa Dale, Michael & Virginia Ross, Sharon & Barclay Simpson, and Jay Yamada PRODUCERS: Jim & Nita Roethe and Michele & John Ruskin ASSOCIATE PRODUCERS: Debbie Sedberry & Jeff Klingman

SEASON PARTNERS

PRESENTING PARTNERS

PRODUCTION PARTNERS

SEASON UNDERWRITERS

STUDENT DISCOVERY UNDERWRITERS

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

encore art sprograms.com

11

BY RESIDENT DRAMATURG PHILIPPA KELLY During the two decades in which Shakespeare practiced his stagecraft in London, he amassed considerable wealth. By 1597 he was able to buy a large house for his wife and two daughters in his birth town of Stratford (his son having died of the plague in 1595). As his fame grew along with his affluence and his company was anointed by two successive monarchs, the playwright took greater theatrical gambles. He dared, for example, to write King Lear, a dramatic journey so relentlessly torturous that in the late 17th century the play was appended with a happy conclusion to make it “performable”; Macbeth, a profound exploration of the mind of a serial killer; Coriolanus, about a human killing machine, a character cognizant of power and duty but not of the range of his own humanness; and, in keeping with all of these risk-taking ventures, A Winter’s Tale, which smashes cruelty up against a beautiful fairytale. As A Winter’s Tale gains traction on its perilous course, King Leontes’ son, Mamillius, tells us that “a sad tale’s best for winter.” But the play’s “sad tale” begins with a trigger that has no plausible cause—a fit of jealousy that comes on Leontes like a sudden illness, unprovoked by anything except his own fevered imagination. In this sense jealousy is a premise, an explosion, which drives the plot forward through the frigidity of winter and on to spring. And it’s in this seasonal progression that there emerges the play’s real emotional tenor. It’s not “about” jealousy, but rather about its consequences: About stripping away, abandonment, and shame, as well as the power of human beings to create, and withstand, isolation in its many forms. In the end, A Winter’s Tale is about that most basic of human wishes: the very human longing to undo our mistakes and have them wiped clean of consequence.

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CALIFORNIA SHAKESPEARE THEATER

Anyone who’s ever left a plant for weeks without water, dousing it just in time and, over the hours to follow, seen forlorn leaves begin timidly to swell, can appreciate the miracle at the heart of A Winter’s Tale. It celebrates the tiny bud of life amidst decay, the promise of a future where none seemed possible. Shakespeare’s late play, written just after King Lear, continues his absorption with the theme of redemption, filtered through the abuse of power. Two great kings, one elderly, the other in his prime, each made WWW.CALSHAKES.ORG

vulnerable by the very same thing—the quintessentially human fear of rejection. No amount of majesty can insulate a man against that. Lear deals with his sense of abandonment and wounded pride by slicing his youngest daughter away from him, along with all his property. He suffers terribly for this mistake, and his eventual renewal is all-too-quickly subsumed by death and decay. In A Winter’s Tale “this great decay” is somehow made magically reversible: King Leontes’ maddened jealousy leads to 16 years of shame and repentance, before, chastened, he is permitted to have his loved ones back again. He doesn’t get everyone back, and those who do return aren’t as they were before; but he has suffered for his sins and is giv-

have all those who were close to him— his wife, his son, his infant daughter, his best friend. Bare, but denied the relief of death, he is forced to weather a long season of desolate shame. And this is where the play turns from tragedy to fairytale: Leontes’ living death is also paralleled by Hermione’s—presumed dead, she is kept hidden by her loyal servant Paulina until she can return to be a companion once more to her husband, and to see their restored daughter burst forth with the spring. We can never take our actions back and have them over again—well, only in our dreams. But sometimes—whether through sheer luck or through the living

THIS FASCINATION WITH ACTIONS AND CONSEQUENCES MAY WELL HAVE BEEN SHAKESPEARE’S WAY OF COMING TO TERMS WITH HIS OWN AGING, HIS INEVITABLE MISTAKES, AS WELL AS HIS RELATIONSHIPS WITH HIS WIFE AND CHILDREN. en, in the end, a beautiful recompense. At the play’s beginning, the servant Camillo promises that next summer King Leontes will visit his friend Polixenes in Bohemia, repaying the courtesy of Polixenes’ current sojourn in Sicilia. But Leontes’ magisterial mind makes its own “truth,” fed by the tiniest morsel: the fact that his wife has succeeded in persuading Polixenes to stay on for an extra week, where he, his childhood friend, had failed to convince him. “Too hot! Too hot!” Leontes mutters as he creates, before his very eyes, a steamy infidelity between his wife and his best friend. In the midst of this seasonal winter, images of heat predominate: No less than six times Leontes threatens to burn Hermione, her baby, or her servant Paulina. He rages at his young son, Mamillius, taunting him with bitter riddles. Young, fragile Mamillius can’t survive the winter, and neither, it seems, can his mother Hermione: In quick succession, after the infant is banished and ordered to be killed, we have the announcement of Mamillius’ death and then also that of Hermione. With his family shorn away from him by the middle of the play, King Leontes stands like a stark tree in the bitter frost. The heat of his jealousy has gone, as

gift of fairytale—we are indeed spared the burden of consequence. This fascination with actions and consequences may well have been Shakespeare’s way of coming to terms with his own aging, his inevitable mistakes, as well as his relationships with his wife and children. It’s something of an irony that in this play Hermione has to be buried for 16 years in order for her husband to go through his own winter: Shakespeare’s wife, Anne Hathaway, comes to mind, planted in Stratford for many years with her children while her husband practiced his stagecraft in London, returning only for such occasions as the death of his son. Who knows what it felt like for Shakespeare to stand at the grave of a son he’d barely known? Again and again in his writings, he would display his cognizance of his own deep frailties as a human being; and one can’t help but wonder whether this late play constitutes something of a self-meditation and even, perhaps, a self-repudiation. But in the end, it offers beauty: a beauty all the more miraculous when glimpsed through the austerity of winter. The plant new-swollen with life doesn’t wipe away the memory of its awful starvation—but it can bloom again and make us believe, as Shakespeare says elsewhere, that “Thy life’s a miracle.”

Director Jonathan Moscone and playwright Richard Montoya at a Meet the Artists event for American Night; photo by Jay Yamada.

MAKE IT EVEN MORE SPECIAL Come back for a post-show chat with the actors or the dramaturg, or bring your teens to see A Winter’s Tale! EVENTS

A WINTER'S TALE

Lower-Priced Previews

Be a part of the process by seeing the show before the show opening, at a discounted price.

9/25–27

Opening Night!

Mingle with cast, creative team, and critics at a postshow party.

Meet the Artists Matinees

Post-show chat with cast & creative team

Complimentary Tuesday Tastings

Enjoy pre-show samples from local food and drink purveyors.

9/28

9/29 & 10/13

10/1, 8, & 15

The Shout at the Bruns A hosted storytelling event designed to entertain, educate, enlighten, and edify.

10/1 & 11

Open-Captioned Performances

10/2

Performances featuring open captioning for patrons who are deaf or hard-of-hearing

InSight Matinee

10/6

Post-show talk with the dramaturg

Teen Nights

A special pre-show event for students ages 13-18.

10/9 & 15

For complete descriptions of these and other events, click calshakes.org/events. encore art sprograms.com

15

COMING THIS NOVEMBER

alleluia, the road part of the 2013 Triangle Lab Califas Festival

Photo of Sean San José by Kevin Berne; all other photos part of Joan Osato’s Califas Community Photo Project.

By Intersection for the Arts Communications Manager Irene Faye Duller Alleluia, The Road—written by Luis Alfaro and directed by Jonathan Moscone—is the final stop on the journey of the Triangle Lab Califas Project, which you’ve been hearing about since late last year. The Califas Project is the brainchild of Intersection for the Arts and Cal Shakes, through our Triangle lab partnership— which, as the “Lab” part of the name suggests, puts experimentation at the core of the collaboration. The partnership yielded Califas, an energetic exploration of California and Californians as seen through the dreaming of homeland, drawn from hopes for the state. Throw in some renegade theater-making ballistics—courtesy of Campo Santo, Intersection’s resident theater ensemble—and you have a true theatrical trip into uncharted territories. Playwright Alfaro (recipient of a 1997 Macarthur Fellowship) takes his inspiration from August Strindberg’s last play, The Great Highway, in which the lead character, the hunter, confronts his multiplicity of self through others he encounters along his voyage. It is a brilliant and complex play, one that came out of what critics would later call a “mad man’s brain.” Alfaro is lauded for his distinct ability to draw from the framework of Greek classics (Medea, as Alfaro’s Bruja and Mohada, Oedipus as Oedipus El Rey, Electra as Electricidad); he brings the same epic qualities to this more contemporary source material. Alleluia, The Road is a vision quest: Set in churches, diners, and fields across the state, the play finds Isaac (Sean San José) fleeing his current life while reliving

his Pentecostal preacher childhood. He explores his migrant roots and examines his family connections as—pursued by his mother—he traverses California along its primary trade route, Highway 99. Audiences will experience battles with past and present, spirit and salvation through both Isaac’s and his mother’s eyes, and through Isaac’s encounters with his brother, his ex-wife, and the Devil.

Cal Shakes Artistic Director Jonathan Moscone with Campo Santo (where he previously directed Denis Johnson’ Des Moines and Naomi Iizuka’s Hamlet: Blood in the Brain); and features a cast of diverse Bay Area actors including Cal Shakes Associate Artists and Campo Santo Familia members—many of whom have been along for the entire Califas journey.

“Alfaro has managed to write a play that lets struggle of spirituality and sinfulness

The Alleluia, The Road cast includes Cal Shakes Associate Artist and Campo Santo company member Catherine Castellanos (Caliban in The Tempest at Cal Shakes), fellow Campo Santo company members Brian Rivera (Juan José the First, Bob Dylan, and many others in American Night; Luis in The River), Maria Candelaria (Fuku Americanus from Junot Diaz’s novel Brief Wondrous Life of Oscar Wao at Intersection), Nora el Samahy, and Donald E. Lacy, Jr (Sally Ranger and Brother Ballard, respectively, in The River).

Audiences will experience battles with past and present, spirit and salvation. feel so very real—not just religious,” says Campo Santo co-founder San José (who played Juan José in Richard Montoya’s American Night, the Ballad of Juan José at Cal Shakes earlier this summer). “It is all our families somehow—especially those who have found this state through the immigrant and migrant paths to the fields and harvesting of the central valley. This kind of uniquely specific and unbelievably sensorial creation of California’s great highway 99 makes this more gut-punching, graceful-amidst-grit, musicality of migration in the stunning body of work of Luis Alfaro.” Alleluia, The Road is the third production along the Califas journey, following Campo Santo’s The River and Cal Shakes’ American Night: The Ballad of Juan José, both by Richard Montoya. It also reunites

The Califas Project has been a vision quest, as well: We have traveled up and down and sideways on the Highway 99 corridor; and from San Diego to East LA, San Marcos to Fowler, San Juan Bautista to Fresno, to the immediate 5M neighborhood, all in search of home. The Califas Festival aims to bring an immersive, story-filled play yard to the area in and around Intersection’s 5M neighborhood: We envision a place where we can examine our understanding of who we are as Californians, highlighted by our unique and shared experiences; where new Continued on page 28.

