Read Spunk Program - California Shakespeare Theater

Three Tales by ZOrA NEALE HUrStON 

adapTed by GEOrGE C. WOLfE 

Music by CHiC StrEEt MAN 

direcTed by PAtriCiA MCGrEGOr 

JULY 4–29 

2012 SEASON

“ I chose City National for 

their proven expertise.” 

I wanted to free up more time to do the things I enjoy 

doing, and I needed somebody to take responsibility 

for my individual assets. I chose City National 

because I’ve been investing with them for 15 years 

and they’ve proven their ability to do well in these 

challenging times. 

City National is The way up® ® for me and my business. 

Sy Kaufman 

Founder of Crosslink Capital, Semi-Retired 

Hear Sy’s complete story at cnb.com/thewayup. 

Experience the 

City National Difference.SM 

Bob Brant 

Executive Vice President 

(415) 576-2775 

City National Wealth Management Member FDIC 

Non-deposit Investment Products: n are not FDIC insured n are not Bank guaranteed n may lose value 

Past performance is not an indication of future results. City National Asset Management, the investment management group of City National Bank. ©2012 City National Bank

We’re proud to announce our upcoming season, 

featuring an array of accomplished artists who have 

2012–13 

collectively earned 11 Obie Awards and five Tony Awards. 

West coast comedy premiere 

Chinglish 

Written by david Henry Hwang 

directed by Leigh silverman 

Co-production with South Coast Repertory 

aug 24–oct 7 

An Iliad 

adapted from Homer by Lisa peterson 

& denis o’Hare 

translation by robert Fagles 

directed by Lisa peterson 

oct 12–Nov 11 

From tHe creator oF the arabian nights 

The White Snake 

conceived and directed by mary Zimmerman 

Co-production with Oregon Shakespeare Festival 

Nov 9–dec 23 

WorLd premiere 

Troublemaker 

or The Freakin Kick-A Adventures 

of Bradley Boatright 

Written by dan LeFranc 

directed by dexter Bullard 

Jan 4–Feb 3 

WorLd premiere 

Fallaci 

Written by Lawrence wright 

directed by Gregory mosher 

mar 8–apr 21 

Pericles, Prince of Tyre 

Written by William shakespeare 

directed by mark Wing-davey 

apr 12–may 26 

West coast premiere 

Dear Elizabeth 

Written by elizabeth Bishop & robert Lowell 

arranged by sarah ruhl 

directed by Les Waters 

may 24–Jul 7 

To order your ticket package, 

visit berkeleyrep.org or call 

the box office at 510 647-2949 

pLus doN’t miss 

Emotional Creature 

from eve ensler, creator of 

the t Vagina Monologues Monologues, 

playing now 

seasoN spoNsors

For a tour of our available homes, please contact us at 

925-254-9900 or orindawilder.com. 

2 Wilder Road, Orinda, CA 94563 

Take Hwy 24 to Wilder Road 

Developer/seller reserves the right to change features and amenities 

without notice. Pricing and availability subject to change. 

Hello, neighbor. 

Spring is in the air. Friendships are blooming. And Wilder is pleased to 

welcome Shapell Homes to the neighborhood. With more than 50 years of 

experience building award-winning homes, Shapell brings a commitment 

to expert craftsmanship and design that is pure Wilder. We look forward to 

their first release of homes later this year. 

Wilder is a new community featuring custom homes and homesites 

surrounded by hundreds of acres of open space, a private swim club, 

playfields, trails and one of the best school districts in the state. 

Home is here. Come see.

PHOTO BY KEVIN BERNE 

FROM THE ARTISTIC DIRECTOR 

The fi rst time I experienced Spunk was in 1989 at the Public Theater in New 

York. I had been working for Joe Papp for almost three years, and had watched 

George C. Wolfe’s previous piece, the brilliant Colored Museum, nearly 20 times. 

Brazenly irreverent, blazingly theatrical, fi ercely funny, and sharp like a knife, The 

Colored Museum remains one of the highlights of my theatergoing history. Spunk 

is all that without the irreverence. George C. Wolfe is a big personality, but even 

he knew that Zora Neale Hurston was due for her time in the contemporary cultural spotlight. 

It wasn’t until years later that I learned how Hurston rose to divine prominence during the Harlem 

Renaissance and beyond, only to have her creative legacy nearly obliterated over the years by many who 

found her work to be, at the very least, reactionary. But when scholars and writers—Alice Walker among 

them—brought her back into our cultural consciousness in the mid-to-late-1970s, it was just a matter 

of time before Wolfe, one of our greatest living and most daring theatrical artists, would “team up” with 

Hurston, one of America’s most thrilling, trailblazing artists of the 20th century—or any century, for that 

matter. And so, in 1989, we got Spunk. 

What a play, I thought. Poetry in motion. Blending folklore with sass, heartbreak with celebration, 

literature with theater, George C. Wolfe created something indelible and rare—a piece that felt like a 

classic while at the same time forging new and adventurous terrain in the theatrical landscape. I’m so 

glad I thought of Spunk to bring to Cal Shakes. It thrilled me like Nicholas Nickleby did when the Royal 

Shakespeare Company brought the sprawling brilliance of their Dickensian adaptation to the stage in 

the 1980s. This is storytelling at its jazziest, its sexiest, its most shrewdly-observed humanness. There 

is hurt in this play; there is love; and there is laughter. But most of all, there is music. And not just the 

music that is sung, but the music that is spoken, the music of Zora Neale Hurston, who heard, with 

the most delicate and unforgiving ear, the way the world spoke to her about loving and hurting and 

laughing—that is, about being alive. 

We are celebrating a lot with this production. It’s a fi rst for us in many ways, not the least of which is 

that we are bringing a lot of voices into this house that have not been included before. And there’s going 

to be a lot more of that, because Cal Shakes should, and will, belong to as many people as we can invite, 

engage, and participate with—on our stage, in our classrooms, and in our communities. 

If you rode the shuttle from BART you heard some contemporary blues music. Along the entrance path, 

in the plaza, on the hill, at listening stations, and, of course, onstage, we have fi lled the joint with art. 

Our Theater is vast in scope—literally and creatively. So there will never be enough art to fi ll our space. 

This production is part of an experiment to increase participation among more artists, more students, 

and more community members. I look to places like the Oakland Museum of California, where everything 

and everyone lives in dynamic conversation with one another, and I hope for the same at Cal Shakes. All 

these experiments might result in something truly beautiful and truly necessary: a culture in which art 

and communities are inseparable, and where the joint is truly and undeniably alive. 

Welcome to Spunk. 

Jonathan Moscone 

encoreartsprograms.com 5

Journeys of the Body/Journeys of the Heart 

Anthony 

Michael “Tru” 

Peterson. 

Choreographer 

Traci Bartlow. 

Photo by EC Reems 

student Marcela 

Orizaga. 

Dwight Huntsman 

and Traci Tolmaire 

in Mirrors in Every 

Corner at Intersection; 

photo by Pak Han. 

TILT video workshop 

participant. 

Photo by EC Reems 

student Esmerelda 

Nava. 

6 california shakespeare theater www.calshakes.org 

Photo by EC 

Reems student 

Demahijae 

Bibbens. 

TILT video 

workshop 

shoot. 

TILT workshop 

storyboard. 

View the TILT videos, listen to Chinaka Hodge’s 

excerpts, and more at thetrianglelab.org.

Triangle Lab Activities at the Bruns 

Dwight Huntsman 

and Traci Tolmaire 

in Mirrors in Every 

Corner at Intersection; 

photo by Pak Han. 

BY TRIANGLE LAB DIRECTOR REBECCA NOVICK 

In the Triangle Lab, Cal Shakes’ joint project with Intersection for the Arts, we’re 

dedicated to the idea that everyone has a story worth hearing. Furthermore, we 

believe that inviting a wide range of people to tell those stories—by shaping them into 

performances, writing, photographs, or videos—connects them to the power of their 

own voices, enriches our understanding of our neighbors, and unleashes the possibility 

of building communities across divides of difference. 

When we decided to create a set of Triangle Lab experiments connected to Spunk, we 

were inspired right away by Zora Neale Hurston’s well-known dedication to collecting 

and sharing stories, by her anthropological approach to gathering African-American 

language, folklore, and song. We wondered what it would be like to invite youth in 

different communities to become anthropologists of their own neighborhoods and 

families. With this in mind, we started with a series of story circles led by Spunk 

director Patricia McGregor. We met students at Oakland Tech high school, Cal Shakes 

inviting a range of people to tell their stories... 

connects them to the power of their own voices, enriches our 

understanding of our neighbors, and unleashes the possibility 

of building communities across divides of difference. 

subscribers living all over the East Bay, and residents of the Mercy Care Alliance senior 

center in Oakland (some more than 100 years old!). We heard stories of people’s 

childhood homes, their journeys to the East Bay, and their impressions of daily life in 

their different neighborhoods. 

Next, we joined with media trainers from San Francisco’s TILT (Teaching Intermedia 

Literacy Skills) to develop a curriculum teaching young people to create low-budget 

videos on cell phones or fl ip cameras. Two groups of students, one at Youth Uprising 

in Oakland and one at City Crossroads in San Francisco, met with instructors for nine 

weeks, writing, shooting, directing, and editing short fi lms about their lives. The two 

groups collaborated with each other via online sharing tools, met halfway through the 

process to exchange ideas, and then screened all the fi lms during a special event at 

Intersection in June. Simultaneously, we created an intensive residency at the EC Reems 

Academy of Technology and Art in Oakland. Cal Shakes’ teaching artists worked with 

third-, fourth-, and eighth-graders to create short performances based on Hurston’s 

anthropological approach. They learned about Hurston’s work, interviewed family 

members about Oakland history, wrote about their homes and their daily journeys 

to school, and turned these stories into performance pieces that they presented to 

classmates and families. 

As you may recall from English class, every story is a journey that starts somewhere, 

CONTINUED ON PAGE 9. 


C 

M 

Y 

CM 

MY 

CY 

CMY 

K 

40 th Anniversary Season 

Extraordinary Entertainment 

In An Exceptional Setting 

THE TWO 

Gentlemen 

OF Verona 

By William Shakespeare 

Directed by Charles Fee 

July 13 - August 26 

Sand Harbor State Park 

SVBBuiltIt_Encore2012.pdf 1 4/17/2012 2:50:17 PM 

LakeTahoeShakespeare.com | 800.74.SHOWS 

You’ve built 

LTSF 051712 two 1_3s.pdf 

a strong 

business . . . 

support it 

with a 

strong 

bank. 

Rick Wise 

Executive Vice President 

rtwise@scottvalleybank.com 


July 2012 

Volume 21, no. 2 

paul heppner 

Publisher 

susan peterson 

Design & Production Director 

ana alvira, kristi atwood, Deb choat, 

robin kessler, Jana rekosh 

Design and Production Artists 

Virginia wright 

Online Editor 

Mike hathaway 

Advertising Sales Director 

Marty griswold, ann Manning, 

lenore waldron 

Seattle Area Account Executives 

Marilyn kallins, terri reed 

San Francisco/Bay Area Account Executives 

Denise wong 

Sales Assistant 

Jonathan shipley 

Ad Services Coordinator 

www.encoreartsprograms.com 

paul heppner 

Publisher 

leah Baltus 

Editor-in-Chief 

scott wagner 

Vice President 

Dan paulus 

Art Director 

Jonathan Zwickel 

Senior Editor 

Jake newman 

city arts festival, llc 

Executive Director 

www.cityartsonline.com 

paul heppner 

President 

Mike hathaway 

Vice President 

Deborah greer 

Executive Assistant 

april Morgan 

Accounting 

Jana rekosh 

Project Manager/Graphic Design 

Virginia wright 

Systems Administrator 

Corporate Office 

425 north 85 th street seattle, wa 98103 

p 206.443.0445 f 206.443.1246 

adsales@encoremediagroup.com 

800.308.2898 x105 

www.encoremediagroup.com 

encore arts programs is published monthly by encore 

Media group to serve musical and theatrical events in 

western washington and the san francisco Bay area. 

all rights reserved. ©2012 encore Media 

group. reproduction without written 

permission is prohibited.

CONTINUED FROM PAGE 7. 

takes you through experiences of 

all kinds, and lands you somewhere 

else. The stories in Spunk are 

indeed stories of journey and, taken 

together, trace the larger journey of 

African-American migration in the 

20th century (see pages 17-18). 

The stories created by our young 

collaborators are also journey stories, 

some part of the great historical 

journey of migration and immigration 

that has shaped our region, and 

some simply exploring what a daily 

journey to school and back is like 

for a 15-year-old in East Oakland 

or in San Francisco’s SOMA district. 

Working with these young artists, 

we also discovered how far apart the 

neighboring cities in our region can 

feel, and that crossing the Bay Bridge 

represented a journey to a completely 

new country for many participants. 

