BC_Program_Final.indd 1 9/11/13 3:10 AM
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BC_Program_Final.indd 1 9/11/13 3:10 AM
BC_Program_Final.indd 1 9/11/13 3:10 AM Magic Theatre presents the legacy revival of letter from the Producing Artistic Director Welcome to Magic Theatre! Now in our 47th year of developing and producing vibrant, adventuresome work for the stage, we continue our 5-year Sheparding America celebration with Sam Shepard’s homegrown classic Buried Child. In honor of Sam’s 70th birthday, Buried Child kicks off a season-long bash featuring work from our friends at Campo Santo, A.C.T., Word for Word, and Crowded Fire. Five times a season, my staff, board, and I gather in our rehearsal hall for the first day of rehearsal with the actors, creative team, and a host of others who will support the playwright on their journey. It is an age-old ritual to meet, greet, show and tell, and break bread before the first reading, which will launch the collaborative part of the process. And every first day I begin by welcoming our playwrights, whether it be Julie Marie Myatt, Sharr White, or Octavio Solis, to the house that Sam built with his groundbreaking premieres of Tongues, Buried Child, True West, and Fool for Love. Sam Shepard is the rock star that called us to the table with his mind- and heart-bending plays, music, poetry, and prose. Over the last five decades Sam has altered us with his haunting, soul-searching voice transcribed through an everchanging myriad of forms – and changed forever the face of American theatre. I write this letter as I fly back from a casting session for our second show, Arlington. Even in auditions, I could feel the power of a beautiful story told in song (created by the incomparable Polly Pen and Victor Lodato), and I’m so excited for Magic to be producing a musical for the first time since I’ve been here. In January we will be welcoming back Taylor Mac for the world premiere of Hir, a comic drama exploring the American family, kaleidoscoping gender roles, and coming home. In the spring, Any Given Day playwright Linda McLean also returns to Magic with Every Five Minutes, a surreal examination of the workings of a damaged mind. Finally, we’re presenting pen/man/ship by Christina Anderson, who, like Sam, wrote the play while a playwright-in-residence in Magic. As with Sam, we’ve made a commitment to a young, talented playwright that we believe can shape the next generation of artists and audiences. Sam didn’t build Magic Theatre, this extraordinarily rare cultural jewel, alone. He built it with dedicated artistic leaders beginning with the visionary John Lion. He built it with you: artists, donors, patrons, and trustees past and present. He did it with you who are drawn, as I am, again and again to the mysterious, visceral, primal, and communal rites of theatre. It is with great affection that we welcome home Magic’s most beloved son, Sam Shepard, with his seminal homecoming drama Buried Child. Thank you for being here to celebrate with us. Warmest regards, BURIED CHILD Written by Sam Shepard Directed by Loretta Greco+ (in alphabetical order) Vince Halie Shelly Dodge Bradley Father Dewis Tilden Season Producers Arthur and Toni Rembe Rock Producers John Marx and Nikki Beach Becky and Jim Eisen The Steppenwolf production of this version of Buried Child was first presented on Broadway at the Brooks Atkinson Theatre in New York City on April 30, 1996, by Frederick Zollo, Nicholas Paleologos, Jane Harmon, Nina Keneally, Gary Sinise, Edwin Schloss and Liz Oliver. World premiere in San Francisco at Magic Theatre in 1978. First presented in New York City at the Theater for the New City in 1978. Buried Child is presented by special arrangement with Dramatists Play Service, Inc., New York. Patrick Alparone* Denise Balthrop Cassidy* Elaina Garrity Rod Gnapp* Patrick Kelly Jones* Lawrence Radecker James Wagner* CREATIVE TEAM Set Design Costume Design Lighting Design Sound Design Stage Manager Fight Director Director of Production Technical Director Props Design Casting Music by Andrew Boyce** Alex Jaeger** Eric Southern** Jake Rodriguez Kevin Johnson* Dave Maier Sara Huddleston Dave Gardner Jacquelyn Scott Dori Jacob Jason Stamberger & Jake Rodriguez The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. Media Sponsor of Magic’s 2013/14 Season This theatre operates under an agreement with Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. BC_Program_Final.indd 2-3 CAST Opening Night: Tuesday, September 17, 2013 * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. ** M ember of United Scenic Artists local 829, which represents the designers and scenic painters for the American theatre. + Member of Stage Directors and Choreographers Society, the union for stage directors and choreographers. 