MICHELLE HENSLEY

NANCY CARLIN

Photos of Ten Thousand Things productions by Paula Keller.

Karen Wiese-Thompson, Nathan Keepers, Brian Curtis James, and Kimberly Richardson in Il Campiello at Hennepin County Men’s Corrections.

Stacia Rice as Portia and Steve Hendrickson as Shylock in The Merchant of Venice.

Eric Avery as Daniel, Celeste Jones as Ti Moune, and Kinaundrae Lee as Agwe in Once On This Island.

Jim Lichtscheidl and Elise Langer in Vasa Lisa.

CATHERINE CASTELLANOS

CINDY IM

JOAN MANKIN

RAMI MARGRON

SARITA OCÓN

That mad desire, and the muddling confusion and white-hot emotions that go along with very deeply wanting—those are the things that Shakespeare coded into the DNA of this play of shipwrecks and separation, false identities and sadness and celebration. For many of Hensley’s audiences, however, “love and romance can be a luxury,” she says; her theater company, Ten Thousand Things (TTT) specializes in bringing high-quality theater productions to homeless shelters, prisons, and other community settings for free, as well as to more traditional performance spaces. In the Bay Area, public performances of Twelfth Night will be at Intersection for the Arts February 20–March 2, with community performances at a range of community organizations in the East Bay and in San Francisco’s Tenderloin and SOMA neighborhoods near Intersection. But this is not a scaled-down school tour-style undertaking—TTT’s shows annually top “best-of” critics’ lists, and last year the Star Tribune, the region’s largest newspaper, named Hensley “Best Theater Artistic Director.” With no sets or lights, and minimal props and costumes, the actors meet audiences on a level playing field, carrying them somewhere extraordinary through the raw power of story. Her Cal Shakes Twelfth Night will be a high-quality production performed by some of the Bay Area’s leading actors: Cal Shakes Associate Artists Nancy Carlin, Catherine Castellanos, and Joan Mankin; Rami Margron (Lady Agatha, Lady Plymdale, and Rosalie in Lady Windermere’s Fan), Cindy Im (Stuck Elevator and 4000 Miles at A.C.T., 410 [Gone] and The Hundred Flowers Project at Crowded Fire, Phaedra at Shotgun Players), and Sarita Ocón (The Great Divide at Shotgun Players, Ghosts of the River with ShadowLight Productions, La Casa en Mango Street and School of the Americas with Teatro Visión). Although she doesn’t always use them, “all-female casts raise the stakes,” Hensley says, “and ask ‘Why can you fall in love with this but not with that?’” It’s just one example of how she excels at making stories like Twelfth Night—and Streetcar Named Desire, Measure for Measure, The Man of La Mancha, As You Like It, Stones in His Pockets, Othello, and Endgame—stirring and inspiring and undeniably relevant to critics, CEOs, and the incarcerated alike. At TTT performances, chairs are places in a square, circle, or rectangle—shapes that create an arena, allowing the audience to define the borders of the show. There’s no place to hide from these performances, but in the community settings they’re not required: In prisons and homeless shelters, performances require a sign-up. And the performances resonate with audiences of all kinds.

“Oh man, whenever I’m alone and depressed by myself at night, I’m going to think about this,” said a treatment center resident after seeing a TTT production of As You Like It. About Measure for Measure, one homeless woman said, “I've read a lot of Shakespeare but I've never read this one, SO good! [Laughing] Just cause I'm here and don't got no front teeth doesn't mean I'm not literate and can't enjoy a good art. It just means I don't have any money!” Once again, these productions are for everyone, and the press reviews speak to that: “Ten Thousand Things speaks to nontraditional audiences, and they speak back," wrote American Theater magazine. The Star-Tribune wrote of Measure for Measure: “Hensley again has demonstrated how accessible and enjoyable Shakespeare can be when the text breathes and a production unfolds with simple clarity.” Come February and March, you’ll have a chance to experience this clarity of art and emotion for yourself.

Stay tuned to www.calshakes.org in the coming months for more information about this groundbreaking production.

WHO’S WHO ALDO BILLINGSLEA*

(Polixenes, Ensemble) Mr. Billingslea was last seen at Cal Shakes as Lord Windermere in Lady Windermere’s Fan; prior to that as Sweet Back and Joe in 2012’s Spunk. Other Bay Area credits include: Othello, The Hairy Ape, Splittin’ the Raft, and In the Red & Brown Water (Marin Theatre Company); This Is How It Goes and Collapse (Aurora); The Elephant Man and Radio Golf (TheatreWorks); A Midsummer Night’s Dream and Coriolanus (Shakespeare Santa Cruz). Mr. Billingslea’s credits outside the Bay Area have included the Dallas, Illinois, Oregon, Marin, San Francisco, Utah, and Arabian Shakespeare Festivals. Mr. Billingslea is a recipient of the Bay Area Theatre Critics’ Circle Award, a member of PlayGround company, on the board of the Renegade Theatre Experiment, the advisory board of Gritty City Repertory Youth Theatre, and is Professor of Theatre and Associate Provost of Diversity and Inclusion at Santa Clara University.

L. PETER CALLENDER*

(Leontes, Shepherd, Ensemble, Associate Artist) At Cal Shakes: Lady Windermere’s Fan, Spunk, Romeo and Juliet (2009), An Ideal Husband, King Lear, Man and Superman, As You Like It, Nicholas Nickleby, The Importance of Being Earnest, Julius Caesar, Richard II, Twelfth Night, A Winter’s Tale. Marin Theatre Company: Seven Guitars, The Whipping Man, My Children! My Africa!. Berkeley Rep: Major Barbara, Spunk, Galileo, The Oresteia. At A.C.T.: A Streetcar Named Desire, Tartuffe, Insurrection: Holding History. Aurora Theatre: Saint Joan, Permanent Collection, The Soldier’s Tale. On Broadway: Prelude to a Kiss. NY Public Theater: Caucasian Chalk Circle, Twelfth Night. Shakespeare Santa Cruz: Taming of the Shrew, A Doll’s House. Diablo Actors’ Ensemble: Driving Miss Daisy (Bay Area Critics Award). TheatreFIRST: World Music (Bay Area Critics Award), Old Times. Thick Description: Richard III, Blade to the Heat. Mr. Callender is the Artistic Director of the African-American Shakespeare Company and the recipient of several Dean Goodman awards, an Elly Award, SF Bay Guardian Goldie Award, and the East Bay Express Best of the East Bay Award.

TRISTAN CUNNINGHAM*

(Perdita, Emilia, Ensemble) Ms. Cunningham started her performing days when she was only 10 years old with Vermont’s own country circus, Circus Smirkus. After touring for eight years, she decided to change her focus to acting; she recently graduated with a BFA from S.U.N.Y Purchase Acting Conservatory. Her Bay Area credits include: Julius Caesar with African American Shakespeare Company, The Road to Hades with Shotgun Players, Tenderloin with Cutting Ball, A Midsummer Night’s Dream with the San Francisco Shakespeare Festival, and The Arsonists with Aurora Theatre. She is a proud member of Actors’ Equity and is thrilled to be working with California Shakespeare Theater for the first time.

MARGO HALL*

(Paulina, Clown, Ensemble) Earlier this season, Ms. Hall appeared as Viola Pettus and many others in American Night: The Ballad of Juan José; she made her Cal Shakes Main Stage debut as Delia and others in 2012’s Spunk. Her other recent credits include Seven Guitars at Marin Theatre Company, Fabulation for Lorraine Hansberry Theatre, Marcus; or the Secret of Sweet and Once in a Lifetime at A.C.T., and Trouble in Mind at the Aurora Theatre. Hall is a founding member of Campo Santo, the resident theater company at Intersection for the Arts, where she has directed and acted in over 15 productions including plays by Chinaka Hodge, Jessica Hagedorn, Naomi Iizuka, Philip Gotanda, Octavio Solis, and many more. In 2005, her Will Glickman Award-winning play The People’s Temple (co-authored by Leigh Fondakowski, Greg Pierrotti, and Stephen Wangh) premiered at Berkeley Rep. She has also performed at Arena Stage, Olney Theater, and Source Theater in Washington, D.C. and the Guthrie Theater in Minneapolis, and has toured France with Word for Word.

OMOZÉ IDEHENRE*

(Hermione, Mopsa, Ensemble) Ms. Idehenre was previously seen on the Cal Shakes stage as Missie May and others in Spunk (2012); and Lady Macduff, Wyrd Sister, and others in Macbeth (2010). She holds an MFA from American Conservatory Theater and is a member of their Core Acting Company. Regional/ Triad Stage: A Streetcar Named Desire, The Matchmaker. A.C.T.: Clybourne Park, Scorched, A Midsummer Night’s Dream, The Caucasian Chalk Circle, Scapin, Marcus; or the Secret of Sweet, The Critic, or a Tragedy Rehearsed, Macbeth, Hamlet, Increased Difficulty of Concentration, The Mutilated, Blues for an Alabama Sky, The Flattering Word. Other credits include Seven Guitars at Marin Theatre Company; Welcome Home Jenny Sutter at TheatreFIRST; and Our Lady of 121st Street, Death and the King’s Horseman, and Home at University of North Carolina.

CHRISTOPHER MICHAEL RIVERA*

(Autolycus, Antigonus, Ensemble) This is Mr. Rivera’s inaugural production at Cal Shakes. His other theater credits are as follows: Macbeth, Much Ado, Don Quixote, Coriolanus, and Midsummer (Oregon Shakespeare Festival), A Very Old Man With Enormous Wings (Kirk Douglas Theatre/ Center Theatre Group), Othello (Hartford Stage Company), Up Against The Wind, The Loyal Apposition, Glow (New York Theatre Workshop), Romeo and Juliet (Pearl Theatre Company/McCarter Theatre), Blind Mouth Singing (Eugene O’Neill Theatre). Film credits include Swimfan, Angel Rodriguez, 5up 2down, Flight to Savannah, 7 Habits of Highly Effective People. Television credits include: Castle, E.R., 13 Graves, CSI Miami, Saving Grace, The Jury. Mr. Rivera’s training hails from the Juilliard School and life itself. He is a loving and grateful husband, and father to a little girl who has taught him how to book a role by just walking into a room. Thank you, Jordan; daddy loves you.

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

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WHO’S WHO TYEE TILGHMAN*

(Florizel, Camillo, Ensemble) Mr. Tilghman was seen at Cal Shakes earlier this season as Hopper in Lady Windermere’s Fan and as Ben Pettus, Jackie Robinson, and many, many others in American Night; previously as Jelly and Slemmons in Spunk (2012). He is a graduate of the A.C.T. Master of Fine Arts program class of 2013. Select MFA program credits include A Doll’s House (Krogstad), A Christmas Carol (Fred), Happy to Stand (Hamed Sahel), Othello (title role), The American Clock (Grandpa/ Banks), The Widow Claire (Mr. Vaughn), and Al Saiyid (Count Gomez). He appeared in Three Sisters (Solyony) and Love’s Labour’s Lost (Longaville) with Chautauqua Theater Company. Other regional credits include A Raisin in the Sun and The Merry Wives of Windsor (Denver Center for the Performing Arts); Eurydice, The War Anthology, and Yellowman (Curious Theatre Company); This Is How it Goes (Paragon Theatre); A Midsummer Night’s Dream (Shakespeare Theatre Company), and An American Daughter (Arena Stage). Mr. Tilghman received a BFA in acting from West Virginia University.