This inspired us to add a goal to the 

Triangle Lab work in the upcoming 

year: our programs will aim to create 

trails that connect people whose daily 

lives tend to keep them apart. 

Thinking about these divides, we 

began focusing on another pair of 

communities: Oakland and Orinda. 

Sitting next to each other on the 

map but divided by resources, 

reputation, and culture, they can 

often seem impossibly far from each 

other. Can we cross this divide? Can 

we make this theater in the Orinda 

hills a place where the stories of 

Oakland are welcomed next to the 

stories of faraway places? What are 

the journeys we all took to arrive 

here—in this amphitheater, this city, 

this state? How do our journeys 

bring us together or keep us isolated 

in communities of like-minded 

people? As you get ready to watch 

the stories of Spunk unfold, we’ve 

designed some other experiences at 

the Bruns to invite you to consider 

your own journeys, where you came 

from, where you’re going, where you 

never seem to fi nd yourself. On the 

path up the hill you’ll fi nd signs by 

April Banks asking questions about 

journeys. Proceed from there to 

an exhibit showcasing the photos 

and writing of EC Reems students 

who worked with Banks and other 

artists to capture their daily lives 

in words and pictures, and fi lms by 

Mobile Media workshop participants. 

Nearby, you can listen to recorded 

pieces by Oakland playwright 

Chinaka Hodge—featuring the voices 

of Spunk actor Margo Hall and 

Daveed Diggs—that invite you on 

a journey into her vivid and mythic 

Oakland landscape. These audio 

pieces and the student fi lms and 

photos can also be enjoyed online at 

thetrianglelab.org. 

Finally, we want you to have the 

opportunity to bring your own 

creative voice to the mix (as well 

as groove to the great music of 

Spunk) so we invite you to join 

composer, music director, and Guitar 

Man Tru Peterson before Thursday 

performances for the Blues Holla 

Jam, wherein you can learn about 

the history of call-and-response in 

blues music and create your own 

chant; on Fridays, join choreographer 

Traci Bartlow for a dance session 

where you can learn jazz- and bluesinspired 

moves, and dance with the 

cast onstage. 

And as you make your way back 

down the path and home, we hope 

you’ll keep pondering where your 

journey has taken you so far, and 

how it intersects with the journeys of 

your neighbors around the Bay. 

Be 

Part 

of the 

Show 

Advertise in 

Performing for you 

800.308.2898 x105 

adsales@encoremediagroup.com 

Courtesy of Berkeley Repertory Theatre. © Ken Friedman 


HAVING IT 

ALL 

The muddy, marvelous life of a teaching artist 

VINCE RODRIGUEZ TEACHING AT SUMMER 

SHAKESPEARE CONSERVATORY; PHOTO BY JAY YAMADA. 

ELIZABETH CARTER TEACHING A CAL SHAKES 

CLASSROOM RESIDENCY; PHOTO BY JAY YAMADA. 

Learn more about Cal Shakes 

Teaching Artists’ activities at 

calshakes.org/blog. 

BY DIRECTOR OF ARTISTIC LEARNING TRISH TILLMAN 

AND PUBLICATIONS MANAGER STEFANIE KALEM 


People who teach music, dance, drama and art come into our lives in all kinds 

of ways—the neighbor who teaches piano in her living room, the arts and crafts 

counselor at summer camp, specialists who teach classes affi liated with a local 

theater or perhaps in the school setting itself. We say “perhaps” in reference to 

the crushing practice of cutting arts as standard classes in most K–12 settings in 

California. However, right under most of our noses, we have brilliant professionals 

working in arts education—teaching artists. 

“A teaching artist is a professional theater artist who brings real world experience 

in the arts to schoolchildren, exposing them to the performing arts in a way they 

do not normally encounter in the public school classroom setting,” explains Clive 

Worsley, a Cal Shakes associate artist and the popular moderator of our Student 

Discovery Matinees. Teaching artists earn their way into this relatively new career 

through years of study and experience in both art and teaching. While serving 

as a teaching artist for the past decade—most recently teaching Henry VIII in 

12 classrooms as part of a seventh-grade-wide Cal Shakes residency at Orinda 

Intermediate School—Worsley has been working as a Bay Area actor and director, 

and is, most notably, Artistic Director of Town Hall Theatre in Lafayette. “Not only 

has being a teaching artist allowed me to make my living solely in the performing 

arts by supplementing my income as an actor and director,” says Worsely, “but it 

has also helped to deepen my relationship to my craft.” In addition, he continues, 

“in seeing my students grow older, continuing to have encounters with them through 

school and community events, I have no doubt that the work they did with me in 

the classroom has improved their lives as students and as critical thinkers.” 

Two other Cal Shakes teaching artists, Elizabeth Carter and Elena Wright, have 

both been seen on Cal Shakes’ Main Stage—Carter as the nurse in our 1994 

production of Romeo and Juliet, and Wright as the hilarious, drumming Thuria in 

2011’s The Verona Project. Carter, whose parents were both educators, has been a 

teaching artist for Cal Shakes ever since that summer, and is currently teaching our 

brand-new cultural anthropology curriculum at EC Reems Academy of Technology 

and Art in Oakland, via the work of Zora Neale Hurston (see pages 6-9). Wright has 

been a teaching artist for three years, and is currently participating—on Cal Shakes’ 

behalf—at Leadership Public in Hayward, teaching Shakespeare and text study as 

part of their school-wide, extracurricular-focused Week Without Walls program. 

Teaching artists are passionate about fostering students’ abilities to create and

hear their own voices, and about bringing out 

students’ capacities to hear and understand 

the voices of the wider world they live in. 

Says Wright, “it’s important to fi nd a balance 

between serving myself and serving others. As 

an artist, I get to pursue my passion, and as 

a teacher, I get to inspire others to fi nd their 

own passion. I get to have it all.” 

If the path to becoming a teaching artist 

seems a bit, well, muddy, that’s because 

it is—there are no credential systems or 

professional programs; no training path with 

agreed-upon standards and qualifi cations; and 

very few offi cial organizations for support and 

further training. As the value of arts education 

continues to diminish in the eyes of politicians 

and the public, and teachers become ever 

more marginalized in terms of pay and 

respect, this kind of career is self-created, 

and the people who choose it are so strongly 

motivated that they will work freelance, with 

no guarantee of work from month to month, 

without health insurance, with low pay, with 

hours of preparation in addition to actual 

classroom time, and with little support from 

the fi eld. At Cal Shakes, we are proud to help 

these important educators at many points 

along their paths. Vince Rodriguez is one of 

our youngest teaching artists—he participated 

in our 2010 Professional Immersion Program 

as an education intern, spent two summers 

leading groups in our Summer Shakespeare 

Conservatories, and has been a lead teacher 

in various Cal Shakes residencies for the past 

nine months. “Nowhere in my college theater 

training was it said that I would have to do 

fi ve or six different kinds of jobs to make ends 

meet,” Rodriguez admits, “but I’d love it all to 

be teaching gigs.” 

All arts practice requires a deep exploration 

of self, and the willingness to risk that 

exploration. “The fact that you show up to 

work knowing that people are watching you, 

emulating your habits,” says Rodriguez, 

“is a huge motivating factor to be the best 

person that you can possibly be. Most of 

the kids that we serve won’t go onstage 

as a career, but learn to carry themselves 

with pride, to take everything with their 

name and reputation on the line seriously.” 

That may seem a bit heavy, but every time 

students and teaching artist alike explode in 

CONTINUED ON PAGE 20. 

“It’s important to fi nd a 

balance between serving 

myself and serving others. 

As an artist, I get to pursue 

my passion, and as a teacher, 

I get to inspire others to fi nd 

their own passion.” 

ELENA WRIGHT IN THE 

VERONA PROJECT; PHOTO 

BY KEVIN BERNE. 


_04352 

5x9.875 

4c 

We’re big on Berkeley 

Making a difference with $3 million in 3 years 

Wells Fargo has achieved a lot of growth since we first came to Berkeley in 1875, 

and one of the best things about our size today is what it allows us to give back. 

We’ve given $3 million to Berkeley community groups over the past 3 years, 

and our Alameda County team members recorded 9,384 volunteer hours in 

2011 alone. We’re proud to support our community. 

wellsfargo.com 

© 2012 Wells Fargo Bank, N.A. All rights reserved. 

Member FDIC. (709147_04352)

CALifOrNiA SHAKESPEArE tHEAtEr 

eXecUtiVe proDUcers: ellen & Joffa dale, Michael & Virginia ross, simpson strong-Tie, Jay yamada 

proDUcers: Julie & Ken erwin, buddy & Jodi Warner associate proDUcers: Nancy & Jerry Falk, Teresa & patrick sullivan 

preseNTiNG 

parTNers 

JONaThaN MOscONe Artistic Director susie FalK MAnAging Director 

prOducTiON 

parTNer 

PrESENtS 

Three Tales By Zora Neale hursToN 

adapTed By GeorGe C. Wolfe 

MusiC By ChiC sTreeT MaN 

direCTed By paTriCia MCGreGor 

July 4–29, 2012 

BruNs MeMorial aMphiTheaTer, oriNda 

SET DESIGNER Michael lOcher 

COSTUME DESIGNER callie FlOOr 

LIGHTING DESIGNER yOrK KeNNedy 

SOUND DESIGNER Will MccaNdless 

ADDITIONAL MUSIC aNThONy Michael peTersON, a.K.a. Tru 

MOVEMENT DIRECTOR palOMa McGreGOr 

DIALECT/TEXT COACH lyNNe sOFFer 

VOCAL COACH bryaN s. dyer 

FIGHT CONSULTANT daVe Maier 

DANCE CAPTIAN OMOZÉ ideheNre 

STAGE MANAGER laXMi KuMaraN 

ASSISTANT STAGE MANAGER cOrrie beNNeTT 

ASSISTANT DIRECTOR rebecca FraNK 

ASSISTANT LIGHTING DESIGNER KrisTa sMiTh 

PRODUCTION ASSISTANT cOrdelia Miller 

CASt 

SWEET BACK, JOE aldO billiNGslea 

SYKES, SLANG TALK MAN l. peTer calleNder 

DELIA MarGO hall 

MISSIE MAY OMOZÉ ideheNre 

GUITAR MAN aNThONy Michael peTersON, a.K.a. Tru 

JELLY, SLEMMONS Tyee TilGhMaN 

BLUES SPEAK WOMAN daWN l. TrOupe 

OriGiNally deVelOped aT The MarK Taper FOruM, lOs aNGeles, caliFOrNia 

OriGiNally prOduced aT crOssrOads TheaTre cOMpaNy, NeW bruNsWicK, NeW Jersey 

OriGiNal NeW yOrK prOducTiON by NeW yOrK shaKespeare FesTiVal, JOseph papp, prOducer 

seasON 

uNderWriTers 

seasON 

parTNers 


CLOCKWISE FROM TOP LEFT: PATRICIA MCGREGOR (PHOTO BY ERIK CARTER), 

ALICE WALKER (PHOTO COURTESY MDCARCHIVES), AND GEORGE C. WOLFE. 


Click calshakes.org/articles for more 

historical and contextual pieces on Spunk.

THREE ENCOUNTERS WITH 

WHEN 

Zora Neale Hurston 

started writing in the 

1920s, she wanted to 

represent how rural societies lived, how they felt and loved 

and sought revenge. She set her short story, “Spunk”—a 

tale of lust, killing, and supernatural vengeance—in the 

Deep South. The basic premise of the story is that a 

man desires the wife of another man, and kills him so 

as to marry her. Published in 1925, Spunk was awarded 

second place in an event staged by Opportunity magazine, 

a publication founded three years earlier to support the 

work of Harlem Renaissance writers and artists who gave 

visibility to black culture, exposing its complications rather 

than seeking to eradicate them. Hurston was 34 at the 

time, and she would, over a 30-year career, publish four 

novels, two books of folklore, an autobiography, numerous 

short stories, and several essays, articles, and plays. 

“Grab the broom of anger and drive off the beast of 

fear,” was the call to action from Hurston, herself a 

striking presence in any room, being assertive, funny, 

and verbally dexterous. She did grab the broom, and the 

dust it stirred up fl ew right out into the faces not just of 

white people who discounted black voices, but also of 

those who wanted to depict blackness as victimhood. 

The picture she painted of black rural society, some felt, 

was inappropriately discourteous about social ethics and 

behavior, and disdainful in its use of colloquial dialect. 

This woman—who’d gone back to school at the age of 26, 

claiming to be, and passing for, a 16 year-old(!), and had 

earned both a bachelor’s and a master’s degree—was, they 

BY RESIDENT DRAMATURG PHILIPPA KELLY 

felt, condescending to her less fortunate rural brothers and 

sisters. But Hurston weathered this criticism and thrived 

on the controversy, establishing an academy for black 

performance, winning a Guggenheim Fellowship, working 

with anthropologists Margaret Mead and Ruth Benedict, 

and writing extensively on voodoo through what she called 

“the spy-glass of anthropology.” She researched songs, 

dances, tales, and sayings, and much of her focus was on 

slavery and the time period immediately following it. 