9/11/13 3:10 AM Have you subscribed to Magic Theatre’s 2013/14 Season? With 5-play, 4-play, and 3-play options, there’s something for everyone! Ask a Magic staff member for more information. SUBSCRIBER BENEFITS + Guaranteed savings off full price tickets (save up to 26%) + Plans changed? No worries – exchange your tickets + Personal copy of dramaturgy and notes + Bring friends with you at a discount (25% off full price) Sarah Nina Hayon and Sean San José in Se Llama Cristina (2013) Photo: Jennifer Reiley BC_Program_Final.indd 4-5 biographies Sam Shepard Playwright Sam Shepard was born Samuel Shepard Rogers VII on November 5, 1943, in Fort Sheridan, Illinois. The son of a career Army father, Shepard spent his childhood on military bases in the United States and Guam before his family settled on a farm in Duarte, California. Shepard worked as a stable hand on a ranch in Chino from 1958 to 1960 and studied agriculture for a year at Mount Antonio Junior College. After leaving college, he joined the Bishop’s Company Repertory Players, a touring theater group. In 1963, Shepard moved to New York City, where he worked as a busboy at the Village Gate in Greenwich Village and began to write plays for the emerging experimental underground theater scene. He made his debut at Theatre Genesis on October 10, 1964, with the double-billed Cowboy and Rock Garden. In 1965 he presented Up to Thursday and 4-H Club at Theatre 65, Dog and Rocking Chair at La MaMa Experimental Theatre Club, Chicago at Genesis, and Icarus’s Mother at Caffe Cino. Although many mainstream critics were baffled by his raw, chaotic, almost Beckettian pieces, he was soon hailed by the New York Times as “the generally acknowledged ‘genius’ of the [Off-Off-Broadway] circuit.” In 1966, Red Cross, Chicago, and Icarus’s Mother earned Shepard a trio of Village Voice Obie Awards. In 1967 and 1968, Shepard wrote La Turista, his first full-length play, Melodrama Play, and Forensic and The Navigators, all of which also won Obie awards, and Cowboys #2, which premiered in Los Angeles. In 1969, Shepard began a stint playing drums and guitar with the cult “amphetamine rock band” the Holy Modal Rounders, later telling an interviewer that he would rather be a rock star than a playwright. He nevertheless continued to write plays, completing Holy Ghostly and The Unseen Hand in 1969, Operation Sidewinder and Shaved Splits in 1970, Mad Dog Blues, Back Bog Beast Bait, and Cowboy Mouth (written with poet/ musician Patti Smith) in 1971. He left the Rounders in 1971 and moved to England, where he lived for the next three years. Two notable plays of this period—The Tooth Of Crime (1972, Obie Award) and Geography Of A Horse Dreamer (1974)—premiered in London. In 1973 he published his first book of essays and poems, Hawk Moon. Two similar collections followed in 1977 and 1982. In 1974 Shepard returned to the United States and became the playwrightin-residence at the Magic Theatre in San Francisco, a position he held until 1984. Plays from this period include Action (Obie Award, 1974), Killer’s Head (1975), Angel City (1976), and Suicide In B-Flat (1976). Beginning in the late 1970s, Shepard applied his unconventional dramatic vision to a more conventional dramatic form, the family tragedy, producing Curse Of The Starving Class and Buried Child in 1978 (both of which won Obie Awards) and True West in 1980. The three plays are linked thematically in their examination of troubled and tempestuous blood relationships in a fragmented society. Shepard achieved his warmest critical reception with Buried Child, which also won the Pulitzer Prize for drama. Washington Post theater critic David Richards wrote, “Shepard delivers a requiem for America, land of the surreal and home of the crazed…The amber waves of grain mask a dark secret. The fruited plain is rotting and the purple mountain’s majesty is like a bad bruise on the landscape.” Shepard began a new career as a film actor in 1978, appearing in Renaldo and Clara and Terrence Malick’s Days of Heaven. He also began collaborating with Joseph Chaikin on