MACKENZIE KWOK

(Second Lady, Dorcas, Ensemble) Ms. Kwok is thrilled to have the opportunity to perform with Cal Shakes! Her earliest acting credentials include homemade iMovie productions in which she costarred with her siblings and friends. She continued to pursue acting through several A.C.T. classes and through the Urban School of San Francisco, where she is currently a senior. She recently appeared in Urban’s production of Big Love, and is an avid musician and singer.

VERONICA LARKIN

(Second Lady, Dorcas, Ensemble) Ms. Larkin is 16 years old, lives in Oakland, and attends Oakland Technical High School. She has been involved in various theater programs since the age of seven, including work with the Berkeley Playhouse, Cal Shakes Summer Shakespeare Conservatory, and the American Conservatory Theater (Young Conservatory). She is now thrilled to be a part of this Cal Shakes production of A Winter’s Tale.

AKILI MOREE

(Mamillius, Ensemble) Mr. Moree has appeared as Michael in the discovery previews of Bridges (Berkeley Playhouse), Rooster in Annie (Stage Door Conservatory), Horton in Seussical, and Jafar in Aladdin (Berkeley Playhouse); and as Scarecrow in The Wiz (RS Church). He has recently ventured into the film medium with the following short film roles: James in Fight Back!, Aj in The Gift, and as Ruben in Hopes Identity. Mr. Moree also enjoyed a small role as a student in a music video for the song “Fire” by local group Tumbleweed Wonderers; and as a background kid on the Disney Channel show Pass the Plate. He has studied at American Conservatory Theater and Trinity Voice Studio, and will be a 7th grader at Ile Omode School this fall.

ZION RICHARDSON

(Mamillius, Ensemble) Mr. Richardson is a 10-year-old fifth-grader who loves life, his family, and basketball. Although this is his first time performing with Cal Shakes, he’s no stranger to the stage: His last role was at the African-American Shakespeare Company where he played Travis in Lorraine Hansberry’s award-winning play A Raisin in the Sun, under the direction of his A Winter’s Tale cast-mate L. Peter Callender.

CREATIVE TEAM PATRICIA MCGREGOR

(Director) Ms. McGregor is a Harlem-based director, writer, and deviser of new work. Last season she directed Spunk at Cal Shakes. Recent credits include Becky Shaw at Roundhouse Theater, The Mountaintop at Philadelphia Theatre Company, and the world premieres of Hurt Village at Signature Theatre Center and Indomitable James Brown at Summer Stage and the Apollo. Other directing credits include Holding it Down with Grammy Award nominee Vijay Iyer and Mike Ladd and Blood Dazzler with renowned poet Patricia Smith and choreographer Paloma McGregor at Harlem Stage, Jelly’s Last Jam, Romeo and Juliet, Four Electric Ghosts, Cloud Tectonics, Eleemosynary, The French Play, In The Cypher, Lady Day

at Emerson’s Bar and Grill, Sidewalk Opera, Dancing in the Dark, The Covering Skyline, and In the Meantime. Ms. McGregor spent the summer at the Williamstown Theater Festival developing the new musical Loving v Virginia. She is also developing the musicals Stagger Lee with Will Power and Girl Shakes Loose Her Skin with Sonia Sanchez, Imani Uzuri, and Zakiyyah Alexander. She was associate director of Fela! on Broadway and has worked at venues including NYSF Shakespeare in the Park, BAM, Second Stage, the Public Theater, the Kitchen, the O’Neill, Lincoln Center Institute, Exit Art, and Nuyorican Poetry Café. This year she will direct the world premiere of Marcus Gardley’s The House That Will Not Stand at Berkeley Rep and Yale Rep. She cofounded Angela’s Pulse with her sister, Paloma. Angela’s Pulse creates vital choreoplays and fosters collaboration among artists, educators, organizers, academics and other diverse communities in order to illuminate under-told stories, infuse meaning into the audience experience, and animate progress through the arts. Ms. McGregor attended the Yale School of Drama where she was a Paul and Daisy Soros Fellow and Artistic Director of the Yale Cabaret.

PALOMA McGREGOR

(Movement Director) Ms. McGregor is a Harlem-based choreographer, performer and facilitator. Last year she choreographed Spunk at Cal Shakes, and just two months later returned to the Bay Area to direct From the Field to the Table, a devised work with 36 students and community members at UC Berkeley’s Zellerbach Playhouse. Other choreography credits include: Loving v. Virginia (workshop at Williamstown Theater Festival); Building a Better Fishtrap (St. Mark’s Church); Four Electric Ghosts (The Kitchen); Indomitable: James Brown (Summer Stage); For a Barbarian Woman (Fordham University); Children of Killers (Castillo Theater); and Blood Dazzler (Harlem Stage). Ms. McGregor has created work with theater directors, rock musicians, poets, ecologists, painters, grandmothers, and children, and has devised for venues that range from an abandoned nursing home to a floating platform on the Bronx River. In 2008, she co-founded Angela’s Pulse with her sister, director Patricia McGregor, to create collaborative performance work rooted in building community, telling under-told stories, and animating progress. She is currently developing Building a Better Fishtrap, a multidisciplinary performance project about water, memory, and home, inspired by the stories of their father, an 87-year-old fisherman. Ms. McGregor earned her BS in journalism from Florida A&M University and her MFA in dance from Case Western Reserve University. Among her awards: 2013 Artist in Residence at NYU’s Hemispheric Institute; 2013 Wave Hill

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 20

CALIFORNIA SHAKESPEARE THEATER

WWW.CALSHAKES.ORG

WHO’S WHO Winter Workspace residency; 2012 Kennedy Center DeVos Institute fellowship; 2012 iLAND residency; 2012 Jerome Foundation Travel and Study Grant; 2010 QuAD residency; 2009 Harlem Stage Fund for New Work grant; 2009 Voice & Vision residency.

MICHAEL LOCHER

(Set Designer) Mr. Locher has designed scenery for theater and opera across the country; he made his Cal Shakes debut with Spunk. His recent and upcoming regional credits include projects with the Oregon Shakespeare Festival, Guthrie Theater, Yale Repertory Theatre, Great Lakes Theater, PlayMakers Repertory Company, and Idaho Shakespeare Festival. Locally, he boasts numerous credits with the Cutting Ball Theater (where he is a longtime artistic associate) including Pelleas & Melissande, Tenderloin, Diadem, The Tempest, Krispy Kritters in the Scarlett Night, and The Strindberg Cycle; the Magic (Jesus in India, Any Given Day, Or, Goldfish); Marin Theatre Company, Center Rep, Crowded Fire, and the Jewish Theatre. In New York and the northeast, Mr. Locher has designed productions off-Broadway and with the Yale Baroque Opera, the Adirondack Theatre Festival, and Northern Stage. Mr. Locher is a faculty member at San Jose State University. He also works as a freelance illustrator and graphic artist, and is a founding member of Hollywoodbased Tilted Field Productions. Mr. Locher is a graduate of the University of California San Diego and the Yale School of Drama.

KATHERINE NOWACKI

(Costume Designer) Ms. Nowacki is a recently returned Bay Area native, making her Cal Shakes debut with A Winter’s Tale. Her recent work includes a design for the final workshop of Stagger Lee, a new musical with Dallas Theater Center. Her design work with Big Thought in Dallas brought together her love of theater and arts education. Their program Creative Solutions provides at-risk teens a safe alternative to the streets by helping first-time juvenile offenders channel their energy into the visual and performing arts. In 2011, her interest in international theater and design took her to Lyon, France where she studied dance, nouveau cirque, and mixed-media design at Les Subsistances with internationally acclaimed artists Thibaud Le Maguer, Laurent Pichaud, Compagnie Kazyadance, and Compagnie KastorAgile. She is a member of installation art and theater group Dead White Zombies, creating work that emphasizes new, experimental, and collectively created performance work that defies categories and conventions. She holds an MFA from Southern Methodist University in Dallas and a BFA in Costume Design from Southern Oregon University.

RUSSELL H. CHAMPA

(Lighting Designer) Previous shows at Cal Shakes include Titus Andronicus, Macbeth, Much Ado About Nothing, Romeo and Juliet, Pericles, Man and Superman, The Tempest, and Henry IV Parts 1 and 2. Current and recent projects: The Patron Saint of Sea Monsters (Playwrights Horizons), Dear Elizabeth (Berkeley Rep and Yale Rep), Water By The Spoonful and Modern Terrorism (Second Stage), The Twenty-Seventh Man (The Public Theater), Angels In America, Part 1 and 2 (Wilma Theater), The Grand Manner (Lincoln Center Theater) On Broadway, Mr. Champa has designed In the Next Room (or The Vibrator Play) at the Lyceum Theater and Julia Sweeney’s God Said “Ha!,” also at the Lyceum. Other New York theaters Mr. Champa has designed for include the Second Stage, Manhattan Theater Club, Classic Stage Company, New York Stage & Film, and La MaMa E.T.C. Regionally, Mr. Champa has designed for Wilma Theatre, Seattle Rep, Trinity Rep, McCarter Theater, Campo Santo, Williamstown Theatre Festival, the Actors’ Gang, and the Kennedy Center. Thanks J + J. Peace.

E.E. BRADMAN

(Composer) As a percussionist, drummer, and bass player, Mr. Bradman has worked in a wide range of genres with a long list of artists including ALO, Maya Azucena, Hamid Drake, Kid Beyond, Sparlha Swa, Susan Marshall & Company, Suphala, the New Pickle Circus, the San Francisco Mime Troupe, Jai Uttal, and Peter Whitehead. His travels as a musician and producer have taken him throughout the U.S. and to Australia, the Caribbean, Botswana, Denmark, Hong Kong, India, the Netherlands, Poland, South Africa, and mainland China. As a copyeditor, Bradman has worked for Rolling Stone, Vibe, Computer Shopper, and the City of New York, and his writing has appeared in Premier Guitar, Electronic Musician, and Keyboard. He has served as senior editor of Bass Player and editor-in-chief of Bass Guitar. Bradman, currently earning an MFA in music production and sound design for visual media at San Francisco’s Academy of Art University, is thrilled to be working with Cal Shakes for the first time.

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WILL McCANDLESS

(Sound Designer) Mr. McCandless is a sound designer, composer, and audio engineer based in the San Francisco Bay Area. Designs at Cal Shakes include Lady Windermere’s Fan, Spunk, Blithe Spirit, and Candida. Recent design credits include 4000 Miles at American Conservatory Theater, The Whipping Man at Virginia Stage Company and Marin Theatre Company, and The Fourth Messenger at Ashby Stage. Mr. McCandless’


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ANNOUNCING A.C.T.’S

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WHO’S WHO designs have also been heard at Aurora Theatre Company, Center REP, LEVYdance, Magic Theatre, and the San Francisco Mime Troupe. He has been a visiting artist at University of San Francisco, St. Mary’s College, Sonoma State University, San Jose State University, and Solano College Theatre. Mr. McCandless heads the audio department at Cal Shakes and is a former collective member of the San Francisco Mime Troupe.