Despite, or perhaps because of, Hurston’s success, in the 

1940s she had to face the horror of a false accusation (of 

molesting three young boys) made by a supposed friend. 

Although she was cleared, Hurston never fully recovered 

from the effects of this betrayal and scandal. In 1950, at 

the age of 60, she took a job as a maid until she could 

afford to begin writing seriously again. But she suffered two 

strokes, and in 1959 she died of congestive heart failure 

at age 69. 

One of the reasons that Hurston didn’t “live on” during the 

decades after her death was that she didn’t write in explicitly 

political terms in the “protest tradition,” as did Ralph Ellison, 

for example, or Richard Wright; and because her controversial 

views—such as her belief that segregation is positive because 

it sustains black values in a way that integrated classrooms do 

not—refused “progressive” models of race and equality. 

ALICE WALKER REDISCOVERS ZORA 

It wasn’t until 1975, 15 years after her death, that she 

reemerged on the public stage, thanks to Alice Walker’s 


article in Ms. magazine entitled “In Search of Zora Neale 

Hurston.” Several years before, Walker had published a 

short story in a volume where she sat just pages from 

Hurston; but she didn’t encounter her work until a neighbor 

loaned her the novel, Their Eyes Were Watching God. This 

sparked a deep fascination with the life and work of the 

woman who, like Walker, came from the South, and whose 

gritty, complex writings had fallen into obscurity. Posing 

as Hurston’s niece, Walker went in search of her grave. 

Finding it unmarked in a segregated cemetery, she bought 

a headstone for it, and began a mission to bring Hurston 

back to public view. 

Walker was deeply infl uenced by Hurston’s work on 

voodoo, particularly by her tale, “Of Mules and Men,” 

which fuelled Walker’s own story, “The Revenge of Hannah 

Kemhuff.” According to Walker, white anthropological 

views of blacks were “inferior, peculiar, comic… [which] 

undermined, no, destroyed, the relevance of their books.” 

From Hurston’s work she found what she called “cultural 

nourishment” and “spiritual food.” “Without a foundation 

in our own reality… people don’t know what to do,” 

Walker said. Hurston’s expression of the reality of life as 

she knew and experienced it deeply stirred Walker, and, 

seven years later, she created the iconic The Color 

Purple. Portraying domestic violence, incest, and 

homosexuality in the rural black community, 

The Color Purple depicts a black 

woman struggling to fi nd an inner 

self that can survive abuses 

by both her white and 

black masters. 

GEORGE C. 

WOLFE GIVES ZORA 

THEATRICAL LIFE 

After Walker brought Hurston back 

“from the dead,” there emerged a steady 

stream of her books and stories, as well as essays, 

plays, and television programs about her life and art. 

In 1989, African-American actor, playwright, and director 

George C. Wolfe adapted three of Hurston’s stories into 

an off-Broadway, blues-inspired musical play. At the 

time of making Spunk (a play which does not actually 

contain Hurston’s short story of the same name), Wolfe 

was 35 years old—about the same age that Hurston 

had been when she fi rst published Spunk more than 60 

years before—and he earned an Obie for his production. 


Hurston had often been accused of creating “minstreltype” 

black fi gures, but Wolfe’s adaptation revealed to 

New York audiences the dignity and complexity with which 

her characters actually spoke in the predominantly oral 

culture she had been trying to evoke and honor. The fi rst 

part of Wolfe’s Spunk triptych, “Sweat,” is about a drained 

washerwoman (excuse my pun here, but Hurston would 

have liked it), abused and betrayed by her husband. The 

second is “Story in Harlem Slang,” in which two poor but 

fl ashy city men hustle a meal from a domestic worker on 

her day off. The third, “The Gilded Six-Bits,” is about an 

adoring husband who is betrayed by his wife. Spunk, as 

dramatically realized by Wolfe, isn’t just a story—it is a 

musical, a play mixing visual and auditory treats just as he 

mixes poignancy and satire. 

PATRICIA MCGREGOR BRINGS 

ZORA TO CAL SHAKES 

ZORA NEALE HURSTON, BEATING 

THE HOUNTAR, OR MAMA DRUM; 

PHOTO COURTESY U.S. LIBRARY OF 

CONGRESS. 

And where does the brilliant young director Patricia 

McGregor take this play for Cal Shakes in 2012? One of the 

reasons McGregor says she was attracted to Hurston was 

that “she listened to people I care about.” The emergence 

CONTINUED ON PAGE 20.

Spunk takes us from the rural South to the streets of Harlem, and fi nally 

to a more suburbanized small-town life, tracing, in part, the real-life 

Great Migration of African-Americans from the Jim Crow South to the 

industrialized North in the early 20th century. This journey is often portrayed as 

a modern-day Exodus, a journey from the cradle of American slavery to the free 

North. When the unfulfi lled promise of Reconstruction was replaced by the specter 

of Jim Crow laws and the indentured servitude of sharecropping, blacks left the 

South in record numbers by train, boat, car, and even by foot. It is estimated that 

during the Great Migration of the 1910s, anywhere from a few hundred thousand 

to more than one million blacks abandoned the South for the “free” North. 

Racial violence—whether the social mores requiring them to observe a lifelong 

deference of white people, the existential fear of unsympathetic law enforcement, 

the Ku Klux Klan (which surged in popularity after its heroic portrayal in D.W. 

Griffi th’s 1915 fi lm The Birth of a Nation), or lynching—was a decisive factor for 

many black migrants. But there were other reasons as well. Pittsburgh’s steel 

mills and Detroit’s automotive factories offered higher wages than the South’s 

cotton fi elds, especially when the boll weevil insect began devastating crops. 

Northern factory workers could make as much as $3 or $4 a day, while Southern 

sharecroppers and domestics made cents on the dollar. Less quantifi ably, there 

was the prospect of adventure, of seeing the country and traveling to a new, 

exciting place—the same wanderlust that affects all Americans. 

The Great Migration was as much a cultural phenomenon as a genuine historical 

movement. One of its chief exponents was the Chicago Defender. A newspaper 

founded by publisher Robert Abbott in 1905, it built a national edition during this 

period with a circulation of more than 280,000, becoming the most popular black 

newspaper in the country. It printed poems, letters, and editorials from migrants 

who had successfully made the trip and carved out a new life. It used Biblical 

terms for the journey, calling it the “fl ight out of Egypt,” and published job ads by 

companies. Traveling fees could be expensive, especially for a poor sharecropper, 

The African-American Journey in the Early 20th Century 

BY MOSI REEVES 


LIBRARY OF 

CONGRESS, PRINTS 

& PHOTOGRAPHS 

DIVISION, FSA-OWI 

COLLECTION 

PICKET LINE AT 

THE MID-CITY 

REALTY COMPANY, 

CHICAGO, ILLINOIS, 

JULY 1941 

JOHN VACHON, 

PHOTOGRAPHER 

GELATIN-SILVER 

PRINT FSA-OWI 

COLLECTION 

so the Defender encouraged migrants to form groups or “clubs” that could negotiate special 

package discounts from railroads. 

The peak years of migration took place during the same decade as World War I. European 

immigration, a major driver of Northern industrialization, slowed to a trickle when “the 

Great War” broke out in 1914, and with the United States’ offi cial entry into the fray 

in 1917 stimulating the national economy, labor agents went to Southern territories in 

search of workers. Sent by companies to recruit workers, these agents paid migrants’ 

travel fees in exchange for a month or two of wages. Some were con men who sought to 

exploit naïve migrants by promising nonexistent employment, and then forcing them into 

indentured servitude (or, for women, prostitution) upon arrival. As the migration increased, 

Southern towns and states—growing increasingly concerned about losing black labor to the 

North—passed laws against labor agents. Some of these laws seemed well-intentioned, 

requiring agents to pay modest “licensing fees” to dissuade unscrupulous con men. Other 

laws, however, were clearly designed to keep Northern job recruiters out of the South. A 

Macon, Georgia license cost $25,000, while Montgomery, Alabama passed an ordinance 

threatening fi nes and jail time to agents recruiting blacks for out-of-state work. 

Some Southern areas actually increased their black population during the great 

migration. Thanks to its coal mining industry, the Appalachian areas of West Virginia, 

Virginia, Kentucky, and Tennessee drew more than 50,000 black migrants. 

Southern cities with diverse industries like Birmingham, Alabama and Atlanta, 

Georgia also increased their black populations. The principal losers were small 

towns and states with notoriously regressive racial policies like Mississippi and Louisiana. It’s 

estimated that the rural South lost a total of more than 200,000. The Great Migration was as 

much about urbanization and job opportunity as it was about a quest to escape the legacy of 

antebellum Southern slavery. 

Once resettled, blacks often encountered many of the same problems they had in the 

South. Cities where the black population increased tenfold—Detroit’s black population, 

for example, jumped by more than 600 percent—particularly struggled with the infl ux 

of newcomers. Restrictive housing policies kept black families confi ned to dangerous 

and unsanitary ghettos. White laborers, then in the midst of building a national union 

movement, often resented black workers that would do the same jobs for cheaper wages. 

These interracial tensions occasionally boiled over in acts of mob violence. In the 1917 

East St. Louis race riots, an estimated 40 to 150 blacks were shot, bludgeoned, or 

lynched by angry white mobs. In the 1919 Chicago race riots, 23 blacks were 

killed (and 15 whites) and hundreds more were injured and/or left homeless. 

However, it also brought unimagined cultural benefi ts. The Harlem 

Renaissance, for example, would have been far different if not for writers 

with Southern roots like Zora Neale Hurston (raised in Eatonville, 

Florida), and Langston Hughes (born in Joplin, Missouri). 

Ironically, recent years have witnessed a reverse migration, with African-Americans 

returning to the “New South.” Beginning in the 1970s and continuing today, African- 

Americans have left Northern cities and settled in major Southern metropolises and 

suburbs like Atlanta and Charlotte. As you watch the stories of Spunk unfold on our 

stage, consider how “Sweat,” “Story in Harlem Slang,” and “The Gilded Six-Bits” follow 

the players as they “git to the git with some pain n’ some spit n’ some spunk,” from the 

Southern states to the streets of Harlem, and, eventually, to a post-Great Migration life 

in a Florida town. Spunk’s resilient, very human characters—just like this new period 

of migration and the original one—make clear that African-Americans are not limited to 

geographical preferences, only by a quest to enjoy a better life. 

Mosi Reeves is Hip-Hop and Soul Editor for Rhapsody.com, R&B Editor for Google Play, freelance 

writer, and former Editor-at-Large for Kitchen Sink magazine. 

18 california shakespeare theater www.calshakes.org

COMING NEXT AUG 8–SEP 2 

HAIL TO THEE, BLITHE SPIRIT 

BY RESIDENT DRAMATURG PHILIPPA KELLY 

Next up on our stage is Blithe Spirit, directed by Cal Shakes Associate Artist and 

A.C.T. Associate Artistic Director Mark Rucker. Appearing in Noël Coward’s romantic 

comedy are Anthony Fusco (seen as Reverend Morrell in last season’s Candida) as 

Charles Condomine; René Augesen making her Cal Shakes debut as Ruth; recent 

A.C.T. MFA grad Jessica Kitchens as the ghostly Elvira; Domenique Lozano (last seen 

here as Beatrice in Much Ado About Nothing) as Madame Arcati; Kevin Rolston (Dr. 

Bradman), Melissa Smith (Mrs. Bradman), and current A.C.T. MFA student Rebekah 

Brockman (Edith). 

Coward wrote Blithe Spirit in 1941 as his contribution to the war effort, moving his 

play skillfully back to the 1930s so that audiences could revel forgetfully in a time that 

had nothing to do with warfare, even though they lived amidst rationing, the Blitz, and 

the horrible daily news of death. Coward named his play after Percy Bysshe Shelley’s 

poem, To a Skylark, in which Shelley salutes the song of an invisible bird: ”Hail to 

thee, blithe spirit.“ Coward’s play, too, features characters who are heard and not 

seen—it is a ghost story, but a comic rather than spooky one. 

Coward once famously poked fun at the American actor Clifton Webb, who lived for 

much of his life with his mother until she died: He said of Webb, ”It must be terrible to 

be orphaned at 71.” Yet Coward himself is rumored to have suffered greatly from the 

death of his own mother, and to have tried repeatedly to call her up by means of thenfashionable 

séances. Nonetheless, while Blithe Spirit uses the premise of a ghost who 

talks to a protagonist but whom no one else can see and hear (as in Slings and Arrows 

or, in part, Hamlet) the play is less about ghosts than it is about love and marriage. 