Tongues, a stage work with music that was heavily dependent on the theories of Antonin Artaud. Shepard and Chaikin would also collaborate on Savage/Love (1979), War In Heaven (1985), and When The World Was Green (A Chef’s Fable) (1996). Throughout the 1980s and into the ’90s, Shepard continued to write plays—Fool For Love (1983) won Obie awards for best play as well as direction, and A Lie Of The Mind (1985) garnered the New York Drama Critics Circle Award and Outer Critics Circle Award for outstanding new play—and expand his work in film. He appeared as an actor in the films Resurrection (1980), Raggedy Man (1981), Frances (1982), The Right Stuff (Academy Award nomination, 1983), Country (1984), his own Fool for Love (director, Robert Altman, 1985), Crimes of the Heart (1986), Baby Boom (1987), Steel Magnolias (1989), Voyager (1991), Thunderheart (1992), and The Pelican Brief (1993). He also worked on several screenplays, including Paris, Texas with Wim Wenders (Palme d’Or, Cannes Film Festival, 1984). As writer/ director, he filmed Far North and Silent Tongue, in 1988 and 1992, respectively. Shepard’s play Stages of Shock premiered at the American Place Theatre in 1991, and Simpatico transferred to the Royal Court Theatre after its premiere in 1994 at the New York Shakespeare Festival. A revised Buried Child, under the direction of Gary Sinise, opened on Broadway in April 1996 and earned a Tony Award nomination. Eyes For Consuela, based on a short story by Octavio Paz, premiered at Manhattan Theatre Club in 1998. Magic Theatre premiered The Late Henry Moss, starring Sean Penn and Nick Nolte, before it was moved to the Signature Theatre in New York in 2001. Shepard’s projects also include the short story collection Great Dream of Heaven (2002); the plays The God Of Hell (2005) and Kicking A Dead Horse, which premiered in Dublin, Ireland, in March 2007 and had its New York premiere in July 2008 at The Public Theater; the films Black Hawk Down (actor, 2001), Don’t Come Knocking (his second collaboration with Wenders, writer/actor, 2006), The Assassination of Jesse James by the Coward Robert Ford (actor, 2007), and Descending from Heaven (actor, with Pamela Reed). Shepard is considered one of the foremost modern American playwrights. The Signature Theatre devoted its entire 1996–97 season to his plays. In 1985 he was inducted into the American Academy of Arts and Letters, which awarded him the Gold Medal for Drama in 1992. In 1994 he was inducted into the Theatre Hall of Fame. Writing in the New Republic, Robert Brustein called Shepard “one of our most celebrated writers,” adding that his plays “have overturned theatrical conventions and created a new kind of drama.” Loretta Greco+ Director / Producing Artistic Director is proud to be in her sixth season as Magic’s Producing Artistic Director where in the last five seasons she has developed and produced more than a dozen new plays. Her selected directing credits at Magic include: Mauritius, Goldfish, Oedipus el Rey, Or,, What We’re Up Against, Annapurna, Bruja, The Other Place, and Se Llama Cristina. Ms. Greco’s New York premieres include: Tracey Scott Wilson’s The Story, the Obie Award-winning Lackawanna Blues by Ruben Santiago Hudson, and Nilo Cruz’s Two Sisters and a Piano at The Public Theater; Katherine Walat’s Victoria Martin Math Team Queen, Karen Hartman’s Gum, Toni Press Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre and Nilo Cruz’s A Park in Our House at New York Theatre Workshop. Additional regional credits include the critically acclaimed revival of David Mamet’s Speed-thePlow and the West Coast premiere of David Harrower’s Blackbird at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival as well as productions at LaJolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Cincinnati Playhouse in the Park, The Repertory Theatre of St Louis, Area Stage, Coconut Grove Playhouse, Playmakers Repertory Company, and The Cleveland Play House. She directed the national tour of Emily Mann’s Having Our Say as well as the International premiere at the Market Theatre in Johannesburg, South Africa. Ms. Greco has developed work with dozens of writers at Sundance, The O’Neill, South Coast Repertory, The Mark Taper Forum, New Harmony, New York Stage and Film, The Cherry Lane, New Dramatists, and The Public. Prior to her Magic post, she served as Producing Artistic Director of New York’s Women’s Project and as The Associate