LYNNE SOFFER*

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

DAVE MAIER

(Resident Fight Director) Mr. Maier is an award-winning fight director who has composed violence for several Cal Shakes productions including Hamlet, Spunk, Titus Andronicus, Macbeth, Romeo & Juliet, King Lear, Richard III, A Midsummer Night’s Dream, and As You Like It. His recent credits includes Pericles (Berkeley Rep); Tales of Hoffmann and The Gospel of Mary Magdalene (SF Opera); and Reasons to Be Pretty (SF Playhouse). His efforts have been seen on many Bay Area stages including A.C.T., San Jose Rep, Shakespeare Santa Cruz, and Shotgun Players, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts International and a founding member of Dueling Arts San Francisco. He is currently teaching combat-related classes at Berkeley Rep School of Theatre and Saint Mary’s College of California.

CATHLEEN SHEEHAN

(Dramaturg) Ms. Sheehan is a teacher and dramaturg who has been a writer, teacher, grove talk speaker, and dramaturg with Cal Shakes since 2003. She has been a guest lecturer and writer for Shakespeare Santa Cruz and a dramaturg for the Marin Shakespeare Festival; she teaches Shakespeare (among other classes) at the Urban School of San Francisco. Ms. Sheehan holds undergraduate and graduate degrees in English

literature from Stanford University and pursued graduate studies in Victorian literature at Oxford University. She has studied playwriting with Adam Bock and directing with the Oregon Shakespeare Festival, and was a recipient of a National Endowment for the Humanities grant to study Shakespeare in performance in Ashland, Oregon.

ERICA VARIZE

(Fabric Connoisseur) Ms. Varize supports a school in Uganda, where she sources her fabrics. Closer to home, she has taught sewing and design at Oakland’s Claremont Middle, Hoover Elementary, and four other Bay Area schools. Each summer, she leads a sewing and design program for fourthto-12th-graders that she calls—what else?— Sew What. This October she will travel to Uganda to teach sewing to 15 girls. Ms. Varize’s grandmother gave her a sewing machine when she was 9 and she’s been creating and sharing ever since. She first started creating clothes for retail sale 12 years ago. In 2005, she launched Evarize; today she not only designs but also sews most of the 30-piece collection herself, with the assistance of interns (there have been 38 to date).

LAXMI KUMARAN*

(Stage Manager) Ms. Kumaran is enjoying her third season at Cal Shakes where she has stage managed Lady Windermere’s Fan, American Night, Hamlet, Spunk, Candida, and Titus Andronicus. In the Bay Area, Ms. Kumaran has also stagemanaged for San Jose Rep and CenterREP. Before moving to the Bay Area, Ms. Kumaran stage managed in Chicago for a variety of theaters, including the Goodman Theatre and the Court Theatre. Some of the directors with whom she has had the pleasure of working include Patricia McGregor, Liesl Tommy, Joel Sass, Jonathan Moscone, Rick Lombardo, Christopher Liam Moore, Timothy Near, Amy Glazer, Richard Seer, John McCluggage, Kirsten Brandt, Barbara Damashek, Michael Butler, Robert Falls, Mary Zimmerman, David Ira Goldstein, JoAnne Akalaitis, Robert Woodruff, Karin Coonrod, Gary Griffin, and David Cromer. Ms. Kumaran has taught stage management classes at UC Santa Cruz; San Jose State; Northern Illinois, DePaul, and Northwestern universities; and currently teaches at the University of California Berkeley.

JANNETTE COTÉ*

(Assistant Stage Manager) Ms. Coté is pleased to be returning to Cal Shakes, having served as Assistant Stage Manager on Hamlet and The Tempest last season. She has most recently stage managed The Loudest Man on Earth by Catherine Rush for the TheatreWorks New Works Festival.

She has also been working for theater companies all over the Bay Area since 2001, including Berkeley Rep, Opera San José, and TheatreWorks. She began her theater journey at Fremont High School in Sunnyvale with Tim Shannon and then moved on to Foothill College to continue learning from Joe Ragey. Some of her favorite shows include Urinetown at San Jose Stage Company (2005) and Ragtime (2002), Memphis (2004), and Fly by Night at TheatreWorks (2011). Ms. Coté hopes you enjoy theater in the open air as much as she does! Thanks everyone, and enjoy the show.

CAL SHAKES PROFILES JONATHAN MOSCONE

(Artistic Director) Mr. Moscone is in his 13th season as Artistic Director of California Shakespeare Theater, where he most recently directed American Night: The Ballad of Juan José. Credits include the world premiere of Ghost Light for Oregon Shakespeare Festival and Berkeley Repertory Theatre. Upcoming projects include Alleluia, the Road at Intersection for the Arts, the final installment of the Califas project; and Tribes at Berkeley Rep. He is the first recipient of the Zelda Fichandler Award, given by the Stage Directors and Choreographers Foundation for “transforming the American theatre through his unique and creative work.” Regional credits include American Conservatory Theater, Huntington Theatre, Alley Theater, Milwaukee Repertory Theater, Goodspeed Musicals, Dallas Theatre Center, San Jose Repertory Theater, Intiman Theatre, and Magic Theatre, among others. Mr. Moscone is a recipient of a Stanford Graduate School of Business Center for Social Innovation Fellowship and is an adjunct faculty member with A.C.T.’s MFA program. He currently serves as a board member of Theatre Communications Group.

SUSIE FALK

(Managing Director) Ms. Falk was appointed Cal Shakes’ Managing Director in February 2009, after serving for four years as Cal Shakes’ Marketing Director, overseeing all marketing, sales, and public relations efforts for the Theater, as well as box office and front of house operations. During her tenure, the company has seen ticket revenue increase by 24% and completed a rebranding effort. She previously served for five years as

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

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WHO’S WHO Press and Public Relations Director for Berkeley Repertory Theatre. Prior to that, she spent five years in the PR and Marketing Departments at American Conservatory Theater, and one season as part of the Professional Arts Training Program at Seattle Rep. She served for seven years on the board (four as vice president) of Theatre Bay Area, the local service organization for theater companies and theater workers. She is a graduate of Vassar College and completed course work in organizational psychology at JFK University in Pleasant Hill. She lives in Berkeley with her husband, lighting designer York Kennedy, and their daughter Pippa.

REBECCA NOVICK

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

CLIVE WORSLEY

(Director of Artistic Learning) 2013 marks Mr. Worsley’s 11th year as a teaching artist for California Shakespeare Theater. He was instrumental in developing some of the first integrated arts public school residency programs. He is the moderator of the popular Student Discovery Matinee program, and has taught all age levels in the Summer Shakespeare Conservatories. From 2008–2013,

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CALIFORNIA SHAKESPEARE THEATER

Mr. Worsley served as Artistic Director of Town Hall Theatre in Lafayette, where he brought about both artistic and fiscal success. As an award-winning actor he has appeared on many Bay Area stages including Cal Shakes, Berkeley Rep, TheatreWorks, Marin Theatre Company, the Magic, Center REP, Shotgun, and others. Mr. Worsley brings a longstanding passion for and holistic philosophy of arts education to this position. He believes strongly in the power of theater to educate and enrich people of all ages and looks forward to building upon the great success of the Artistic Learning programs.

JESSICA RICHARDS

(Associate Artistic Director, Casting Director) Ms. Richards is in her sixth season as Associate AD, and directed casting for all productions at Cal Shakes last season. As Associate AD, she produced the world premieres of John Steinbeck’s The Pastures of Heaven (2010) and The Verona Project (2011). Previously, Ms. Richards served for two years in Cal Shakes’ Artistic Learning department where she oversaw artist residencies and other inschool programs. As a director, she has worked with Town Hall Theatre, Bay Area Children’s Theatre, SF Theatre Pub, SF Young Playwrights, Commonwealth Classic Theatre Company (PA), among others. Ms. Richards has been a grantee of the Creative Capacity Fund’s NextGen Arts Program, and a grant review panelist for the City of Oakland’s Cultural Funding Program. She holds a BA in theater and political science from the University of Evansville in Indiana.

PHILIPPA KELLY

(Resident Dramaturg) Dr. Kelly moved 10 years ago from Australia to live in America with husband, composer Paul Dresher, and son Cole. Her work has been supported by many foundations and organizations, including the Fulbright, Rockefeller, and Walter and Eliza Hall Foundations. Her latest book, The King and I (Arden Press)—available for purchase in the Cal Shakes Theater Store, and now in its third print run—is a meditation on Australian identity through the lens of Shakespeare’s King Lear. The book has been celebrated for its poignant and humorous exploration of Australian life, and for its illumination of various contemporary social attitudes toward those on the fringes of society. Besides her work for Cal Shakes, Dr. Kelly has also been production dramaturg this year for the Oregon Shakespeare Festival and Word for Word Theater Company. For the 2013–2014 academic year she will practice and teach dramaturgy at the University of California, Berkeley. For most of the summer she can be found out here at Cal Shakes, where she is one of the regular pre-show Grove Talk speakers.

WWW.CALSHAKES.ORG

ELLEN & JOFFA DALE

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

JIM & NITA ROETHE

(Producers) Jim and Nita attended their first Cal Shakes performance at Hinkel Park in Berkeley sometime in the late 1970s. Almost exactly 20 years ago, Jim joined the Cal Shakes board and has served ever since—six of those years as Board President. Each year Jim and Nita, along with 12–14 of their friends, buy season tickets together to see every Cal Shakes performance. A group dinner follows each performance. While all of Cal Shakes’ work is important to Jim and Nita, they particularly enjoy seeing Cal Shakes’ performances in the beautiful Siesta Valley with good friends.

MICHELE & JOHN RUSKIN

(Producers) Michele and John are long-time subscribers and supporters of Cal Shakes and come from theatrical families. John has served on the board since 2008. With theater in their blood, their three children, Claire, Dean, and Will are following in their footsteps (Dean and Will attended Cal Shakes Summer Conservatory this past summer). Michele and John passionately believe that theater and the arts play a key role in creating more connected, aware, and caring individuals and societies and so must be nurtured, promoted, and never lost. CALIFORNIA SHAKESPEARE THEATER Founded in 1974, now under the leadership of Artistic Director Jonathan Moscone and Managing Director Susie Falk, Cal Shakes is an award-winning, nationally-recognized regional theater. Through seasonal productions at our outdoor amphitheater, and in year-round school and community-based programs, Cal Shakes expands access to the arts and builds diverse ownership of our region’s cultural vitality by fostering participatory approaches to the artistic process and arts education.

WHO’S WHO OUR CORPORATE PARTNERS BART

(Presenting Partner) The Bay Area Rapid Transit District (BART) is a 104-mile, automated rapid transit system serving over three million people. Fortyfour BART stations are located in Alameda, Contra Costa, San Francisco, and San Mateo counties, and serve to truly connect the Bay Area. BART’s mission is to provide a safe, reliable, economical, and energy-efficient means of transportation. BART stations are fully accessible to disabled persons. With gas prices climbing ever higher and everyone looking to green their commute, BART expects a lot more people will be looking to BART, as riders get the equivalent of 250 miles to the gallon. Don’t forget that you can BART to Bard—Cal Shakes offers a free BART shuttle from the Orinda BART station. BART… and you’re there!