It’s never been easy for a man to have more than one wife, and in Blithe Spirit, it is 

downright diffi cult. Charles makes contact with his fi rst wife through medium Madame 

Arcati: but, once called back from the dead, Elvira proves a willful, chatty, and 

combative disruption to his marriage to Ruth, eventually leaving the stage in irresistibly 

comic disrepair. 

Coward described Blithe Spirit as his best work, conceived of and written over a fi veday 

period after two years away from his typewriter. The play has all of the deftness of 

his early writings—the clever, clipped diction, the humor and devastating aphorisms— 

but this play has more of a plot than his earlier comedies about bright young things 

thumbing their noses at social convention. Set designer Annie Smart (whose Cal Shakes 

credits include Candida and Private Lives) has said about the play: “I think the farce really 

only works if these seem like real people in a real place.” Blithe Spirit will enchant you, 

amuse you, sometimes infuriate you, and, perhaps, send you out of the theater wondering 

whether—as artifi cers of our own mental worlds—we make our own ghosts. 

Blithe Spirit plays Aug 8–Sep 2. Click calshakes.org for tickets. 

Learn more at sfmoma.org 

This exhibition is organized by The Museum of Modern 

Art, New York. Major support for the San Francisco 

presentation is provided by the Fisher family, J.P. Morgan, 

and The Bernard Osher Foundation. Generous support 

is provided by Carla Emil and Rich Silverstein and the 

Bernard and Barbro Osher Exhibition Fund. 

Media Sponsor: 

Cindy Sherman, Untitled #415 (detail), 2004; Courtesy the 

artist and Metro Pictures, New York; © 2012 Cindy Sherman 


SAVE tHE DAtES! 

Spunk boasts even more special 

events than we usually offer; and 

Blithe Spirit has pre-show parties, 

post-show celebrations, reduced 

ticket prices, and cast talkbacks, too. 

EVENtS SPUNK 

inside Scoop 

Free panel discussion with 

coffee & sweet treats! 

Lower-Priced 

Previews 

be a part of the process 

by seeing the show before 

the show opening, at a 

discounted price. 

Opening Night! 

Mingle with the cast at a 

post-show reception. 

Meet the Artists 

Matinees 

post-show chat with cast 

& creative team. 

Cal Shakers 

Get together with likeminded 

theater lovers in 

their 20s, 30s, and 40s. 

Blues Holla Jam 

Tru (Guitar Man in 

Spunk) presents a 

participatory Grove Talk 

tracing the history of the 

blues and teaching how 

to create the kind of 

call and response chant 

featured in the play. 

teen Nights 

a special pre-show 

event for students 

ages 13-18. 

Onstage Dance 

Nights 

stay after the show 

to get a Spunk-era 

dance lesson with 

choreographer Traci 

bartlow and members of 

the cast—onstage! 

Complimentary 

tastings 

enjoy pre-show samples 

from local purveyors. 

inSight Matinee 

post-show talk with the 

dramaturg. 

n/a 7/23 

7/4–6 8/8–10 

7/7 8/11 

7/8 & 22 8/12 & 26 

7/12 8/17 

7/5, 12, 

7/19, 26 

n/a 

7/13 8/16 & 24 

7/6, 13, 

7/20, 27 

7/10 & 11 

7/17 & 18 

7/24 & 25 

BLitHE 

SPirit 

n/a 

8/14 & 15 

8/21 & 22 

8/28 & 29 

7/15 8/19 

for complete descriptions of these and other 

events, click calshakes.org/events. 

CONTINUED FROM PAGE 16. CONTINUED FROM PAGE 11. 

of Spunk on the Cal Shakes stage 

draws on three points in a single 

century—the 1920s, when Hurston’s 

story was written; the 1980s, when 

it was adapted; and 2012, where we 

now live. McGregor has granted her 

production the full force of music, 

movement, text, and expanded 

theatrical space, that “makes its own 

sense of” our unique stage. In a recent 

interview with Cal Shakes, McGregor 

mentioned the inspiration she drew 

from the Zora Neale Hurston festival, 

held each year in Eatonville, Florida, 

to celebrate the enduring value of 

Hurston’s writings. For McGregor, 

musicality and the natural environment 

are two key features that draw her to 

Hurston, making Spunk, to her mind, 

a perfect fi t for the outdoor Bruns 

Amphitheater. And then there is the 

element of the spectacular in the 

most ordinary expressions: “to elevate 

the expressions of the everyday,” as 

McGregor puts it, is to recognize the 

beauty—spontaneous and unique—in 

everything: “The way people speak, 

the way they might sew a little fl ower 

on their shirt, or the way the sun 

feels on your face—those everyday 

things, that poetry of the everyday is 

art.” According to Zora, art mustn’t 

patronize its subject or its audience. 

Art is a prism through which we 

see life in its beauty, its artifi ce, its 

transgression of all attempts to 

literally code or represent it. Art has 

to have Spunk. 


nervous, excited laughter in response 

to a simple exercise like looking into 

someone’s eyes and making up a 

nonsense story, we are reminded that 

we are not used to communicating so 

directly and honestly, even when doing 

something silly. And all other kinds 

of bugaboos come up: self-criticism, 

embarrassment, and the crippling fear 

of judgment from others are demons 

not to be taken lightly. Remember that 

old study that found that more people 

are afraid of speaking in public than 

they are of death? 

Therefore, the teaching artist also 

must create a profound discipline and 

supported structure in the classroom in 

order to foster artistic expression in an 

environment of safety and trust. One of 

Wright’s favorite regular residencies is 

at Oakland High School, where often, 

she says, “when I show up to teach the 

kids are too bored, pent up, or terrifi ed 

to be interested in theater. One class 

in particular had a few kids who were 

hard to reach, but once they began to 

trust that I was actually interested in 

what they thought, without judgment 

or fear of being ‘wrong,’ they started to 

open up. One kid who wouldn’t look me 

in the eye began to smile whenever I 

addressed him, and after the residency, 

his teacher said he had transformed 

his class participation. Another student 

who wouldn’t participate at all in class, 

in the fi nal week came up to me and 

demanded a part. She became my 

stage manager and dove right in and 

kept the actors in line so well, I started 

taking her orders!” 

“Words are power,” says Carter, “and 

if you can stand up in front of other 

people and speak clearly, movingly, 

eloquently, you can change the world.”

© 2011 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. 

THE ART OF 

GRACE 

Award-winning Ame Restaurant 

Luxurious Remède Spa 

Signature St. Regis Butler Service 

Forbes Travel Five-Star Award 

125 THIRD STREET 

STREGISSANFRANCISCO.COM 

415.284.4000

BAR SHACTERMAN 

works in 

BY PUBLICATIONS MANAGER STEFANIE KALEM 

The eighth annual incarnation of our 

popular Works in Nature sculpture 

installation is the largest ever offered 

at Cal Shakes, featuring the works of a 

record 12 individual artists, all working in 

ceramics. This year’s exhibit was curated 

especially for Cal Shakes by Oaklandbased 

artist John Toki, Cal Shakes Board 

Member Sharon Simpson, and Mission 

Clay’s Bryan Vansell. 

THE ORACLE BY MICHELLE GREGOR 

This year’s exhibit features a number of 

striking busts and fi gures. “Just yesterday,” 

Toki recalled just before the show was 

installed, “we were loading the Wanxin 

sculpture on my truck at the Richmond 

Art Center, and a lady walking by starting 

commenting on the life-size fi gure. Then, 

we went to pick up Michelle Gregor’s 

nearly four-foot-high, beautiful sculpted 

head. A couple walking by, on the other 

side of the street, just stopped and 

watched us load the piece for 10 minutes. 

Does this tell you about the power of the 

fi gure? Their fi gures!?” The pieces he’s 

referring to are Mask, a haunting, six-foottall 

masked man by Wanxin Zhang that 

stands on the northwest end of the Sue 

& George Bruns Plaza’s row of pistachio 

trees; and The Oracle, Michelle Gregor’s 

close-eyed bust installed at the trees’ 

northeast perimeter. 

WORKS IN NATURE 2012 

TOM FRANCO 

Giant 

JON GARIEPY 

What Seems to be the Problem? 

Thou Art But Air 


WANXIN ZHANG 

Wanxin Zhang came to the U.S. in 1992, 

having established himself as a sculptor 

in his native China. He received an MFA 

from the Academy of Art University in 

1996, and is now a working artist and 

educator in the Bay Area. He was a fi rstplace 

recipient of the Virginia A. Groot 

Foundation Grant in 2006, and the Joan 

Mitchell Grant in 2004; and his work has 

been seen in solo shows at the University 

of Wyoming Art Museum, the Fresno Art 

Museum, and the Alden B. Dow Museum 

of Science and Art in Michigan. About 

Zhang’s recent show at the Richmond 

Art Center, San Francisco Chronicle art 

critic Kenneth Baker wrote, “he long ago 

mastered ceramic techniques and began 

applying them to building life-size fi gures 

with elaborate, ambiguous, often comic 

details.” Many of his sculptures, Baker 

continued, “evoke the terra-cotta army of 

MICHELLE GREGOR 

The Oracle 

WES HORN 

Salmon 

Trout 

SUSANNAH ISRAEL 

Channel 

Circus 

MARK MESSENGER 

Praise of Folly

nature 

guardians buried with the First Qin Dynasty 

emperor in the third century B. C.” 

Michelle Gregor holds a BFA from UC 

Santa Cruz and MFA from SFSU; she 

currently heads the Ceramic Department 

at San Jose City College. You can fi nd 

her architectural sculpture outside of San 

Francisco’s Olympic Club and inside the 

Spa at Pebble Beach, and her fi gurative 

sculptures in bronze and ceramic are 

in the homes, offi ces, and gardens of 

private collectors. In late July, Gregor and 

Susannah Israel (who has two pieces in 

this season’s Works in Nature) will create 

a collaborative fi gurative sculpture in one 

week at Sierra Nevada College (Incline 

Village, NV). 

On the southwest end of the plaza’s 

pistachios, a more whimsical fi gure 

stands eight feet high—Giant, by young 

Palo Alto native (and East Bay resident) 

LISA REINERTSON 

Polar Bear/Slip Sliding Away 

Day at the Beach 

BAR SCHACTERMAN 

Baal 

PATRICK SILER 

A Saxophone 

on the Sea Bed 

AL SINERCO 

calmTiki 

Tom Franco. Giant’s materials include 

found objects, as with most of Franco’s 

sculptural work, a constant comment on 

the modern era’s pervasive consumer 

culture. Franco, too, got his BFA from 

UC Santa Cruz, and earned and MFA 

in ceramics fi ne arts from CCA. He is 

the co-creator and sole director of the 

Firehouse Art Collective—comprising six 

locations in the San Francisco Bay Area 

that include three galleries, three micro 

store fronts and a bazaar, four groups of 

studio space, and two groups of shared 

apartments—and his most recent project 

is the collaborative incubator Tom Franco 

Co-Lab. 

Perhaps the most striking of this year’s 

fi gurative works is Baal, which can be 

found at the top of the Amphitheater, 

by our chair rental station. The piece, 

by Russian-born artist Bar Shacterman, 

JOHN TOKI 

Blue Memory 

Spring Majesty 

WANXIN ZHANG 

Mask 

TOM FRANCO 

stands just over four feet high and is 

part of his “Mythology” series, which 

depicts god, humans, and supernatural 

heroes from a wide variety of sacred 

texts—“Ba’al” has had many meanings 

throughout the ages, just one of which, in 

Judaism, began as “God,” but later came 

to represent a false deity. Shacterman was 

born in Odessa, but immigrated to Israel 

when he was six years old. He trained 

at the Academy of Art in Tel Aviv, then 

traveled through Europe, India, and an 

apprenticeship in Japan before settling in 

Northern California. 

The full list of pieces in 2012’s Works in 

Nature exhibition can be found below. 

You’ll find a map of all the sculptures 

and other details to the left of the path 

near the entrance to the plaza, and more 

information about the rest of the artists in 

subsequent 2012 show programs. 

More information about 

this year’s installation 

can be found online at 

calshakes.org/WorksinNature. 


“ I say ‘bravo’ to my bank—First Republic’s 

performance has been extraordinary.” 

YUAN YUAN TAN 

Principal Dancer 

San Francisco Ballet 

PRIVATE BANKING • PRIVATE BUSINESS BANKING • WEALTH MANAGEMENT 

(800) 392-1400 or visit www.fi rstrepublic.com • Member FDIC 

New York Stock Exchange Symbol: FRC

ACtiNG COMPANY 

ALDO BiLLiNGSLEA* 

(Sweet Back, Joe, 

Ensemble) 

Mr. billingslea’s bay 

area credits include: 

Collapse (aurora); Anna 

Christie (center rep); 

…and Jesus Moonwalks 

the Mississippi (cutting 

ball); Ma Rainey’s Black 

Bottom (lorraine hansberry); Gum (Magic); 

Othello, The Hairy Ape, Splittin’ the Raft, and 

In the Red & Brown Water (Marin Theatre 

company); A Midsummer Night’s Dream and 

Coriolanus (shakespeare santa cruz); and The 

Elephant Man and Radio Golf (TheatreWorks). 