Director/Resident Producer at the McCarter Theatre in Princeton where she conceived and launched their Second Stage-On-Stage Initiative and commissioned the work of Doug Wright, Nilo Cruz, and Joyce Carol Oates among others. Ms. Greco received her MFA from Catholic University, her BA from Loyola University, New Orleans and is recipient of two Drama League Fellowships and a Princess Grace Award. Patrick Alparone* (Vince) Credits at Magic include Any Given Day, Mrs. Whitney and Octopus. Alparone last appeared in The Normal Heart at ACT. Other credits include Elektra (ACT); Red (Portland Center Stage); Phaedra (Shotgun Players); Period of Adjustment, One Flew Over the Cuckoo’s Nest (San Francisco Playhouse); Man of Rock (Climate Theatre); Twelfth Night, Ambition Facing West (TheatreWorks); Olive Kitteridge (Word for Word/Zspace); A Streetcar Named Desire (Marin Theatre Co.); Skin (Encore Theatre Co.); Hamlet (Impact Theatre); Little Dog Laughed (B Street Theatre); Karima’s City in Egypt for The Cairo International Festival for Experimental Theatre (Golden Thread Productions). Film credits include The Wisdom Tree, This is Hamlet, Seducing Charlie Barker and Two from the Line. patrickalparone.com Denise Balthrop Cassidy* (Halie) is delighted to be performing at Magic Theatre. Her stage work includes performances at The Kennedy Center for the Performing Arts, Berkeley Repertory Theatre, Quinapalus Theatre Co., Campo Santo, Encore Theatre/Z Space, Eureka Theatre, San Jose Stage, Pacific Alliance Stage, Pear Avenue Theatre/ Bootstrap, Women in Time, B Street Theatre, and Word For Word, where she also directed Communist (starring Rod Gnapp). Before moving to the Bay Area, Denise was a Teaching and Performing Artist at Cornell University, toured the US with National Players, and toured Europe with the Department of Defense Overseas Tour Shows as well as the US Information Agency. She has performed big roles in small films, and small roles in big films, including opposite Sean Penn in The Assassination of Richard Nixon while six months pregnant. Denise holds a BA from Duke University and an MFA from The Catholic University of America. She is a proud member of Actors’ Equity. Much love and gratitude to Barney, BJ, John, and Rose for their support! Bold New Magic Season! Magic Theatre’s 47th season is continuing the tradition of identifying and producing new plays that challenge, thrill, and amuse us. We look forward to many remarkable nights of theatre. If this is the season for you to buy or sell a home, let Mike and Lea Ann Fleming— Team Fleming—make your production a success! Stellar performances: Magic Theatre and Team Fleming Mike & Lea Ann Fleming McGuire Partners 415-351-HOME [email protected] DRE 01128571 9/11/13 3:10 AM biographies Elaina Garrity (Shelly) is originally from Pleasant Hill, where she began studying dance as a child, and then performing with Diablo Theatre Company, Stars2000, CCCT, Kinsella Conservatory, DVC, and others. Her vocal pursuits were later cultivated with Steve Kinsella, Dr. Lee Strawn, and Richard Nickol. She just spent the past four years pursuing her Bachelor’s at SFSU, where she graduated cum laude with a degree in Drama Performance and a minor in Business Marketing. She was recently seen as Gabriela in References to Salvador Dalí Make Me Hot at SFSU, and Elena Ortega in Guerilla Rep’s My Tia Loca’s Life of Crime, by local playwright Roy Conboy. Other favorite roles include Juliet, Killaine in The Clearing, and Ronette in Little Shop of Horrors. Rod Gnapp* (Dodge) A veteran of Bay Area stages, Mr. Gnapp was last seen at Magic in Se Llama Cristina, Annapurna, What We’re Up Against, Goldfish, Mrs. Whitney and Mauritius. He recently appeared in The Beauty Queen of Leenane at Marin Theatre Company, The Elaborate Entrance of Chad Diety at the Aurora Theatre Company and Behanding in Spokane at the SF Playhouse. Theatre credits also include work at American Conservatory Theater, Berkeley Rep, California Shakespeare Theater, San Jose Rep, TheatreWorks, Marin Theatre Company, the Huntington Theatre Company, Brooklyn Academy of Music, Seattle Rep, Virginia Playhouse and the Pittsburgh Public Theater. Mr. Gnapp can be seen in the independent feature film Touching Home by the Miller Brothers, with Ed Harris. He can also be seen in Valley of the Hearts Delite, Calendar Confloption (Pixar), and Return to the Streets of San Francisco. He is the recipient of many Bay Area