MEYER SOUND LABORATORIES

(Presenting Partner) Family owned and operated since 1979, Meyer Sound Laboratories, Inc. designs and manufactures high-quality, self-powered sound reinforcement loudspeakers, digital audio systems, active acoustic systems, and sound measurement tools for the professional audio industry. Founded by John and Helen Meyer, the company has grown to become a leading worldwide supplier of systems for theaters, arenas, stadiums, theme parks, convention centers, houses of worship, and touring concert sound-rental operations. Meyer Sound systems are installed in many of the great venues of the world, including the Berlin Philharmonie and Estonia’s Nokia Concert Hall; and in several well-loved Bay Area venues, such as The Fillmore, Yoshi’s, Berkeley Rep, and Freight & Salvage Coffeehouse. Celine Dion, Metallica, and countless other artists use Meyer Sound’s equipment on tour. Meyer Sound’s main office and manufacturing facility are located in Berkeley, California, with additional satellite offices located around the world.

HCH

Warmly welcoming guests to Carmel Highlands since 1917. Perched high on a bluff overlooking the Big Sur coast, Hyatt Carmel Highlands offers upscale elegance, extraordinary service and spectacular vistas. Recently refined guestrooms, lobby and lounge adorned with earth inspired details have further elevated our scenic ocean-front hotel. For reservations, call 831 620 1234 or visit carmelhighlands.hyatt.com. Hyatt. You’re More Than Welcome.

HYATT CARMEL HIGHLANDS BIG SUR COAST 120 Highlands Drive Carmel, California, USA 93923 T + 1 831 620 1234 hyattcarmelhighlands.com The trademark HYATT and related marks are trademarks of Hyatt Corporation. ©2013 Hyatt Corporation. All rights reserved.

SAN FRANCISCO MAGAZINE

(Presenting Partner) San Francisco magazine is proud to celebrate 40 years of award-winning coverage of the Bay Area lifestyle—from food, fashion, and culture to politics, trends, and trendsetters. Through its history, San Francisco has been honored with more than 50 awards for editorial and design excellence. In 2010, it won the most coveted award in the magazine industry, the General Excellence award given by the American Society of Magazine Editors—and has been nominated again this year. This recognition substantiates San Francisco’s passion and commitment to publish the Bay Area’s best magazine—as well as one of the nation’s best.

Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway REACH A 5th Center for the Performing Arts • Pacific Northwest Ballet Paramount & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s SOPHISTICATED Chorus • Seattle Opera • Seattle Repertory Theatre • Seattle Shakespeare Company • Seattle Symphony AUDIENCE Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount PUT YOUR BUSINESS HERE & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s Chorus • Seattle Opera • Seattle Repertory Theatre Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s Chorus Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village

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EAP House 1-6H REV.indd 1

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WHO’S WHO CITY NATIONAL BANK

SOUND ASSOCIATES

LAFAYETTE PARK HOTEL & SPA

KBLX-FM

(Season Partner) Founded in California close to 60 years ago, City National Bank supports organizations that contribute to the economic and cultural vitality of the communities it serves. City National provides banking, investment and trust services through 79 offices, including 16 full-service regional centers, in the San Francisco Bay Area, Southern California, Nevada, New York City, Nashville, Tennessee, and Atlanta, Georgia. The corporation and its investment affiliates manage or administer $59 billion in client investment assets, including $39.7 billion under direct management. Backed by $27.4 billion in total assets, City National Bank provides entrepreneurs, professionals, their businesses, and their families with complete financial solutions on The way up®. (Season Partner) The Lafayette Park Hotel & Spa is pleased to support Cal Shakes and serve as “home away from home” for Cal Shakes artists. With its French Chateau architecture, legendary service, plush accommodations, award-winning cuisine, and full-service spa, the Lafayette Park Hotel & Spa provides one of the only Four Diamond experiences in the East Bay. Enjoy amazing cuisine at the Duck Club Restaurant before the show, or stop by the Bistro at the Park for a drink afterwards. The Hotel features more than 10,000 square feet of indoor and outdoor meeting space and is the ideal location for social events and corporate meetings. To be sure, the most elegant and memorable events are held at this “Crown Jewel of the East Bay.”

PEET’S COFFEE & TEA

(Season Partner) Peet’s Coffee & Tea is proud to be the exclusive coffee sponsor of California Shakespeare Theater’s 2013 season. Peet’s Coffee & Tea has earned an international reputation for quality since its founding in Berkeley in 1966. Peet’s has also been a valued supporter of California Shakespeare Theater since 2001. Peet’s salutes Cal Shakes on another wonderful season of reimagining the classics and bringing new works to the stage.

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CALIFORNIA SHAKESPEARE THEATER

(Season Partner) Sound Associates, Inc. has been a New York City staple in audio rental and installations since 1946, and was awarded a Special Tony Award in 1980 for introducing the infrared listening system to Broadway theatres. They expanded their operations to include Atlanta when they were chosen to provide sound systems for the 1996 Summer Olympics. With the ever-changing technical needs for Broadway productions, Sound Associates has continued to adapt and are now a full-service audio and video rental company with hits such as War Horse, the recent revival of Evita, and long-running hit Hairspray. They are currently represented on Broadway by: Matilda, the Musical, Jersey Boys, and the upcoming Big Fish.

(Production Partner) KBLX-FM is the Bay Area’s Urban Adult Contemporary radio station that broadcasts from San Francisco. Broadcasting on 102.9 FM, KBLX is the home of Steve Harvey Morning Show. KBLX plays the best in R&B with spinning such artists as Stevie Wonder, Michael Jackson, Beyonce, Prince, Usher, Alicia Keys, Charlie Wilson, Robin Thicke, John Legend, Chaka Khan, and many more.

AFFILIATIONS

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

WWW.CALSHAKES.ORG

The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare for a New Generation. California Shakespeare Theater is one of 42 professional theater companies selected to participate in Shakespeare for a New Generation, bringing the finest productions of Shakespeare to middle- and high-school students in communities across the United States. This is the 11th year of Shakespeare for a New Generation, the largest tour of Shakespeare in American history.

W I N N E R!

2013 Tony Award for Best Play!

“Deliriously funny…” — NE W YORK TIM E S

Now through Oct 20 Call 510 647-2949 Click berkeleyrep.org

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The Pianist of Willesden Lane A DA P TE D A N D D IREC T E D BY H E R S H E Y FE LD E R · O C T 2 5– D EC 8

Mona Golabek performs some of the world’s most beautiful music, live—as she relates the real-life legacy of her mother’s quest to survive the Nazi regime. “Unforgettable,” lauds the LA Times.

DISCOVER 2013–14 See Tristan & Yseult from the creators of Brief Encounter and The Wild Bride, the off-Broadway sensation Tribes, the latest from Tony Kushner, and more. See any three subscription plays and save. Tickets on sale now! Packages start at just $25 per play!

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How do ? we do this

ER! TO G E T H

THE LAST GOODBYE Conceived and Adapted by Michael Kimmel Music and Lyrics by Jeff Buckley

OPEN

Directed by Alex Timbers

Sept. 20 – Nov. 3, 2013

alleluia, alleluia, the road the road Continued from page 16.

Continued from page 16.

natives can look beyond; and where we natives can look where we can envision the beyond; Californiaand that belongs can envision the California that belongs to our great-grandchildren (or grand- to Continued from page 9. our great-grandchildren grand-android android children). Really,(orlet’s go there. children). Really, let’s go there. So the “how” we do it is, to me, In the spirit of defining the edge inextricably linked to the “why.” We In the spirit of theater-making, defining the edgethe in newin new-school do it because it is theOGT right081313 thing goodbye 1_3v.pdf school theater-making, the Triangle Lab Triangle Lab has experimented with to do for the generations of has overduring a dozen children who will shepherd our overexperimented a dozen visualwith artists visual artists during year-long world into the future. And we the year-long coursethe of the Califascourse of the Califas primary dishould do it together. As teaching Project. Their Project. primary Their directive was to rective wassettodesign approach design from a artists, we see first-hand the strong approach fromset a completely completely different blowdown, the walls bonds developed between students different angle: blowangle: the walls takeaway, seats redefine away, redefine “setting” when they are moved to achieve things down, take seats “setting” and and “place,” the story as a group. Strong classrooms build “place,” bringbring the story out, out, and and pull pull stronger schools, which in turn help to the the audience audience in. in. Ana Ana Teresa Teresa Fernandez Fernandez create more integrated, involved, and and and photographer photographer Joan Joan Ostato Ostato have have compassionate communities. We invite collaborated collaborated on on aa series series of of installations installations you to join us in this effort as we try surrounding surrounding productions productions of of The The River, to make the world a better place, one American Night, Night, and Alleluia, reimagining River, American and Alleluia, student at a time. Together. boundaries pushing and pastpushing physical and reimaginingand boundaries structural constraints. These constraints. installations past physical and structural 1 Rabkin, Nick and Hedberg, E. C. NORC will set the stage for your experience These installations will set the stage of University of Chicago. Arts Education in Alleluia, as will the of surrounding America: “What the declines mean for arts for your experience Alleluia, asevents will of participation.” 2011 the Festival. the Califas surrounding events of the Califas 2

EPE Research Center, 2010; Swanson, 2009

3

NEA “The Arts and Achievement in At Risk Youth,” 2012

A NEW MUSICAL FUSING SHAKESPEARE’S ROMEO AND JULIET WITH THE MUSIC OF JEFF BUCKLEY.

Festival. “What started as a few theater-makers from different collab“Whatvery started as a backgrounds few theater-makers orating to reimagine Hamlet as more from very different backgrounds accessible to new audiences—resulting collaborating to reimagine Hamlet as in the 2006 coproduction Hamlet: Blood in more accessible to new audiences— the Brain—has blossomed into an resulting in the 2006 coproductionexperience of theater that wildly participatory Hamlet: Blood in theis Brain—has and alive through the Triangle Lab,” says blossomed into an experience of Moscone. theater that is wildly participatory and alive through the Triangle Lab,” says Alleluia, the Road runs November 1–17 Moscone. at Intersection for the Arts at 5M. Tickets theRoad play runs are on sale now 1–17 Alleluia,tothe November through both the Cal Shakes at Intersection for the Arts atand 5M. Intersection box offices. Tickets to the play are on sale now through both the Cal Shakes and The Califas Festival runs October– Intersection box offices. December, on and around the 5M Project campus. The Califas Festival runs October– December, on and around the 5M Project campus.