Mr. billingslea’s credits outside the bay area have 

included roles at the dallas, illinois, Oregon, and 

utah shakespeare Festivals; interact (interactive 

asian contemporary Theatre, sacramento), 

sacramento Theatre company; the Old Globe, 

plano repertory Theatre, and portland repertory 

Theatre, portland center stage, and Tacoma 

actors’ Guild. Mr. billingslea is a recipient of the 

bay area Theatre critics’ circle award, a member 

of playGround Theatre company, on the advisory 

boards of the renegade Theatre experiment 

and Gritty city repertory youth Theatre, and a 

professor of Theatre at santa clara university. 

L. PEtEr 

CALLENDEr* 

(Sykes, Slang Talk Man, 

Ensemble, Associate 

Artist) 

at cal shakes: Romeo 

and Juliet, 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. 

at Marin Theatre company: My Children! My 

Africa! at 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 

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. 

Mr. callender is the artistic director of africanamerican 

shakespeare company, san Francisco. 

*Member of Actors’ Equity Association, the Union of 

Professional Actors and Stage Managers in the 

United States. 

WHO’S WHO 

MArGO HALL* 

(Delia, Ensemble) 

Ms. hall makes her cal 

shakes Main stage debut 

in Spunk. her recent 

credits include Seven 

Guitars at Marin Theatre, 

Fabulation for lorraine 

hansberry Theatre, 

Marcus; or the Secret 

of Sweet and Once in a Lifetime at a.c.T., and 

Trouble in Mind at the aurora Theatre. hall is a 

founding member of campo santo, the resident 

theater company at intersection for the arts, 

where she has directed and acted in over 15 

productions including plays by chinaka hodge, 

Jessica hagedorn, Naomi iizuka, philip Gotanda, 

Octavio solis, and many more. in 2005, 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* 

(Missie May, Ensemble, 

Dance Captain) 

Ms. idehenre was 

previously seen on the 

cal shakes stage as 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. 

ANtHONY MiCHAEL 

PEtErSON, A.K.A. 

trU 

(Guitar Man, Ensemble, 

Additional Music) 

Mr. peterson is a guitarist, 

singer-songwriter, 

orchestrator, and music 

producer who has been 

a faculty member at 

the berkeley college of Music and allen Temple 

baptist church, and is currently on the faculty 

of Vibo Music center, east bay school for the 

performing arts, and east bay Waldorf school. 

he worked with spike lee as a songwriter for 


columbia records and toured with Moroccan 

band Zahar (produced by peter Gabriel), Joan 

baez, cassandra Wilson, and lizz Wright. Mr. 

peterson orchestrated the Oakland symphony 

Orchestra for artist Goapele, under the direction 

Michael Morgan, conductor. he attended the 

louis conservatory of Music at age 13, and the 

berkeley college of Music (1979–’83). 

tYEE tiLGHMAN* 

(Jelly, Slemmons, 

Ensemble) 

Mr. Tilghman is a member 

of the a.c.T. Master of 

Fine arts program class 

of 2013. M.F.a. program 

credits include The Rover, 

or The Banish’d Cavaliers 

(don pedro), The 

American Clock (Grandpa/banks), The Widow 

Claire (Mr. Vaughn), Courtship (ed cordray), 

and Al Saiyid (count Gomez). he appeared in 

Three Sisters (solyony) and Love’s Labour’s Lost 

(longaville) with chautauqua Theater company. 

Other credits include A Raisin in the Sun and The 

Merry Wives of Windsor (denver center for the 

performing arts); Eurydice, The Denver Project, 

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. 

DAWN L. trOUPE* 

(Blues Speak Woman, 

Ensemble) 

Ms. Troupe is thrilled 

to be working at cal 

shakes, and is inspired 

by this cast and crew. 

bay area credits include 

Marin Theatre company’s 

In The Red and Brown 

Water as well as their New Works staged reading 

of Blood/Money; Marcus Gardley’s This World in 

a Woman’s Hands at shotgun Theater; Caroline, 

or Change, Dessa Rose, Memphis, Book of 

Days, and Ragtime at TheatreWorks; and in 

TheatreWorks’ New Works Festival readings 

of The Madam C.J. Walker Story, The Giver, 

Memphis, The Water, A Little Princess, and 

Funkentine Rapture. she appeared as sarah in 

Ragtime at broadway by the bay; Beehive at 

san Jose stage company; as aida (nominated for 

baTcca for best actress and won best Musical 

director) in Elton John and Tim Rice’s Aida, 

and addaperle in The Wiz at Willows Theatre 

company; and a nurse/ensemble in South Pacific 

at american Musical Theatre of san Jose. Ms. 

Troupe has a ba from cal state hayward and is 

working towards completing her Ma in theater 

production at central Washington university. 




WHO’S WHO 

CrEAtiVE tEAM 

GEOrGE C. WOLfE 

(Playwright) 

author of The Colored Museum (crossroads 

Theatre, NysF, royal court Theatre, Mark 

Taper Forum, center stage, etc.), for which he 

received the Foundation of the dramatists Guild/ 

cbs New play award, the hull-Warriner award, 

the Oppenheimer/Newsday playwriting award, 

the audelco Theatre award, and the hbO/ 

Theatre communications Group award. he is 

also the recipient of seven los angeles-area 

theatre awards for writing and directing. he has 

written the libretto for Mr. Jelly Lord and Hunger 

Chic, a teleplay for the pbs comedy anthology 

“Trying Times.” he has received grants from the 

rockefeller Foundation, american institute of 

Music Theatre, and the National endowment for 

the arts and is on the executive council of the 

dramatists Guild. 

CHiC StrEEt MAN 

(Composer) 

chic street Man travels extensively performing in 

clubs, colleges, universities, theaters, at special 

events, high schools, middle schools, elementary 

schools, festivals, and benefit shows. He was a 

featured performer at the General assembly of the 

united Nations in New york for the international 

Day of Peace, and in 1991 gave benefit concerts 

for the united Nations human rights center 

in Geneva and in 1992 a benefit for relief to 

somalia. along with composing the music, he 

portrayed Guitar Man in Spunk’s original, awardwinning 

off-broadway incarnation; composed the 

music for “permutations,” a segment of pbs’s 

Great Performances presentation of George 

c. Wolfe’s The Colored Museum. in 2000, 

he composed the score and was the featured 

performer in the cleveland playhouse’s world 

premiere of Touch The Names—Letters to The 

Vietnam Veterans’ Memorial. in 1998 he starred 

in the Mark Taper Forum production of Lost 

Highway, the story of hank Williams, and has 

appeared in the films Triple Bogey and Hangin’ 

with the Home Boys. 

PAtriCiA MCGrEGOr 

(Director) 

Ms. McGregor is a harlem-based director, writer, 

and deviser of new work. recent directing credits 

include the world premiere of Katori hall’s Hurt 

Village at the signature Theater company (Nyc); 

Juan and John (cTG/douglas and public lab); 

Yerma (sMu); Blood Dazzler (harlem stage); 

and Burnt Sugar Freaks James Brown (the apollo 

Theater and summer stage). she is currently 

developing Holding it Down with Grammy 

nominee Vijay iyer and Mike ladd at harlem 

stage; In the Cypher at the drilling company; 

and Girl Shake Loose Her Skin with sonia 

sanchez, Zakiyyah alexander, and imani uzuri. 

as associate director of Fela! on Broadway, she 

coached patti labelle in the role of Funmailayo. 

Other directing credits include Jelly’s Last Jam, 


Romeo and Juliet, Four Electric Ghosts, Cloud 

Tectonics, Eleemosynary, The French Play, Lady 

Day at Emerson’s Bar and Grill, Sidewalk Opera, 

Dancing in the Dark, The Covering Skyline, In the 

Meantime. she has worked at venues including 

broadway, NysF shakespeare in the park, baM, 

second stage, the public Theater, the Kitchen, 

the O’Neill, lincoln center institute, exit art, 

and Nuyorican poetry cafe. she cofounded 

angela’s pulse with her sister, choreographer 

paloma McGregor. 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. 

MiCHAEL LOCHEr 

(Set Designer) 

Mr. locher has designed scenery for theater and 

opera across the country, and is pleased to make 

his cal shakes debut with Spunk. his recent 

regional credits include projects with the Oregon 

shakespeare Festival, the Guthrie Theater, Great 

lakes Theater, playmakers repertory Theater, 

and the 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, The Bald Soprano, 

…and Jesus Moonwalks the Mississippi, Bone 

to Pick, and Macbeth; the Magic (Jesus in India, 

Any Given Day, Or, Goldfish); crowded Fire; 

and the Jewish Theatre. in New york and the 

Northeast, Mr. locher has designed productions 

off-broadway and with yale university, the 

yale baroque Opera, the adirondack Theater 

Festival, and Northern stage. he also works as 

a freelance illustrator and graphic artist, and is 

a founding member of hollywood-based Tilted 

Field productions. Mr. locher is a graduate of the 

university of california san diego and the yale 

school of drama. 

CALLiE fLOOr 

(Costume Designer) 

Ms. Floor has designed for many bay area 

theaters including a.c.T., berkeley repertory 

Theatre, Magic Theatre, san Francisco Mime 

Troupe, Zaccho dance Theater, and West bay 

Opera. she just completed Salomania with Mark 

Jackson for The aurora Theatre. upcoming 

projects include Top Dog, Underdog for Marin 

Theatre company and How to Write a New Book 

for the Bible for south coast repertory. Ms. Floor 

is the resident designer for the california revels 

and currently holds the position of costume 

rentals supervisor for a.c.T. she has a bFa from 

the university of utah and a higher diploma in 

Theatre design from the slade school of Fine art, 

university college, london.

YOrK KENNEDY 

(Lighting Designer) 

Mr. Kennedy’s designs have been seen in theaters 

across america and in europe including berkeley 

rep, seattle repertory, american conservatory 

Theater, the alley Theatre, dallas Theater 

center, yale rep, brooklyn academy of Music, 

arena stage, and the denver center. awards 

for theatrical lighting include the dramalogue, 

san diego drama critics circle, back stage 

West Garland, arizoni Theatre award, and the 

bay area Theatre critics’ circle award. in the 

dance world he has designed for Malashock 

dance, brian Webb, and Tracey rhodes. as an 

architectural lighting designer he has designed 

both nationally and internationally numerous 

themed environments, theme park, residential, 

retail, restaurant and museum projects including 

the sony Metreon sendak playspace in san 

Francisco, Warner bros. Movie World in Madrid, 

le centre de loisirs in Morocco, and the leGO 

racers 4d attraction in Germany, denmark, 

england and the u.s.a. he is a graduate of 

the california institute for the arts and the yale 

school of drama. 

WiLL MCCANDLESS 

(Sound Designer) 

Will Mccandless is happy to return to the cal 

shakes team this season as a sound designer 

and as the head of the audio department. Mr. 

Mccandless received a bay area Theater critics 

WHO’S WHO 

circle award for his work on Candida last season, 

directed by Jonathan Moscone. Other sound 

designs by Mr. Mccandless have been heard at 

american conservatory Theater, aurora Theatre 

company, Marin Theatre company, Magic 

Theatre, Golden Thread, solano college Theatre, 

alter Theater, university of san Francisco, sF 

playhouse, climate Theater, brava Theater, a.c.T. 

conservatory, leVydance, and The san Francisco 

Mime Troupe. Mr. Mccandless is also a collective 

Member of the san Francisco Mime Troupe. 

PALOMA MCGrEGOr 

(Movement Director) 

Ms. McGregor is a harlem-based choreographer 

whose work has been presented throughout 

New york, including at the Kitchen, harlem 

stage, eXiT art, summerstages, brecht Forum, 

Tribeca performing arts center, dixon place, 

Fordham university, and bronx academy of art 

and dance, as well as at ucla, yale university, 

The dance place in Washington, dc, cleveland 

public Theatre, and the McKenna Museum in 

New Orleans. she has toured internationally as a 

dancer with urban bush Women and liz lerman/ 

dance exchange, and has collaborated with 

directors patricia McGregor and Niegel smith, 

multidisciplinary artists Mendi+Keith Obadike 

and musician Greg Tate, among others. she 

is co-founder of angela’s pulse, which creates 

collaborative performance work rooted in building 

community and telling undertold stories. among 

her awards: 2012–13 arts leadership fellowship 

from the Kennedy center’s deVos institute; 

2012–13 ilaNd grant and creative residency; 

2012 Jerome Foundation Travel and study 

Grant; 2010 Quad creative residency; 2009 

harlem stage Fund for New Work grant from 

the Jerome Foundation; 2009 Voice & Vision 

creative residency. Ms. McGregor earned her bs 

in journalism from Florida a&M university and 

her MFa in dance from case Western reserve 

university. 