Theatre Critics Circle (BATCC) Awards and is a graduate of the American Conservatory Theater’s MFA program. Patrick Kelly Jones* (Bradley) is making his Magic Theatre debut. Recent Bay Area credits include: Abigail’s Party (San Francisco Playhouse), It’s a Wonderful Life: Radio Play, Bellwether (Marin Theatre Company), The Death of the Novel (SJ Rep), Hamlet (Livermore Shakespeare Festival), The Pitmen Painters (TheatreWorks), The Coast BC_Program_Final.indd 6-7 of Utopia: Voyage and Shipwreck (Shotgun Players), Kafka’s Metamorphosis (Aurora Theatre), Exit, Pursued by a Bear (Crowded Fire). Other National Credits include: Cymbeline, Misalliance (New York Classical Theatre), Step One: Plays with Instructions (The 52nd Street Project, NYC), You Can’t Take it With You (Denver Center), The Lieutenant of Inishmore, In the Belly of the Beast (Florida Studio Theatre), A Number (The Northern Stage, Vermont), Vincent in Brixton (The Cleveland Play House), Arms and the Man (Great Lakes Theater Festival). Patrick earned his MFA in Acting from Case Western Reserve University. patrickkellyjones.com. Lawrence Radecker (Father Dewis) is a resident artist with Crowded Fire Theater Company who has developed and debuted roles in a number of their world premieres including Marilee Talkingtonʼs Sticky Time, Caridad Svichʼs Wreckage, Liz Duffy Adamsʼ The Listener and Dominic Orlandoʼs Juan Gelion Dances for the Sun. Most recently he was seen in Crowded Fireʼs west coast premiere of Thomas Bradshawʼs The Bereaved. He has also worked with Golden Thread, Thick Description, Marin Theatre Company, Brava! For Women in the Arts, Cutting Ball and Uncle Buzzy’s Hometown Theatre Show. This is his Magic debut. He can also be seen and heard in a variety of industrials and voiceovers, as well as a few films and television series. James Wagner* (Tilden) was recently seen as Tripp in Other Desert Cities at the Fusion Theatre Company. He originated the roles of Weber in the world premiere of Theresa Rebeck’s What We’re Up Against at Magic Theatre and Ethan in the world premiere of Steve Yockey’s Very Still and Hard to See at the Production Company in Los Angeles. Other theatre credits include New Jerusalem at LA Theatre Works, Secret Order at San Jose Rep, Mauritius at Magic Theatre, A Christmas Carol at the American Conservatory Theater, Betrayed and The Busy World is Hushed at the Aurora Theatre, Bad Evidence at the Elephant Theatre Company, Cost of the Erection at the Blank Theatre Company, Beauty and the Beast at the B-street theatre, Candida, David Copperfield, A Midsummer Night’s Dream, The Rainmaker, The Glass Menagerie, and Mother Courage. His list of 30 short and feature film credits include two Antero Alli films and recently the lead in the short film Share. Wagner has an M.F.A. from A.C.T. and can be found online at www. jameslouiswagner.com Kevin Johnson* Stage Manager stage-managed last season’s production of The Other Place for Magic Theatre. Locally, some of the other theatres he has stage-managed for include Aurora Theatre Company, Berkeley Repertory Theatre, California Shakespeare Theatre, Lorraine Hansberry Theatre, Marin Theatre Company, Shotgun Players, and Word for Word. He has also stage-managed dance and music productions, as well as the last album of Dave Brubeck’s choral music, Brubeck and American Poets. Andrew Boyce** Scenic Designer is a NY based scenic designer who works in Theatre, Opera, and Film. At Magic: Bruja, Annapurna, Se Llama Cristina, The Lily’s Revenge. Recent NYC credits include: Bike America (Ma-Yi), Buyer & Cellar (Barrow Street/Rattlestick), Trevor (Lesser America), Red Handed Otter (Playwrights Realm/ Cherry Lane), Dreams of Falling, Dreams of Flying (Atlantic Theatre Company). Work has been seen regionally with: Center Theatre Group, The Geffen, The Alliance, Actors Theatre of Louisville, Curtis Opera Theatre, Williamstown, Des Moines Metro Opera, Westport Playhouse, Asolo Rep, Syracuse Stage, TheatreWorks (CA), Bay Street Theatre, Portland Center Stage, The Wilma, Marin Theatre Company, Magic Theatre, and American Players Theatre, among others. Andrew is a member of the Wingspace Design Collective and is graduate of Yale School of Drama, where he is currently on faculty in the design department. Parallelogram, Other Desert Cities; Public Theatre, N.Y: Two Sisters and a Piano; Oregon Shakespeare Festival: A Streetcar Named Desire, August: Osage County, Cat on a Hot