Alleluia-replacement-pages-RK.indd 1

(619) 23-GLOBE (234-5623) www.TheOldGlobe.org

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CALIFORNIA SHAKESPEARE THEATER

WWW.CALSHAKES.ORG

THANKS TO OUR DONORS INDIVIDUALS These contributors made gifts between July 1, 2012 and June 30, 2013. Levels of support are based on cumulative gifts to our annual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*) used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at the Benefactor level to our 2013 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, please accept our apologies and contact Ian Larue at 510.899.4907 or [email protected] so that we may correct our records. $25,000 and above

Anonymous Ellen & Joffa Dale◊ Nicola Miner & Robert Mailer Anderson◊ Michael & Virginia Ross◊ Sharon & Barclay Simpson◊ Jay Yamada◊

$10,000 –$24,999

Anonymous (2) Henry & Vera Eberle Ken & Julie Erwin Ann & Gordon Getty Harvey & Gail Glasser Erin Jaeb & Kevin Kelly Maureen & Calvin Knight◊ Craig & Kathy Moody◊ Peter & Delanie Read◊ Rachel Rendel Jim & Nita Roethe◊ Michele & John Ruskin◊ Barbara Sahm & Steven Winkel◊ Alan Schnur & Julie Landres Jean Simpson◊ Frank & Carey Starn* Teresa & Patrick Sullivan Buddy & Jodi Warner George & Kathleen Wolf◊

$5,000–$9,999

Anonymous (3) The James N. Cost Foundation Mary Curran & John Quigley Joe Di Prisco & Patti James◊ Bob Epstein & Amy Roth◊ Nancy & Jerry Falk◊ Andrew Ferguson & Kay Wu Vincent Fogle & Emily Sparks David & Diane Goldsmith◊ William & Shand Green Dr. Jeffrey P. Hays & Carole Shorenstein Hays◊ Jennifer Heyneman & Will Sousae◊ Ken Hitz Barbara E. Jones in memory of William E. Jones Nancy Kaible & David Anderson◊ John Kemp & Mary Brutocao Maryon Davies Lewis in honor of Jonathan Moscone Ashley & Antonio Lucio Richard Norris & David Madsen Janet & Norman Pease Pauline Proffett & Matthew Fabela Monica Salusky & John Sutherland Yvonne & Angelo Sangiacomo Sondra & Milton Schlesinger◊ William & Nathalie Schmicker Debbie Sedberry & Jeff Klingman M.J. Stephens & Bernard Tagholm* Tony Taccone & Morgan Forsey Heidi & Charles Triay◊ James & Barbara Wesley

$2,500–$4,999

Anonymous Kay & David Aaker Pat Angell in memory of Gene Angell Marianne & Tom Aude◊ Valerie Barth & Peter Wiley* Darryl Carbonaro* 30

Michael & Phyllis Cedars Wai & Glenda Chang Debbie Chinn Josh & Janet Cohen◊ Ron Conway Margaret P. Cost Jessica & James Fleming Elise & Tully Friedman Rena & Spencer Fulweiler Patrick W. Golden & Susan Overhauser The Mimi & Peter Haas Fund Ardice Hartry & Paul Covey Randall & Beverly Hawks Daisy & Warren Kiehn Lisa & Scott Kovalik Gina & David Larue Bill & Carol Leimbach Debby & Bruce Lieberman◊ in honor of Sharon & Barc Simpson Eileen & Peter Michael Jonathan Moscone Nancy Olson Shelly Osborne & Steve Tirrell Mary Prchal Sam Pullara Maria & Danny Roden Miriam & Stanley Schiffman Judy & John Sears◊ Mary Jo & Arthur Shartsis Virginia & Thomas Steuber Phyllis & Jim Thrush* Muriel Fitzgerald Wilson Beverly & Loring Wyllie

$1,000–$2,499

Anonymous (3) Frank & Loren Acuña Melissa Allen & Elizabeth Andreason Eugene & Neil Barth Megan Barton & Brian Huse Joyce & Charles Batts Stephanie & David Beach Barbara & Richard Bennett Nina & David Bond Rena Bransten Marilyn & George Bray Pamela & Christopher Cain Jo Alice & Wayne Canterbury Phil & Chris Chernin*◊ Linda Clark Phillips & Gordon Phillips◊ Michael & Sandy Cleland Alice Collins & Len Weiler Craig Congdon* Debra Crow Don Davis Lois De Domenico Edward & Denise Del Beccaro◊ Jan Deming & Jeff Goodby Linda Derivi & Steve Castellanos Ellen Dietschy & Alan Cunningham Barbara Duff in memory of George Duff Rachael & Thomas Eberle Elizabeth Karplus in memory of Robert Karplus Donald Engle & Karen Beernink Susie Falk & York Kennedy Joan & Scott Fife Peter Fisher Sally & Michael Fitzhugh Dale & Jerry Fleming Silvio & Mary Garaventa

CALIFORNIA SHAKESPEARE THEATER

Carol & Richard Gilpin Judith & Alexander Glass in honor of Sharon & Barclay Simpson Werner Goertz & Elizabeth Harvey Sydney Goldstein & Charles Breyer Pamela & John Goode Janie & Jeff Green Anne & Marshall Grodin Garrett Gruener & Amy Slater Sonny & Bruce Hanson◊ Tish & Steve Harwood Joyce Hawkins & John W. Sweitzer Margaret Hegg Dan Henkle & Steve Kawa* Jeanne Herbert Bonnie & Tom Herman Margaret & Craig Isaacs Malcolm Jones & Karen Roche Timothy Kahn & Anne Adams Bruce Kerns & Candis Cousins Sheryl & Anthony Klein Jean & Jack Knox Steve & Deidre Kolodney Kim & Max Krummel Jennifer Kuenster & George Miers Gerald N. Kurtz in memory of Grace Wong Kurtz Adair & William Langston Fred Levin & Nancy Livingston, The Shenson Foundation Connie & John Linneman Eileen & Richard Love Jill Matichak Tomi & Scott Matthews Elaine & John McClintic Jacquelyn McCormick & Michael Salkin Nion T. McEvoy Charlie & Casey McKibben Ann Meadows Paul & Connie Menzies Walter Moos & Susan Miller Linda & Chris Moscone Patricia & David Munro Lizzie & John Murray Lee Neely & Chelle Clements Carol & Richard Nitz* Eleanor Parker Berniece & Charles Patterson Dr. & Mrs. Irving Pike Joyce S. Ratner Andrew & Meghan Read Muriel Reiley Paul A. Renard & John Blytt Velma & Hugh Richmond Lesah & Jeffrey Ross Patricia & Glenn Rudebusch Patti & Rusty Rueff◊ Patti & Paul Sax Linda & Will Schieber Martha G. Schimbor in memory of Gertrude Boycheff Jo Schuman Silver Laura & Robert Sehr◊ Maureen Shea & Allen Ergo Gail & Rick Stephens Steven Sterns & Barry Klezmer Anna & Kurt Stevenson Sue & Terry Stiffler Paul & Susan Sugarman in honor of Buddy Warner Christine & Curtis Swanson

WWW.CALSHAKES.ORG

Anne Marie & Tom Taylor Barbara & Richard Thompson* Dr. Tom Tighe & Peggy Green Catherine & Ned Topham James Topic & Terry Powell Carol Jackson Upshaw◊ in honor of Jonathan Moscone Jamie & Gerry Valle* Drs. Oldrich & Silva Vasicek John & Bobbie Wilson Drs. Bonnie Zell & Manuel Torres Michael H. Zischke & Nadin Sponamore Midge & Peter Zischke

$750–$999

Claire & Kendall Allphin Doree & Andrew Burstein Lynn & Bill Evans Ilse & Jim Evans Mimi & Jeff Felson James Fortune Charla Gabert & David Frane Kathleen & Karl Geier Matthew Goudeau◊ Katherine & Chuck Greenberg◊ Kristi & Arthur Haigh Michael Huston & Marcia Cho* Karin & Patrick Johnston James & Rosaleen Kelly Kate & Thomas F. Loughran Sunne & John McPeak in honor of Sharon & Barclay Simpson Mrs. George R. Moscone Nancy & Gene Parker Carol & Mark Penskar Linda Schwartz Barbara Sklar Robert St. John & M. Melanie Searle Nancy Thomas Cheryl & Steve Wilske* Barbara & Craig Woolmington-Smith

$500–$749

Anonymous (3) • Elizabeth & Philip Acomb • Stephanie & N. Thomas Ahlberg • Jose & Carol Alonso • Leland & Mary Anderson* • William Anderson • Paige & Anthony Arata • Paula & Steve Arnold • Susan Aumiller & Stephen Twigg • Mary Austin • Susan M. Avila & Stephen Gong • Richard & Sandy Bails • Elizabeth Balderston • Gretchen Bartzen & Mike Rippey • Laura & Paul Bennett • Sara Benson • Paula Blizzard & David Brown • Monique & Jules Bonjour • Barbara & Jack Bontemps* • Liz & Richard Bordow in memory of Dr. Nathan Cedars • Jean & John Brennan • Tina Brier & David Shapiro • Germaine Brown • Erin Bydalek & Patrick Bengtsson* • Joan Byrens • Jacqueline Carson & Alan Cox • Carmen & Eric Castain • Jason & Flora Chang • Steven & Karin Chase • Yvonne ClintonMazalewski & Robert Mazalewski • Tony Cone & Wendy Rader • Mary & David Cost, Sr. • Susan & Don Couch* • Jane & Thomas Coulter • Rebecca & Al Courchesne • John F. Cove, Jr. & Natalie Balfour • Juliet Cox • Jill & Chuck Crovitz • Edward Cullen & Ann

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT O’Connor • Diana & Ralph Davisson • Maria Dichov • Eric Dittmar & Gayle Tupper • Corinne & Michael Doyle • Danielle DuCaine & Alex Katz • Kimberly Duir • Karin Eames • Sharon & Leif Erickson • Barbara & Neil Falconer • Mary & Benedict Feinberg • Claudia Fenelon & Mark Schoenrock • Kristin Ferrucci-Fuller & Scott Fuller • Debra & Dudley Fournier in memory of Sylvia Stone • Kerry Francis & John Jimerson • Nancy Francis • Maribel & Jack Fraser* • Robin & Peter Frazier • Charles Freiberg & Andrea Alfano • Mary & Stan Friedman in honor of Susie Falk • Jill & Steven Fugaro • Ernie & Jeanne Gabiati • Cooksie & Beau Giannini • Casey & Keith Giarman • Laura & William Gorjance • Miriam Green & Andrew Rose • Harriet Hamlin & James Finefrock • Patricia & Brian Hanafee • Remy Hathaway • Warren Heckrotte • Beatrice Heggie • Kristi Helmecke & Philip Hunsucker • Chris & Marcia Hendricks • Paul Hennessey & Susan Dague • Michael & Lisa Holmes • Ben & Sarah Holzemer • Xanthe & James Hopp • Marilyn & Luman Hughes • Leslie & George Hume • Mary Anna & Martin H. Jansen, M.D. • Cynthia & Mark Jordan • Bill & Joey Judge • Thomas Koegel & Anne LaFollette • Kathy & Anthony Laglia • Dr. Todd & Pamela Lane • Michael & Samantha Leo • Susan & Donald Lewis • Joy Lienau-Armstrong • Randall & Rebecca Litteneker • Yuriria Lobato & Hilary Lerner • Kheay Loke & Martha McGrady • Elizabeth Lowe in honor of Jordan & Cameron Costello • Jean & Lindsay MacDermid • Kitty Margolis & Alfonso Montuori • Mary & Howard Matis • Eugene McCabe • Paul & Ellen McKaskle • Kimberly & Jerry Medlin • The Hon. George Miller & Cynthia Miller • D. G. Mitchell • Joan & Robert Montgomery • Susan Morris • Jennifer & Brian Mosel* • Marilyn & David Nasatir • Joseph Navarro & Billie Jones • Rebecca O’Brien • Marie & Jim O’Brient • Sharon & Bill Owens • Cindy Padnos & Jim Redmond • Carolyn & Richard Palmer • Dorothy & John Peers • Regina Phelps • Mariana Portella • Mary C. Powelson • Craig Pratt • Kathleen Quenneville • Pam Rafanelli • Ephraim & Lily Regelson • Ellen Richard • Mark Richards & Theresa Speake in honor of Jessica Richards • Roberta Richards & Robert Semar • Bob Roat • Mark & Claire Roberts • Noralee & Tom Rockwell • Claire Roth • Julie & Andrew Sauter • Barbara & Jerry Schauffler • Joyce & Kenneth Scheidig • Lucille & John Serwa • James Shankland & Leslie Landau in honor of the Queen’s Own • David A. Shapiro, M.D. & Sharon L. Wheatley • Cathleen Sheehan & Kenneth Sumner • Neil Sitzman • Gary Sloan & Barbara Komas • Betsy Smith • Carrie & Jason Smith • H. Marcia Smolens • Stephanie & Robert Sorenson • David Starke • Alexandra & Peter Starr • Anna & Barry Tague • Ragesh Tangri • Page & Virginia Thibodeaux • Dawson Lane Urban • William Van Dyk & Margaret Sullivan • Jeff Wagner • Jackie Wallace • Jennifer & Perry Wallerstein • Beth Ann & Michael Ward • Meredith & Jeffrey Watts • Arthur Weil • Marni & Eric Welch • Dana Welsh • Martha Truett & David White • Corinne & David Whittall • Doug Wilson • Nita Yun & Russ Mitchell • Linda & Warren Zittel