LYNNE SOffEr* 

(Dialect/Text Coach, Associate Artist) 

Ms. soffer has been the dialect/text coach on 

over 200 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 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. 

321 // VISIT THE AQUARIUM OF THE BAY 

SUBMITTED BY BABY SHAY 

09.08.2010 

OAKLANDAIRPORT.COM 

WE SAVE YOU TIME 

You discover the bay. 

FLY THE BAY AREA’S ON-TIME AIRPORT. 


BrYAN S. DYEr 

(Vocal Coach) 

Mr. dyer is a multitalented musician who not 

only sings but also plays and teaches several 

instruments, including bass guitar, percussion, 

and piano; writes and arranges music; conducts 

choirs and groups; and works in television, radio 

and film. A veteran of some of the Bay Area’s top 

vocal groups—including street sounds, soVoso, 

slammin all body band, linda Tillery and the 

cultural heritage choir, and chelle and Friends— 

he also performs with Zadell, rankin scroo 

and Ginger, and r&b group d.a.p. his musical 

experiences have him taken around the globe 

including several trips throughout europe, Japan, 

south Korea, and Jamaica. Mr. dyer’s talents have 

landed him alongside such artist as al Green, 

bobby McFerrin, Michael Mcdonald of the doobie 

brothers, ladysmith black Mambazo, and huey 

lewis and the News, to name a few. 

DAVE MAiEr 

(Fight Consultant) 

Mr. Maier is the resident fight director at Cal 

shakes where he has composed violence for 

various productions including Titus Andronicus, 

Macbeth, Romeo & Juliet, King Lear, Richard 

III, A Midsummer Night’s Dream, and As You 

Like It. he has won several awards for his work 

including two sFbaTcc awards for Fight direction 

in 2010 for Oedipus el Rey (Magic Theatre) and 

The Fantasticks (SF Playhouse). Recent fight 

work includes Othello, the Moor of Venice (Marin 

Theatre co.) and Pirates of Penzance (berkeley 

playhouse). his efforts have been seen on many 

bay area stages including a.c.T., berkeley rep, 

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, saint Mary’s college of california, and 

uc santa cruz. 

LAxMi KUMArAN* 

(Stage Manager) 

in the bay area, Ms. Kumaran has stage-managed 

for san Jose rep and center rep, and joined the 

cal shakes family as stage manager for Candida 

and Titus Andronicus last season. 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 Joel sass, Jonathan Moscone, 

rick lombardo, 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 san Jose 

state, Northern illinois, depaul, and Northwestern 

universities; and currently teaches at the 

university of california santa cruz. 

WHO’S WHO 

COrriE BENNEtt* 

(Assistant Stage Manager) 

This is Ms. bennett’s fourth production with cal 

shakes. Favorite bay area stage management 

credits include Body Awareness and Collapse 

with aurora, Witness for the Prosecution, She 

Loves Me, and A Marvelous Party with center 

rep; Animals Out of Paper with sF playhouse; 

and Chosen with Keith hennessy’s circo Zero. 

she has also had the pleasure of working with 

other local companies including the Magic 

Theatre, Marin Theatre company, TJT, american 

conservatory Theater, playground, and sOMarts. 

Ms. bennett is a producer for the san Francisco 

based non-profit Homo A Go Go and production 

manager for the organization’s semi-annual music 

and arts festivals. 

CAL SHAKES PrOfiLES 

JONAtHAN 

MOSCONE 

(Artistic Director) 

Mr. Moscone is in his 12 th 

season serving as artistic 

director of california 

shakespeare Theater. 

Most recently he directed 

the world premiere 

of Ghost Light, which 

he co-created and developed with playwright 

Tony Taccone for Oregon shakespeare Festival 

and berkeley repertory Theatre. in addition, 

he directed bruce Norris’ Clybourne Park for 

american conservatory Theater. cal shakes 

credits include: The Tempest; Candida; the world 

premiere of John Steinbeck’s The Pastures of 

Heaven by Octavio solis (recipient of the inaugural 

Nea New play development award); The Life 

and Adventures of Nicholas Nickleby; Much Ado 

About Nothing; Twelfth Night; Happy Days; A 

Midsummer Night’s Dream; and The Seagull. 

Other regional credits include: huntington 

Theatre, alley Theater, Milwaukee repertory 

Theater, intersection for the arts + campo 

santo, dallas Theater center, san Jose repertory 

Theater, intiman Theatre, and Magic Theatre. 

Mr. Moscone is an adjunct faculty member with 

a.c.T.’s MFa program where he recently received 

an honorary M.F.a., and currently serves on the 

board of Theatre communications Group. 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.” 

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 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. 

JESSiCA riCHArDS 

(Associate Artistic Director, Casting Director) 

Ms. Richards is in her fifth season as Associate 

ad, and directed casting for all productions at 

cal shakes this 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 in-school 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 ten years ago from australia 

to settle 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. dr. Kelly teaches for cal shakes 

and uc berkeley, chairs selection panels for the 

australian government’s endeavour Foundation, 

and travels to saudi arabia to assist university 

women with quality assurance. 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.

EBECCA 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. 

OUr COrPOrAtE PArtNErS 

BArt 

(Presenting Partner) 

The bay area rapid Transit district (barT) is 

a 104-mile, automated rapid transit system 

serving over three million people. Forty-four barT 

stations are located in alameda, contra costa, 

san Francisco, and san Mateo counties, and serve 

to truly connect the bay area. barT’s mission 

is to provide a safe, reliable, economical, and 

energy-efficient means of transportation. 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 


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 




WHO’S WHO 

philharmonie and estonia’s Nokia concert hall; 

and in several well-loved bay area venues, such 

as The Fillmore, yoshi’s, berkeley rep, and Freight 

& salvage coffeehouse. celine dion, Metallica, 

and countless other artists use Meyer sound’s 

equipment on tour. Meyer Sound’s main office 

and manufacturing facility are located in berkeley, 

California, with additional satellite offices located 

around the world. 

San FranciSco MAGAZiNE 


San Francisco magazine is proud to celebrate 

40 years of award-winning coverage of the bay 

John Tufts 

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. 

continued on page 35 

In a Land 

Not So Far Away… 

Ashland 2012. 

Come See for Yourself. 

web: osfashland.org phone: 800-219-8161 


tHANKS 

tO OUr DONOrS 

iNDiViDUALS 

these contributors made gifts between May 1, 2011 and April 30, 2012. 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 cross (†) donated at the Benefactor 

level to our 2012 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 510.548.3422 x107 or ilarue@calshakes.org so that we may correct our records. 

$25,000 and above 

ellen & Joffa dale† 

Michael & Virginia ross† 

sharon & barclay simpson† 

Jay yamada 

$10,000 –$24,999 

anonymous 

Glenda & Wai chang 

henry & Vera eberle 

Julie & Ken erwin 

Michael hassen 

erin Jaeb & Kevin Kelly† 

ashley & antonio lucio† 

helen & John Meyer 

Nicola Miner & robert Mailer anderson 

peter read 

Michele & John ruskin† 

barbara sahm & steven Winkel† 

Jean simpson† 

david & Maria Waitrovich 

buddy & Jodi Warner† 

$5,000–$9,999 

anonymous (2) 

Margaret p. cost 

James N. cost Foundation 

don davis 

edward & denise del beccaro† 

Joe di prisco & patti James† 

bob epstein & amy roth† 

Nancy & Jerry Falk† 

Vincent Fogle & emily sparks† 

Gail & harvey Glasser† 

david & diane Goldsmith† 

pamela & John Goode 

barbara e. Jones in memory of 

William e. Jones 

daisy & Warren Kiehn 

Maureen & calvin Knight† 

Maryon davies lewis in honor of 


James McManis & sara Wigh 

susan Medak 

craig & Kathy Moody† 

richard Norris & david Madsen† 

Nancy Olson 

Janet & Norman pease† 

Jim & Nita roethe† 

Monica salusky & John sutherland 

yvonne & angelo sangiacomo 

Tiffany schauer & russel long 

sondra & Milton schlesinger† 

alan schnur & Julie landres 

Frank & carey starn† 

Kathy & George Wolf 

$2,500–$4,999 

anonymous 

ann & clifford adams 

Valerie barth & peter Wiley* 

Nina & david bond 

Jamie buschbaum 

Nicole & Joe carberry† 

Michael & phyllis cedars† 

phil & chris chernin† 

Josh & Janet cohen 

Jacqueline carson & alan cox 

susie Falk & york Kennedy 

elise & Tully Friedman† 

patrick W. Golden & susan Overhauser† 

Janie & Jeff Green 

sonny & bruce hanson 

ardice hartry & paul covey 

randall & beverly hawks 

dr. Jeffrey p. hays & 

carole shorenstein hays 

dan henkle & steve Kawa* 

Margaret & craig isaacs† 

debra & doug Jalen 

Nancy Kaible & david anderson† 

lisa & scott Kovalik 

david & Judith lawrence 

Michael & samantha leo† 

debby & bruce lieberman† 

daniel lurie & rebecca prowda in honor 

of Jonathan Moscone 


lizzie & John Murray 

Mary prchal 

arthur & Toni rembe rock 

rachel rendel 

Maria & danny roden 

patti & rusty rueff 

Miriam & stanley schiffman 

Judy & John sears† 

debbie sedberry & Jeff Klingman 

Mary Jo & arthur shartsis 

M.J. stephens & bernard Tagholm* 

Gail & rick stephens 

William Taggart† 

phyllis & Jim Thrush* 

Jane & Wayne Willemsen 

diane b. Wilsey 

Muriel F. Wilson† 

beverly & loring Wyllie 

$1,000–$2,499 

Kay & david aaker 

loren & Frank acuña 

sharon albert 

pat angell in memory of Gene angell 

Naomi arnst & david herrigel 

robin azevedo 

allese & simon baker 

eugene & Neil barth 

Gretchen bartzen & Mike rippey 

stephanie & david beach 

daphne & richard bertero 

Mavis e. buchholz 

cathy & Michael Zweig 

alice collins & len Weiler 

craig congdon* 

Janet & William F. cronk 

diana & ralph davisson 

lois de domenico 

Jan deming & Jeff Goodby 

linda derivi & steve castellanos 

ellen dietschy & alan cunningham 

barbara J. duff in memory of George duff 

Maria & peter eberle 

barbara & Neil Falconer 

shelly & elliott Fineman 

peter Fisher 

Kevin Fitzgerald 

sally & Michael Fitzhugh 

dale & Jerry Fleming 

rena & spencer Fulweiler 

Kathleen & Karl Geier 

carol & richard Gilpin 


Judith & alexander Glass 

Kathleen & david Graeven 

richard Gross in memory of Mick Gross 

Garrett Gruener & amy slater 

Muriel hanley in honor of sharon simpson 

Joyce hawkins & John W. sweitzer 

elizabeth & Thomas G. henry 

Thomas horn 

Timothy Kahn & anne adams 

elizabeth & richard Karplus 

philippa Kelly & paul dresher 

John Kemp & Mary brutocao 

stu Kinder 

sheryl & anthony Klein 

Jean & Jack Knox 

Kim & Max Krummel 

Jennifer Kuenster & George Miers 

adair langston-holway & 

William langston 

shelly & blake larkin* 

Gina & david larue 

Kathy & John lee 

bill & carol leimbach 

eileen & richard love 

Terry Mandel 

Marsha Maytum & William leddy 

elaine & John Mcclintic 

ann & Jim Meadows 

Toni & donald J. Miller† 

linda & chris Moscone 

Mrs. George r. Moscone 

Jennifer & brian Mosel* 

david & patricia Munro 

lee Neely & chelle clements 

shelly Osborne & steve Tirrell 

carey perloff & anthony Giles 

susan & richard rainey 

Velma & hugh richmond 

Noralee & Tom rockwell 

lesah & Jeffrey ross 

allen ruby 

patricia & Glenn rudebusch 

Michial Gunter & susan ryan 

susan ryan* 

elizabeth & dominic sarica 

patti & paul sax 

linda & Will schieber 

linda & lester schwartz 

laura & robert sehr 

steven sterns & barry Klezmer 

christine & curtis swanson 

angelica Thieriot 

barbara & richard Thompson* 

heidi & charles Triay 

lidia & alain Vachon 

drs. Oldrich & silva Vasicek 

beth ann & Michael Ward† 

Meredith & Jeffrey Watts 

Wendy & Mason Willrich 

Melinda yee-Franklin & dennis Franklin† 

Midge & peter Zischke 

Michael h. Zischke & Nadin sponamore 

$500–$999 

anonymous (2) 