Tin Roof, Dead Man’s Cell Phone, Romeo and Juliet, Handler, Fuddy Meers; Kirk Douglas Theatre: The Nether, The Paris Letter, Eclipsed. Eric Southern** Lighting Designer Most recently his work on the world premiere of Play/Pause with choreographer Susan Marshall and composer David Lang was seen at the BAM Next Wave Festival. The Secret Agent, an opera by Michael Dellaira and directed by Sam Helfrich, premiered at the Avignon Opera House, and as part of the Armel International Opera Festival in Szeged, Hungary. With Magic, he has also designed Bruja and The Other Place and is lighting both Buried Child and Hir this season. Other theatre work includes the world premiere of Buyer and Cellar with Michael Urie, and various projects with the 600 Highwaymen, Portland Center Stage, The Commonwealth Shakespeare Company, Kansas City Rep, The Atlantic Theater, and the Juilliard Drama Department. Jake Rodriguez Sound Designer has carved out sound and music for multiple theaters across the San Francisco Bay Area and beyond. Recent credits include Girlfriend at Actors Theatre of Louisville, Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright at Berkeley Repertory Theatre; Emotional Creature at the Pershing Square Signature Center; Scorched and Maple and Vine at American Conservatory Theater; Bruja and Annapurna at Magic Theatre; Hamlet at California Shakespeare Theater; Care of Trees at Shotgun Players; The Companion Piece at Z Space. Rodriguez is the recipient of a 2003 Bay Area Theatre Critics Circle Award and a 2004 Princess Grace Award. Dave Maier Fight Director has served as fight director for several Magic productions including Oedipus el Rey for which he won the SF Bay Area Theatre Critics Circle Award. He is the resident fight director at SF Opera and California Shakespeare Theatre as well as a company member with Shotgun Players. His work has been seen at ACT, Berkeley Rep, San Jose Rep, SF Playhouse, Aurora Theatre, and Shakespeare Santa Cruz. He is recognized as an instructor of theatrical combat by Dueling Arts International and is a founding member of Dueling Arts San Francisco. Mr. Maier is currently teaching theatre arts related courses at Berkeley Rep School of Theatre and St. Mary’s College of California. Dori Jacob Casting joined Magic Theatre in 2010 and is proud to be in her fourth season with the company, now as the Director of New Play Development. For Magic, Ms. Jacob dramaturged the revival of Claire Chafee’s Why We Have a Body in 2011 and the world premiere of Octavio Solis’ Se Llama Cristina this past Winter. Associate dramaturgy credits include: Luis Alfaro’s Bruja; Linda McLean’s Any Given Day; Lloyd Suh’s Jesus in India; Sharr White’s Annapurna; Taylor Mac’s The Lily’s Revenge; Sharr White’s The Other Place; Julie Marie Myatt’s The Happy Ones; and Mark O’Rowe’s Terminus. Further Bay Area dramaturgy credits include: Still Waiting for Godot (The OFFCENTER) and Assassins (Shotgun Players). As the resident producer for Magic Theatre’s developmental programming, Ms. Jacob’s credits include: 2011, 2012 & 2013 Virgin Play Series, the 2012 Asian Explosion Reading Series and the 2013 Costume Shop Festival. Ms. Jacob is a proud member of both the National New Play Network’s Literary Committee and Literary Managers and Dramaturgs of the Americas. She is a graduate of UC Santa Cruz and NYU’s Tisch School of the Arts. Toni Rembe Season Producer is past president and a member of the Emeritus Advisory Board of the American Conservatory Theater and a member of TCG’s National Council for the American Theatre. She is a retired partner at the law firm of Pillsbury Winthrop Shaw Pittman and president of the van Loben Sels-RembeRock Foundation, a private foundation specializing in social justice and related legal services. She is a member of CONTINUED Alex Jaeger** Costume Designer For Magic Theatre: Bruja, Se Llama Christina, Annapurna, What We’re Up Against, Or,,Oedipus el Rey, Goldfish, Mrs. Whitney, Mauritius, Morbidity and Mortality. Other theaters: ACT: Arcadia, 4000 Miles, Maple and Vine, Once in a Lifetime, The Homecoming, November, Rock N Roll, Speed the Plow; Mark Taper Forum: A * Member of Actors’ Equity Association. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performance arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org. + Member of Stage Directors and Choreographers (SDC) ** Member of United Scenic Artists local 829. United Scenic Artists represents the designers and scenic painters for the American Theatre. 