We are grateful for the generous investment of the following foundations, corporations, and government agencies, which support our 2013 artistic and educational programs. Multiyear grants are designated with a double asterisk (**). PRESENTING PARTNERS

$100,000 and above The William and Flora Hewlett Foundation** The James Irvine Foundation** The Andrew W. Mellon Foundation**

$50,000–$99,999 Anonymous Dean & Margaret Lesher Foundation**

$25,000–$49,999 City National Bank MetLife Foundation and Theatre Communication Group National Endowment for the Arts: Art Works Shakespeare for a New Generation The Shubert Foundation

$10,000–$24,999

SEASON PARTNERS

Blueprint Studios The Dale Family Fund The Sidney E. Frank Foundation Walter & Elise Haas Fund MCJ Amelior Foundation The Thomas J. Long Foundation

$5,000–$9,999 Archer Norris Baker Avenue Asset Management The East Bay Community Foundation John Muir Health Systems JP Morgan Securities The Bernard Osher Foundation Pricewaterhouse Coopers The RHE Charitable Foundation The Safeway Foundation The Morris Stulsaft Foundation Theatre Development Fund

Up to $4,999

PRODUCTION PARTNERS

Alameda Theatre Alpha Omega Winery Aquarium of the Bay Aurora Theater B Cellars Winery Barbacoa Orinda Berkeley Acupuncture Project Berkeley Repertory Theatre Café Rouge Captain Vineyards The Carneros Inn Chez Panisse Clif Family Winery Craft Distillers DavidTravel Delfina Restaurant Dodge & Cox DuMol Wine Company Fort Ross Vineyards Frances The French Laundry The FruitGuys Ann & Gordon Getty Foundation The Mimi and Peter Haas Fund Hafner Vineyards Harley Farms Goat Dairy

The Hellman Foundation Hyatt Regency Century Plaza John’s Grill Judd’s Hill Winery KQED Independent Charities of America Lamborn Family Vineyards LeVois Vineyards Meadowood Napa Valley Muscardini Cellars The Olympic Club Original Joe’s Pier 39 Pizzaiolo Ram’s Gate Winery Rialto Cinemas Rock Wall Wine Company San Francisco Chronicle Sony Computer Entertainment America St George Spirits The Tech Museum of San Jose Townhouse Bar & Grill UC Berkeley Library Walnut Creek Yacht Club The Walt Disney Family Museum Waterbar

Tasting Partners Bohemian Creamery Carica Wines Coco Tutti Crazy Crunch Dandelion Chocolates Dr. Kracker Just a Simple Cupcake Mamie and Mahki’s Sweet Potato Pie Peet’s Coffee & Tea R&B Cellars Upper Crust Pies Urbano Cellars

Matching Gifts Aetna Foundation AT&T Foundation Bank of America Caterpillar Foundation Chevron Humankind Electronic Arts Forest Laboratories Google Horizon AG-Products John Wiley & Sons McKesson Foundation Microsoft Corporation Regence J.P. Morgan Chase Foundation Visa

Organizations Providing Donor-Advised Funds The Charles Piper Cost Foundation Independent Charities of America Jewish Community Foundation The San Francisco Foundation The Silicon Valley Community Foundation

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OUR MISSION We strive for everyone, regardless of age, circumstance, or background, to discover the relevance of theater in their lives by: Making boldly imagined and deeply entertaining interpretations of Shakespeare and the classics; Providing in-depth, far-reaching, creative educational opportunities for diverse youth;

BOARD OF DIRECTORS EXECUTIVE COMMITTEE Buddy Warner PRESIDENT

Marshall Kido VICE PRESIDENT

Kate Stechschulte VICE PRESIDENT

Alan Schnur VICE PRESIDENT

Developing new models that expand who participates in making theater, how they participate, and why.

Susie Falk VICE PRESIDENT (EX-OFICIO)

Jonathan Moscone VICE PRESIDENT (EX-OFICIO)

Jean Simpson SECRETARY

Jay Yamada TREASURER

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

ABOUT THE BRUNS AMPHITHEATER Siesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of the East Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeks to serve the public with a community facility while preserving the watershed with minimal disruption to the pastoral surroundings. This land may be open to the public for performances and private events, but remains restricted private property at all other times. PICTURED, TOP TO BOTTOM: TOMMY SHEPHERD AND RYAN NICOLE PETERS IN A STAGED READING OF HAMLET: BLOOD IN THE BRAIN AT THE OAKLAND METRO (2005, 32 BY JAY CALIFORNIA SHAKESPEARE THEATER PHOTO YAMADA); ANDY MURRAY AND DOMENIQUE LOZANO IN MUCH ADO ABOUTWWW.CALSHAKES.ORG NOTHING (2010, PHOTO BY KEVIN BERNE); STUDENTS IN A 2010 SUMMER SHAKESPEARE CONSERVATORY TEXT CLASS (PHOTO BY TRISH TILLMAN); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).

DIRECTORS Jeff Bharkhda Michael Cedars Phil Chernin Mike Cleland Joshua Cohen Ellen Dale Ed del Beccaro David Goldsmith Sonny Hanson Erin Jaeb Tony Kallingal Maureen Knight Craig Moody Richard Norris Linda Clark Phillips Jim Roethe Mike Ross Michelle Runyon John Ruskin Sharon Simpson Frank Starn Teresa Sullivan ADVISORY COUNCIL Wayne Canterbury Bob Epstein Peter Fisher Allison Goldstein Jeff Green Anne Grodin Nancy Kaible Jennifer King Lesa McIntosh Tapan Munroe Susan Rainey Carole Rathfon Peter Read Hugh Richmond John Sears Francesca Vietor Sarah Woodard

2013 COMPANY

Jonathan Moscone ARTISTIC DIRECTOR

ASSOCIATE ARTISTS Jenny Bacon, ACTOR L. Peter Callender, ACTOR Ron Campbell, ACTOR Nancy Carlin, ACTOR James Carpenter, ACTOR Catherine Castellanos, ACTOR MaryBeth Cavanaugh, CHOREOGR APHER Julie Eccles, ACTOR Daniel Fish, DIRECTOR Dan Hiatt, ACTOR Jennifer King, TE ACHING ARTIST Domenique Lozano, ACTOR Joan Mankin, ACTOR Andy Murray, ACTOR Meg Neville, COSTUME DESIGNER Ryan Nicole Peters, WRITER AND ACTOR Lisa Peterson, DIRECTOR Andre Pluess, COMPOSER /SOUND DESIGNER Jake Rodriguez, COMPOSER /SOUND DESIGNER Stacy Ross, ACTOR Mark Rucker, DIRECTOR Susannah Schulman, ACTOR Danny Scheie, ACTOR Lynne Soffer, DIALECT AND TE X T COACH Octavio Solis, PL AY WRIGHT Stephen Barker Turner, ACTOR Scott Zielinski, LIGHTING DESIGNER TEACHING ARTISTS Heidi Abbott, Elizabeth Carter, Catherine Castellanos, Scott Coopwood, Rachel Fettner, Derek Fischer, Laura Marlin, ZZ Moor, Ryan O’Donnell, Laura Lowry, Susannah Martin, Carla Pantoja, Andy Sarouhan, Claire Slattery, Anna Smith, Cat Thompson, Trish Tillman, Ginny Wehrmeister, Wendy Wisely, Marissa Wolf, Elena Wright, Kat Zdan, CONSERVATORY TE ACHING

OF ARTISTIC LE ARNING &

STUDENT MATINEE MODER ATOR

ASSISTANT

PRODUCTION Tirzah Tyler, PRODUCTION MANAGER Dave Nowakowski, TECHNICAL DIRECTOR Naomi Arnst, COSTUME DIRECTOR STAGE MANAGEMENT Corrie Bennett, Laxmi Kumaran, Deirdre Rose Holland, Bethanie Baeyen, Jannette Coté, STAGE MANAGERS

Dana Gal, Christina Hogan, Cordelia Miller, PRODUCTION ASSISTANTS

SCENERY Charlotte Wheeler, ASSISTANT Baz Wenger, CARPENTER

TECHNICAL DIRECTOR

SCENIC ART Letty Samonte, SCENIC CHARGE ARTIST Sophia Fong, Shannon Walsh, OVERHIRE

PAINTERS

ELECTRICS Ray Oppenheimer, Molly Stewart-Cohn,

MASTER

ELECTRICIANS

Dan Norman, ASSISTANT

MASTER ELECTRICIAN &

BOARD PROGR AMMER

Melina Cohen-Bramwell, SE ASON FOLLOWSPOT Hamilton Guillen, LIGHT BOARD OP SOUND Will McCandless, HE AD OF AUDIO Brendan Aanes, Eric Andler, Lawton Lovely, Saloman Peña, MIXERS Christopher Lossius, Xochitl Loza, Saloman Peña, Edward Vigen, BACKSTAGE AUDIO

ARTIST FELLOWS

THE TRIANGLE LAB Intersection for the Arts, COFOUNDER Rebecca Novick, DIRECTOR

PROPERTIES Seren Helday, PROPERTIES MASTER Sarah Spero, PROPERTIES ARTISAN

Elizabeth Carter, Scott Coopwood, Derek Fischer, ZZ Moor, Dan Saski, Anna Schniederman, Anna Smith, Ginny Wehrmeister, Marissa Wolf, Elena Wright, Clive Worsley, Kat Zdan, RESIDENCIES, CL ASSES, AF TER-SCHOOL, & WORKSHOPS

Katy Adcox, Brett Jones,

SUMMER SHAKESPE ARE

CONSERVATORY COORDINATORS

Gregoria Grigsby-Olson, Tommy Statler,

TE ACHING

ARTISTIC & DRAMATURGY Jessica Richards, ASSOCIATE ARTISTIC DIRECTOR Philippa Kelly, RESIDENT DR AMATURG Laura Hope, CONTRIBUTING DR AMATURG Sonya Taylor, COMMUNIT Y PARTICIPATION COORDINATOR