beth & philip acomb 

Jose & carol alonso 

William anderson 

elisabeth andreason 

paula & steve arnold 

pamela & John ball 

Megan barton & brian huse 

Joyce & charles batts 

Maria & William bengtsson* 

barbara & richard bennett 

Janet berckefeldt 

paula blizzard & david brown 

Melanie & larry blum 

Nancy & roger boas 

barbara & Jack bontemps* 

bob brant 

Marilyn & George bray 

Jean & John brennan 

ann & steve brick 

Tina brier & david shapiro 

Margaret & david brown 

doree & andy burstein 

Joan byrens 

pamela & christopher cain 

Jo alice & Wayne canterbury 

leo J. & celia carlin Fund 

colleen cassidy 

Katherine & henry chesbrough 

debbie chinn 

dee & Jerry coil 

caroline & Kevin conner 

robert cooter and blair dean 

paul J. cortese 

david & Mary cost 

Jane & Thomas coulter 

Juliet cox 

Jill & chuck crovitz 

edward cullen & ann O’connor 

Theresa cullen 

dennis de domenico & sandra brod 

angela de la housaye 

Maria dichov 

Gayle Tupper & eric dittmar 

corinne & Michael doyle 

susan & Max driggs 

danielle ducaine 

Karin eames 

rachael & Tom eberle 

sharon & leif erickson 

Gabriele & reed estabrook 

stephen evans & Kathleen correia 

sharon & eric ewen 

Mary & benedict Feinberg 

claudia Fenelon & Mark schoenrock 

Gita & louis c. Fisher 

Kerry Francis & John Jimerson 

Maribel & Jack Fraser* 

Marilyn Freeman 

Jill & steven Fugaro 

dorothy & charles Garber 

stanlee Gatti 

Michael Glover & curtis Wilhelm 

laura & William Gorjance 

Gary & Kara Gragg 

Katherine & chuck Greenberg 

sarah Greene 

anne & Marshall Grodin 

Kristi & arthur haigh 

harriet hamlin & James Finefrock 

Julie & paul harkness 

Tish & stephen harwood 

remy hathaway 

carlyle & ryan hedrick 

Kristi helmecke & philip hunsucker 

paul hennessey & susan dague

lisa & Michael holmes 

leslie & George hume 

Mike huston & Marcia cho 

cynthia & Mark Jordan 

Joey & William Judge 

leslie Kalish 

Joseph J. Kauder 

Marshall Kido 

Marguerite & arnold Kirkewoog in honor 

of ilsa brink 

Thomas F. Koegel & anne laFollette 

pamela & Todd lane 

Kirby lawton 

susan & donald lewis 

randy & rebecca litteneker 

yuriria lobato & hilary lerner 

Kheay loke & Martha McGrady 

elizabeth lowe 

robert lynch 

Grace Maes 

sung Makawatsakul & byron Kennedy 

Jill Matichak 

yvonne & robert Mazalewski 

Will Mccaa 

eugene Mccabe 

John & cindy Mccaffrey 

paul McKaskle 

charlie & casey McKibben 

Kimberly & Jerry Medlin 

robert Menicucci & Tracey borst 

susan Morris 

Marilyn & david Nasatir 

Joseph Navarro & billie Jones 

Genevieve s. Nygaard 

Marie & Jim O’brient 

Jeanne & Thomas O’conner 

deborah O’Grady & John adams 

William Ostrander & Janice l. Johnson 

sharon & bill Owens 

cindy padnos & Jim redmond 

Nancy & Gene parker 

berniece & charles patterson 

dorothy & John peers 

heather & Jim power 

pam rafanelli 

hillary & Jonathan reinis in honor of 

buddy Warner 

ruth Major & William c. reuter 

ellen richard 

Mark richards & Theresa speake in honor 

of Jessica richards 

Mark & claire roberts 

Joan roebuck 

rod rogers 

claire roth 

Trudy & charles salter 

Barbara & Jerry Schauffler 

dirk schenkkan 

Martha G. schimbor 

lucille & John serwa 

ali shamsi 

david a. shapiro, M.d. & 

sharon l. Wheatley 

Maureen shea & allen ergo 

cathleen sheehan & Kenneth sumner 

Neil sitzman 

barbara sklar 

Gary sloan & barbara Komas 

elizabeth smith 

carrie & Jason smith 

h. Marcia smolens 

stephanie & robert sorenson 

robert st. John & M. Melanie searle 

david starke 

Virginia & Thomas steuber 

Sue & Terry Stiffler 

susan & paul sugarman 

Virginia & page Thibodeaux 

Nancy Thomas 

Wendy & Michael Thomas 

catherine & Ned Topham 

sara & chris Truebridge 

Martha Truett & david White 

carol Jackson upshaw in honor of 


Jamie & Gerry Valle 

alice & John Villanueva 

Jeff Wagner 

Myrna Walton & Thomas Tellefsen 

elisabeth Watson & Nigel blair-Johns 

arthur Weil 

christina & chris Winquist 

Nita yun & russ Mitchell 

COrPOrAtE, fOUNDAtiON, AND GOVErNMENt SUPPOrt 

We are grateful for the generous investment of the following corporations, foundations, 

and government agencies, which support our 2012 artistic and educational programs. 

Multi-year grants are designated with a double asterisk (**). 

preseNTiNG parTNers 

seasoN parTNers 

eVeNT parTNer 

$100,000 and above 

The William & Flora hewlett 

Foundation** 

The andrew W. Mellon Foundation** 

$25,000–$99,999 

anonymous 

The dean & Margaret lesher 

Foundation 

The shubert Foundation, inc. 

$10,000–$24,999 

bank of america Foundation 

blueprint studios 

chevron 

columbia cosmetics 

The dale Family Fund 

sidney e. Frank Foundation 

Walter and elise haas Fund 

The Thomas J. long Foundation 

McJ amelior Foundation 

Mcroskey Mattress 

Orinda Theatre square 

safeway inc. 

The Morris stulsaft Foundation 

$5,000–$9,999 

Martin ray Winery 

Mechanics bank 

Microsoft corporation 

The bernard Osher Foundation 

up to $4,999 

baker avenue asset Management, lp 

csc consulting, inc. 

electronic arts 

Four seasons hotel san Francisco 

ann & Gordon Getty Foundation 

Got light? 

hafner Vineyard 

herb lamb Vineyards 

hotel angeleno 

John Muir health 

Jp Morgan 

Meadowood Napa Valley 

Morgan stanley smith barney 

pixar animation studio 

price Waterhouse cooper 

prima ristorante 

rakestraw books 

rock Wall Wine company 

ritz-carlton, lake Tahoe 

stockholm Krystal Vodka 

TWaNda Foundation 

york Kennedy lighting design 

Tasting partners 

artesa Vineyards & Winery 

AffiLiAtiONS 

barefoot Winery 

carica Wines 

bison brewing 

cabot Vermont cheddar 

cocoTutti confections 

dr. Kracker 

Macrostie Winery and Vineyards 

Mindy Jade chocolates 

Martin ray Winery 

peet’s coffee & Tea 

r&b cellars 

upper crust pies 

urbano cellars 

Vignette Wine county soda 

Wedl Wine cellars 

Matching Gifts 

a&b Foundation 

ace charitable Foundation 

adobe systems, inc. 

ameriprise Financial 

aT&T Foundation 

bank of america Foundation 

bank of the West 

caterpillar Foundation 

chevron humankind 

citrix 

clorox company Foundation 

ebay Foundation 

engineering design & Testing corp. 

Forest laboratories, inc. 

Gap Foundation 

Google 

John Wiley & sons, inc. 

Johnson & Johnson 

lincoln Financial Foundation 

Macy’s West 

McKesson Foundation 

pew charitable Trust 

sidley austin llp 

Visa Giving station 

organizations providing donoradvised 

funds 

The charles piper cost Foundation 

east bay community Foundation 

Fidelity charitable Gift Fund 

independent charities of america 

Jewish community endowment Fund 

schwab charitable Fund 

silicon Valley community Foundation 

The san Francisco Foundation 

Truist 

united Way california capital region 

united Way of the bay area 

Wells Fargo community support 

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. 


OUr MiSSiON 

We strive for everyone, regardless of age, 

circumstance, or background, to discover the 

relevance of Shakespeare and the classics in their 

lives by: 

Making boldly imagined and deeply entertaining 

interpretations of Shakespeare and the classics. 

Providing in-depth, far-reaching creative educational 

opportunities. 

Bringing disparate communities together around the 

creation of new American plays inspired by classic 

literature. 

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, 

phoTo 32 By Jay california yaMada); aNdy shakespeare Murray aNd theater doMeNique loZaNo iN mucH ado aBout www.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). 

BOArD 

Of DirECtOrS 

ExECUtiVE COMMittEE 

Buddy Warner 

presideNT 

Kate Stechschulte 

ViCe presideNT 

Alan Schnur 

ViCe presideNT 

Susie falk 

ViCe presideNT (eX-ofiCio) 


ViCe presideNT (eX-ofiCio) 

Jean Simpson 

seCreTary 

Jay Yamada 

Treasurer 

David Goldsmith 

iMMediaTe pasT presideNT 

DirECtOrS 

Michael Cedars 

Phil Chernin 

Joshua Cohen 

Ellen Dale 

Ed del Beccaro 

Joe Di Prisco 

Sonny Hanson 

Erin Jaeb 

tony Kallingal 

Marshall Kido 

David Lawrence 

richard Norris 

Jim roethe 

Mike ross 

Michelle runyon 

John ruskin 

Sharon Simpson 

frank Starn 

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

All listings current as of June 20, 2012 

2012 COMPANY 

Jonathan Moscone arTisTic direcTOr susie falk MaNaGiNG direcTOr 

assoCiaTe arTisTs 

Jenny bacon, ACTOR 

l. peter callender, ACTOR 

ron campbell, ACTOR 

Nancy carlin, ACTOR 

James carpenter, ACTOR 

catherine castellanos, ACTOR 

Marybeth cavanaugh, CHOREOGRAPHER 

Julie eccles, ACTOR 

daniel Fish, DIRECTOR 

Janet Foster, CASTING DIRECTOR 

dan hiatt, ACTOR 

Jennifer King, TEACHING 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 TEXT COACH 

Octavio solis, PLAYWRIGHT 

stephen barker Turner, ACTOR 

clive Worsley, TEACHING ARTIST 

scott Zielinski, LIGHTING DESIGNER 

TeaChiNG arTisTs 

laura lowry, susannah Martin, emily Morrison, 

Vince rodriguez, anna shneiderman, Trish 

Tillman, Marissa Wolf, clive Worsley, elena 

Wright, CLASSROOM RESIDENCIES 

Molly aaronson-Gelb, heidi abbott, andy 

alabran, elizabeth carter, catherine castellanos, 

rebecca castelli, sally clawson, rachel Fettner, 

carrie Foster, Nancy Gold, laura lowry, laura 

Marlin, susannah Martin, emily Morrison, ryan 

O’donnell, carla pantoja, Vince rodriguez, 

dylan russell, anna smith, Jenna stich, 

Trish Tillman, Wendy Wisely, Marissa Wolf, 

elena Wright, Kat Zdan, SUMMER SHAKESPEARE 

CONSERVATORY DIRECTORS AND TEACHERS 

allysa evans, rachel Fettner, Nancy Gold, Vince 

rodriguez, anna smith, cat Thompson, elena 

Wright, CLASSES AND AFTER SCHOOL PROGRAMS 

brett Jones, TEACHING ARTIST FELLOW 

NeW Works/NeW CoMMuNiTies 

tHE triANGLE LAB 

intersection for the arts, COFOUNDER 

rebecca Novick, DIRECTOR 

Katie McGee, ASSOCIATE 

arTisTiC & draMaTurGy 

Jessica richards, ASSOCIATE ARTISTIC DIRECTOR 

philippa Kelly, RESIDENT DRAMATURG 

eden Neuendorf, ARTISTIC COORDINATOR 

arTisTiC learNiNG 

Trish Tillman, DIRECTOR OF ARTISTIC LEARNING 

emily Morrison, ARTISTIC LEARNING PROGRAMS 

MANAGER 

Jenna stich, ARTISTIC LEARNING ADMINISTRATION 

MANAGER 

hanah Zahner-isenberg, ARTISTIC LEARNING 

COORDINATOR 

clive Worsley, STUDENT MATINEE MODERATOR 

robert estes, philippa Kelly, Joanie Mcbrien, Kaya 

Oakes, cathleen sheehan, GROVE TALK MODERATORS 

produCTioN 

Tirzah Tyler, PRODUCTION MANAGER 

dave Nowakowski, TECHNICAL DIRECTOR 

Naomi arnst, COSTUME DIRECTOR 

sTaGe MaNaGeMeNT 

corrie bennett, Jannette coté, laxmi Kumaran, 

STAGE MANAGERS 

christina hogan, Whitney Krause, cordelia Miller, 

PRODUCTION ASSISTANTS 

carrie barnes, SHOW CARPENTER 

sCeNery 

charlotte Wheeler, ASSISTANT TECHNICAL DIRECTOR 

beth Wenger, CARPENTER 

sCeNiC arT 

anne McMeeking, SCENIC CHARGE ARTIST 

eleCTriCs 

ray Oppenheimer, MASTER ELECTRICIAN 

souNd 

Will Mccandless, HEAD OF AUDIO 

CosTuMes & WardroBe 

Melinda hare, DESIGN ASSISTANT 

christina dinkel, DESIGN ASSISTANT (HAMLET) 