Clea Shapiro, ARTISTIC COORDINATOR Robin Dolan, Paige Johnson, Philippa Kelly, Joanie McBrien, Takeo Rivera, Cathleen Sheehan, GROVE TALK MODERATORS

Joyce Fleming, BUSINESS MANAGER Jamie Buschbaum, OFFICE MANAGER /E XECUTIVE Marivie Koch, BUSINESS

COSTUMES & WARDROBE Jessa Dunlap, RENTALS MANAGER Emily White, DESIGN ASSISTANT Lisa Angback, CUT TER /DR APER Aries Limon, FIRST HAND Shannon Dupont, Linda Ely, Antonia Gunnarson, Suzanne Ryan, Elana Sanders, STITCHERS Elena Burlando, CR AF TSPERSON Marcy Frank, CR AF TS OVERHIRE Jessica Carter, WIG & MAKEUP DESIGNER Shannon Dunbar, WARDROBE LE AD Eva Herndon, WARDROBE, WIG MAINTENANCE

ARTISTS & DIRECTORS

All listings current as of September 5, 2013

ARTISTIC LEARNING Clive Worsley, DIRECTOR

Susie Falk MANAGING DIRECTOR

FACILITIES Trevor Carter, FACILITIES MANAGER Manino Mendez, MAINTENANCE TECHNICIAN Brittany White, WEEKEND MAINTENANCE Porscha K. Owens, Reva Owens, SHUT TLE DRIVERS FINANCE & ADMINISTRATION Noralee Rockwell, DIRECTOR OF FINANCE

OFFICE ASSISTANT

DEVELOPMENT Megan Barton, DIRECTOR OF DE VELOPMENT Ian Larue, ANNUAL FUND MANAGER Andrew Page, GR ANTS MANAGER Shelly Jackson, SPECIAL E VENTS MANAGER MARKETING & COMMUNICATIONS Janet Magleby, DIRECTOR OF MARKE TING

&

COMMUNICATION

Marilyn Langbehn, MARKE TING & PR MANAGER Stefanie Kalem, PUBLICATIONS MANAGER Callie Cullum, GR APHIC DESIGNER / WEBMASTER PATRON SERVICES Pam Webster, PATRON SERVICES MANAGER Steven Bailey, Maria Fortez, Nan Noonan, Colin O’Connor, Rhoda Slanger, Sheila Yee, PATRON SERVICES ASSOCIATES

BOX OFFICE & FRONT OF HOUSE Derik Cowan, BOX OFFICE MANAGER Rachel Frank, Elena Garcia, Kimberlee Hicks, Jasmine Malone, Molly McEnerney, Colin O’Connor, David Shultz, Deborah Woods, BOX OFFICE ASSOCIATES

Beth Buschbaum, THE ATER STORE MANAGER Betsy Ruck, HOUSE MANAGER Anne-Marie Balke, Jordan Battle, Erika Budrovich, Mia Buljko, Carolyn Day, Jamie Harkin, Patricia Kelley, Carol Marshall, Satoe Nagasaka, Jacob Phillips, Scott Tignor, Junior Viernes, Deborah Woods, HOUSE ASSOCIATES 2013 PROFESSIONAL IMMERSION PROGRAM COMPANY For information on the Cal Shakes PIP (internship) program, email [email protected]. Elena Garcia, ARTISTIC Addie Bacon, Caety Klingman, Saba Keramati, Jackie McKenna, Lukas Papenfusscline, Jacob Phillips, Miriam Salamah, Sophie Schwartz, Travis Smith, Jacinta Sutphin, Megan Wicks, ARTISTIC LE ARNING

Gracie Bojorquez, Karina Chavarin,

COSTUME

DESIGN

Satoe Nagasaka, COSTUME SHOP Anne-Marie Balke, COSTUME SHOP/CR AF TS Alison Burris, PRODUCTION MANAGEMENT John Dixon, SCENIC CONSTRUCTION/ TECHNICAL DIRECTION

Hamilton Guillen, LIGHTING DESIGN Brittany White, PROPERTIES Kerry Hennessy, SCENIC PAINTING Cheryle Honerlah, Joel Rivas, Angela Rosario, Chris Waters, STAGE MANAGEMENT Christina Novakov-Ritchey, TRIANGLE L AB Audrey O’Donnell, MARKE TING

PRODUCTION PROGRAM Volume 22, No. 4 Stefanie Kalem, EDITOR-IN-CHIEF Callie Cullum, ART DIRECTOR

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33

FYI

IMPORTANT INFORMATION FOR OUR PATRONS

CONTACT US

Box Office: 510.548.9666 or [email protected] (Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm) Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710 Website: calshakes.org Social Media: Facebook.com/calshakes Twitter.com/calshakes Pinterest.com/calshakes Group Sales (10+): 510.809.3290 General: 510.548.3422 or [email protected] Program Advertising: Mike Hathaway, Encore Media Group, 800.308.2898 x105 or [email protected] Facilities Rental: 510.548.3422 x123 Costume Rental: 510.548.3422 x111

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

BRUNS AMPHITHEATER 100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailing address) Hours: Box office and grounds open two hours before performance time. Come prepared for the outdoors: Blankets are available to the right of the main Amphitheater entrance for a suggested $2 donation; please dress warmly for cold nights and bring sunscreen and a hat for matinees. To keep yellow jackets at bay, keep food covered whenever possible and promptly dispose of trash and recyclables. We’ve also found fabric softener dryer sheets work well to keep repel yellow jackets. Take BART and our free shuttle: Cal Shakes provides free, wheelchair lift-equipped shuttle service between the Orinda BART station and the Theater beginning 90 minutes prior to and at the end of each performance. The shuttle runs approximately every 20 minutes; the final shuttle leaves the Orinda BART station approximately 20 minutes before curtain. Orinda BART pickup is in the BART parking lot to the right of the station exit; after the show, catch the shuttle on the Sue & George Bruns Plaza.

SHARON SIMPSON CENTER AMENITIES

CALIFORNIA SHAKESPEARE THEATER

ACCESSIBILITY Wheelchair Lift-equipped Shuttle: See info above, under “Take BART and our free shuttle.” Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes. We can also book seats, adjacent to yours, for up to three companions. (Make sure to request this seating at time of purchase.) Assistive Listening Devices: Available at no charge from the blanket kiosk on a first-come, first-served basis. Open-captioned Performances: Cal Shakes is proud to provide open captioning for patrons who are deaf or hard-of-hearing for one performance of each production. See calshakes.org/accessibility for dates and other information on access.

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

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

EVACUATION PLAN STAGE EXIT

Café by Classic Catering: Offering a wide selection of gourmet meals, wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café opens two hours before the performance and at intermission. Catering is available for groups (10+) and special events; call 925.939.9224. Theater Store: Cal Shakes logo wear and other merchandise are available for purchase at the Theater Store, located in the Sharon Simpson Center; open before the performance and during intermission. Restrooms: Located to the left of the Theater Store. (Additional restrooms are located in the Upper Grove.) First Aid: For assistance, please go to the House Management Office, located inside to the left of the restrooms. 34

Emergency Phone: Since we ask all patrons to silence cell phones during performances, you may leave the House Office phone number (925.254.2395) as your contact number during a performance.

EXIT

EXIT

WWW.CALSHAKES.ORG

THE SHARON SIMPSON CENTER

P EXIT

EXIT ROUTE PRIMARY AREA OF REFUGE (MEETING PLACE FOR ALL AUDIENCE MEMBERS) UPPER GROVE

SECONDARY AREA OF REFUGE FIRE HYDRANTS

They’re fun. They’re easy to do with friends while picnicking before the show, or with your kids at intermission. Besides being sisters and frequent creative collaborators, A Winter’s Tale Director Patricia McGregor and Movement Director Paloma McGregor were roommates for a long time. They are also big Mad Libs fans: Patricia told us that when they disagree—even if they’re not speaking to one another—they do Mad Libs together to break the ice. It all begins in Leontes; his heavily of

, kingdom of King Leontes. Various servants herald the entrance of

COUNTRY NAME 1

wife, Hermione; and his childhood

ADJECTIVE

, Polixenes, King

NOUN

.

COUNTRY NAME 2

Leontes begs Polixenes to stay while Hermione presses his

PRESENT-TENSE VERB

that because he didn’t

longer; Polixenes says he can’t. Leontes

AMOUNT OF TIME

PRESENT-TENSE VERB

. Polixenes relents, agreeing to stay; and, out of nowhere, Leontes decides and his wife did, there has to be something going on between the two of them.

VERB

Leontes gives birth to this suspicion; his imagination does the rest. Leontes orders Polixenes gone; he sends Hermione to , where she delivers a baby girl. Leontes sends the child away to be killed and asks an

PLACE

to tell him the truth of what has gone on, and the

NOUN

was true to her husband. But it’s too late: Leontes’ pre-teen

NOUN

confirms that Hermione

SAME NOUN

dies of grief and

EMOTION

;

Hermione falls in a swoon and her servant reports that she, too, has died. Antigonous, charged with murdering the infant, leaves her on the coast of

instead. A

COUNTRY NAME 2

HOLDER OF A SPECIFIC PROFESSION

KIND OF ANIMAL

chases and kills him. The baby is found by a

.

Sixteen years later, the infant, Perdita, has been raised by the

in the forests of

SAME HOLDER OF A PROFESSION

COUNTRY NAME 2

.

One day King Polixenes’ son, Florizel, sees her and falls in love with her. Polixenes and his servant Camillo (who was once Leontes’ servant) attend, in disguise, the never to see this lowly embraced by the soothes Leontes’ TOOL

NOUN

again. Florizel and Perdita escape to Leontes, who has

ADJECTIVE

PAST-TENSE VERB

COUNTRY NAME 1

. Florizel is

his actions for the last 16 years. Florizel

and remorse by telling him he’s on a mission from his father to bury the

EMOTION

.

Florizel’s cover is blown when his NOUN

of Florizel and Perdita. Polixenes tears off his disguise and orders his son

EVENT

ADJECTIVE

father arrives, along with Camillo, who longs to see his

again. The story unravels itself. We find that Perdita is in truth Leontes’ long-lost

Hermione is not

ADJECTIVE

daughter; that

, but safely maintained by her loyal servant Paulina all these years; and that Leontes can now have ADJECTIVE

both wife and daughter back again. Sometimes, just sometimes, life is indeed a

NOUN

.

Read the synopsis online at calshakes.org/articles.

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Our mission here at Sunnyside is to grow high quality seedlings, certified organic, and to teach people how to be their own farmer. It’s definitely hard work. If you want my respect, you have to work as hard as I do. The first time I met someone from Mechanics Bank, the next day they were out here to look at my farm. It’s like old-school banking that you hear about. For them to come out in their suits to visit my farm, and get their shoes dirty…that meant a lot to me. That’s why I’m a Mechanic. Pilar Reber, Sunnyside Organic Seedlings

Give us a call at 800.797.6324, visit the website at www.ImaMechanic.com, or better yet, just come in, sit down and talk with us. It’s a great way to find out if you’re a Mechanic too. Member FDIC