Jeffrey Hamby, Katherine Griffith, CUTTERS/ 

DRAPERS 

coeli polansky, FIRST HAND 

Janet conery, Milena Geary, suzanne ryan, 

Jessica Tran, STITCHERS 

Nelly Flores, TAILOR’S ASSISTANT 

Marcy Frank, CRAFTSPERSON 

Toni Miller, JEWELRY ARTISAN 

Jessica carter, erin hennessy, WIG & MAKEUP 

DESIGNERS 

amy bobeda, WIG & MAKEUP STYLIST 

courtney Flores, WARDROBE LEAD 

properTies 

seren helday, PROPERTIES MASTER 

sarah spero, PROPERTIES ARTISAN 

faCiliTies 

Trevor carter, FACILITIES MANAGER 

Nelson Vela, MAINTENANCE TECHNICIAN 

porscha K. Owens, SHUTTLE DRIVER 

fiNaNCe & adMiNisTraTioN 

Noralee rockwell, DIRECTOR OF FINANCE 

Joyce Fleming, BUSINESS MANAGER 

Jamie buschbaum, OFFICE MANAGER/EXECUTIVE 

ASSISTANT 

deVelopMeNT 

Megan barton, DIRECTOR OF DEVELOPMENT 

beth sandefur, DONOR RELATIONS & SPECIAL EVENTS 

MANAGER 

darcy brown-Martin, CORPORATE RELATIONS & 

COMMUNICATIONS MANAGER 

andrew page, GRANTS MANAGER 

ian larue, DONOR RELATIONS COORDINATOR 

MarkeTiNG & CoMMuNiCaTioNs 

Janet Magleby, DIRECTOR OF MARKETING & 

COMMUNICATIONS 

Marilyn langbehn, MARKETING & PR MANAGER 

stefanie Kalem, PUBLICATIONS MANAGER 

ilsa brink, GRAPHIC DESIGNER/WEBMASTER 

paTroN serViCes 

pam Webster, PATRON SERVICES MANAGER 

Molly conway, Kate Mcdonnell, Nan Noonan, 

rhoda slanger, sheila yee, PATRON SERVICES 

ASSOCIATES 

BoX offiCe & froNT of house 

robin dolan, BOX OFFICE MANAGER 

alan Kline, ASSISTANT BOX OFFICE MANAGER 

ben Fox, ember cooke, derik cowan, Molly 

Mcenerney, andrea safar, david shultz, BOX OFFICE 

ASSOCIATES 

derik cowan, RETAIL COORDINATOR 

rhiann ayers, HOUSE MANAGER 

Tristan Goldstein, skyler larkin, carol Marshall, 

romulo Viernes, Jr., deborah Woods, ASSISTANT 

HOUSE MANAGERS 

Mia bulijko, HOUSE ASSOCIATE 

2012 professioNal iMMersioN proGraM 

CoMpaNy 

For information on the Cal Shakes PIP (internship) 

program, email eneuendorf@calshakes.org. 

andrea safar, ARTISTIC 

Jordan battle, Jordin bradley, erika budrovich, 

hayley cotton, carolyn day, Kenya hall, cordelia 

Kritz, emma Miller, Olivia shadid, ARTISTIC 

LEARNING 

Jessica dunlap, COSTUME DESIGN 

aries limon, Kendall Owings, COSTUME SHOP 

Jessica reinhardt, MARKETING 

Katie iannace, PRODUCTION MANAGEMENT 

erin Gibb, SCENIC CONSTRUCTION/TECHNICAL 

DIRECTION 

William campbell, LIGHTING DESIGN 

erin brandt, elaine Gray, PROPERTIES 

Jenna snyder, SCENIC PAINTING 

elizabeth Nelson, SOUND 

spencer bertelsen, lilia houshmand, alex Kimmel, 

emily robinson, STAGE MANAGEMENT 

sarah Martin, WARDROBE 

Maria VeTry, WIGS/MAKEUP 

produCTioN proGraM 

Volume 21, No. 2 

stefanie Kalem, EDitOr-iN-CHiEf 

ilsa brink, Art DirECtOr 


fYi 

iMPOrtANt iNfOrMAtiON fOr OUr PAtrONS 

WEBSitE 

to join our email list, purchase tickets, plan your 

visit, and more, click calshakes.org. 

CONtACt US 

Box Office: 510.548.9666 (Mon–Fri, 10am–6pm & sat, 10am–2pm) 

Mailing & Box Office Address: 701 heinz ave, berkeley, ca 94710 

Group Sales (10+): 510.809.3290 

General: 510.548.3422 or info@calshakes.org 

Program Advertising: Mike hathaway, encore Media Group., 

800.308.2898 x105 

facilities rental: 510.548.3422 x123 

Costume rental: 510.548.3422 x111 

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: complimentary blankets are available 

to the right of the main amphitheater entrance,;pleasedress 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 your trash and recyclables in the labeled bins provided. 

take BArt and our free shuttle: We provide free shuttle service 

between the Orinda barT station and the bruns beginning 90 minutes 

before performance time and returning to barT at the conclusion of 

each performance. (please arrive at Orinda barT no later than 30 

minutes before performance time.) 

Seating: if you’re seated in our Terrace or Terrace rear 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 (no camp chairs), 

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, and they’re only $3. 

Become a Champion: cal shakes champions at the stage Manager 

($250) level and above can enjoy complimentary Peet’s coffee at the 

bruns amphitheater by presenting their 2012 champion card at the 

café. Qualifying champions also enjoy reserved picnic tables, Vip 

parking, and discounts on ticket and Theater store purchases. call 

510.809.3297 for more information on becoming a champion, or pick 

up a brochure in the bruns lobby. 

Café by Classic Catering: Offers a wide selection of gourmet meals, 

wine, beer, peet’s coffee and tea, hot cocoa, and desserts. Open two 

hours before the performance and at intermission. catering available 

for groups (10+) and special events by calling 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. 

Works in nature: information on our annual sculpture installation is 

available on signage in the sue & George bruns plaza, and online at 

calshakes.org/worksinnature. 

recycling: please do your part to keep the bruns green by using the 

labeled recycling bins to discard glass, aluminum, plastic, and paper. 

first Aid: For assistance, please go to the House Management Office, 

located in the sharon simpson center, to the left of the restrooms. 

Emergency phone: since we ask all patrons to silence cell phones 

during performances, you may leave the House Office phone number 

(925.254.2395) as your contact number during a performance. 


ACCESS 

Shuttle from the parking lot: Our free shuttle can take you from the 

parking lot directly to our lobby. 

Wheelchair seating is available in sections a, c, Terrace rear, and boxes 

(make sure to request this seating at time of purchase). 

Audio enhancement devices are available at no charge from the blanket 

kiosk on a first-come basis. 

DiSCOUNtED tiCKEtS 

Seniors (65+) and Youth (4–16) save $5 on any performance, excluding 

sat evenings. 

30 or under? $20 tickets are available for all performances Tue–Fri and 

for sat matinees, for sections d, e, F, Terrace rear, and boxes. Tickets 

may be purchased online, by phone, or in person. 30 and under tickets 

are held at will call; valid id is required for pickup. 

Half-price rush tickets for students, seniors, and military may be 

purchased with valid id 30 minutes before curtain time at the bruns 

Amphitheater Box Office, subject to availability. 

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; 

call 510.548.9666 for more information. 

AMPHitHEAtEr EtiQUEttE 

Arrive on time: latecomers will be seated at an appropriate interval at 

the house Manager’s discretion. 

Silence your cell phone, pager, personal organizer, or alarm watch 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 “no smoking” and other directional signage on the grounds. 

They are posted for your safety. 

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. 

EVACUATION PLAN 

EXIT 

EXIT 

STAGE 

EXIT 

EXIT 

THE SHARON SIMPSON 

CENTER 

EXIT ROUTE 

PRIMARY AREA OF REFUGE 

(MEETING PLACE FOR ALL 

AUDIENCE MEMBERS) 

SECONDARY AREA OF REFUGE 

FIRE HYDRANTS 

P

WHO’S WHO 

continued from page 29 

CitY NAtiONAL BANK 

(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 

$57.8 billion in client investment assets, 

including $32.5 billion under direct management. 

Backed by $24 billion in total assets, City 

National bank provides entrepreneurs, 

professionals, their businesses, and their families 

with complete financial solutions on The way up ® . 

LAfAYEttE PArK HOtEL & SPA 


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 


peet’s coffee & Tea is proud to be the exclusive 

coffee sponsor of california shakespeare 

Theater’s 2012 season. peet’s coffee & Tea has 

earned an international reputation for quality 

since its founding in berkeley in 1966. since 

2001, peet’s has also been a valued supporter 

of california shakespeare Theater. “The high 

quality of performances by cal shakes continues 

to build the cultural strength of the community,” 

says patrick O’dea, peet’s ceO and president. 

“We know that many of our customers attend 

cal shakes performances, and through our 

sponsorship, associate their enjoyment of peet’s 

with the marvelous performances they see here.” 

peet’s salutes cal shakes on another great 

season of reimagining the classics. 

THE JOURNEY IS THE REWARD 

THE RESULTS OF OUR SPUNK SONG CONTEST 

What song helped you along your personal journey? The dynamic 

characters in Spunk embody the all-too-human experience of struggle, 

love, loss, and—perhaps most of all—fi nding a place to call home. 

We asked the Cal Shakes community (patrons, donors, Spunk cast 

and creative team, social media friends and followers, staff, and 

interns) to tell us what songs have fueled their journeys—literal and 

metaphorical—from Point A to Point B. Below is a list of some of 

our favorite submissions. 

“I have to say after all 

these years ‘Sad-Eyed 

Lady of the Lowlands’ 

still stops me dead in 

my tracks.” 

Christine, via email 

“‘The Story’ by Brandi 

Carlile and ‘You Belong 

to Me’ by Patsy Cline.” 

Former Cal Shakes staffer Dana 

Mathes, via Facebook 

“‘Running on Empty’ 

by Jackson Browne.” 

Longtime Cal Shakes house 

staffer Carol Marshall, via 

Facebook 

“Dolly Parton’s ‘Travelin’ Thru,’ Pachelbel’s 

Canon—my husband thinks it is just horrible 

(sentimental, pathetic) but he has promised to 

play it at my funeral if the occasion arises. And 

seriously, speaking of husbands, I also love 

Paul Dresher’s ‘Racer’—it has inspired me on 

my journey.” 

Cal Shakes Resident Dramaturg Philippa Kelly, via email 

“Been listenin’ nonstop to ‘Confi rmation’ by 

Charlie ‘Bird’ Parker. So good. Has me diggin’ 

deeper into Spunk.” 

Tilghman (Tyee Tilghman, Spunk cast member), via Twitter 

“Pretty 

Vacant,” 

ShakesCar, 

via Twitter 

Keep your eye on calshakes.org/blog this month for 

details on Blithe Spirit’s crowd-sourced contest! 

“‘This Year’ by the 

Mountain Goats and 

‘I See Dark’ by Laura 

Stevenson & the Cans.” 

Wyatt Hi-Hat Miller, 

via Facebook 

“‘Say Hey’ by Michael Franti & Spearhead.” 

Reuben Greenwald, via Facebook 

“‘I’m Considering a Move to 

Memphis,’ by the Colorblind James 

Experience.” 

Cal Shakes Grants Manager Andrew Page, via 

Facebook 

“‘Sigh No More’ 

helped me get 

through a traumatic 

breakup. I bless the 

day that Mumford 

and Sons came into 

existence!” 

rschweiss79, via Twitter 

“’Living in the U.S.A.,’ 

Steve Miller Band.” 

Mark Bailey, via Facebook

Business Banking | Corporate Banking | Wealth Management | Personal Banking 

Do what you say, say what you mean. Treat everybody with the same 

respect that you want to be treated with. That’s how you build trust 

and long-term relationships with customers. Mechanics Bank has 

always been there for us. We couldn’t do a lot of the things we’ve 

done without their support, especially the personal support that I 

receive. It’s easy for me to go to a bank that thinks along the same 

lines as I do. That’s why I’m a Mechanic. 

Jeffrey Yee, BASS Electric 

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

Read Spunk Program - California Shakespeare Theater

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?