9/11/13 3:10 AM w i n n e r! 2013 Tony Award for Best Play! “Deliriously funny…” — N e w Yo r k T i m e s 47TH SEASON 2013/14 BURIED CHILD ARLINGTON Legacy Revival Begins September 11 by Sam Shepard directed by Loretta Greco World Premiere Begins November 13 book and lyrics by Victor Lodato music by Polly Pen directed by Jackson Gay HIR World Premiere Begins January 29 by Taylor Mac directed by Niegel Smith starts sep 20 call 510 647-2949 click berkeleyrep.org up next The Pianist of Willesden Lane A dA P t E d A n d d i r E c t E d BY H E r s H E Y F E Ld E r · o c t 2 5– d E c 8 Mona Golabek performs some of the world’s most beautiful music, live—as she relates the real-life legacy of her mother’s quest to survive the nazi regime. “unforgettable,” lauds the LA Times. Produc tion sPonsor Discover 2013–14 see Tristan & Yseult from the creators of Brief Encounter and The Wild Bride, the off-Broadway sensation Tribes, the latest from tony Kushner, and more. see any three subscription plays and save. tickets on sale now! Packages start at just $25 per play! sEAson sPonsors EVERY FIVE MINUTES World Premiere Begins March 26 by Linda McLean directed by Loretta Greco PEN/MAN/SHIP World Premiere Begins May 21 by Christina Anderson directed by Ryan Guzzo Purcell BC_Program_Final.indd 8-9 9/11/13 3:10 AM dramaturgy NOTES ON BURIED CHILD It is a commonly held view of Buried Child that it is a realistic play, perhaps Sam Shepard’s most realistic play, with predecessors such as Henrik Ibsen’s Ghosts and Eugene O’Neill’s Long Day’s Journey Into Night. Like them, Buried Child concerns a son’s homecoming and uses retrospective action to unravel a mystery in the past. A more interesting question for us, a century after the introduction of dramatic realism, is to consider Shepard’s unique brand of realism. One of the primary differences in Shepherd’s dramaturgy is what could be called tears in the fabric of reality. Such irregularities arise out of seemingly inexplicable incongruities, i.e., the harvest of corn and carrots from an unplanted field, Halie’s change of clothes between the first and third acts, and the questionable nature of the buried child. It becomes apparent as we follow the increasingly complicated revelations of the past, that for this family, there exists no real truth. Reality refuses to verify itself, with the result that truth is revealed as malleable. Commentary by Jane Ann Crum BC_Program_Final.indd 10-11 Shelly: Your whole life’s up there hanging on the wall. Somebody who looks just like you. Somebody who looks just like you used to look. His face became his father’s face. Same bones. Same eyes. Same nose. Same breath. And his father’s face changed to his grandfather’s face. And it went on like that.” —Vince, Act 3 Buried Child Dodge: That isn’t me! That never was me! This is me. Right here. This is it. The whole shootin’ match, sittin’ right in front of you. That other stuff was a sham. All memory of the past becomes questionable as the difference between offered information and buried information reveals itself. The resulting tension occurs as we, like Shelly, attempt to fix or verify reality. We wait, as we have done since the advent of the well-made play, for the moment of denouement, when characters are unmasked and in one stroke the meaning of the action is made clear. Yet Shepard’s construct of torn reality Photo: Dorothea Lange Photo: Brigitte Lacombe Dodge, the aged and dying patriarch of the family, seems closest to an awareness that reality may, in fact, be unfixed. He rejects Shelly’s idea that old family photographs contain any semblance of truth. CONTINUED 9/11/13 3:10 AM dramaturgy “My temptation is quiet here at life’s end neither loose imagination nor the mill of the mind consuming its rot and bone, can make the truth known.” Photo: Loretta Greco —An Acre of Grass, W.B.Yeats BC_Program_Final.indd 12-13 9/11/13 3:10 AM dramaturgy Photo: Russell Lee I knew a man, a common farmer , the father of five sons. And in them the fathers of sons, and in them the fathers of sons.” —Children of Adam, Walt Whitman My name came down through seven generations of men with the same name each the first son the same name as the father then the mothers nicknaming the sons so as not to confuse them with the fathers when hearing their names called in the open air while working side by side in the waist-high wheat. The sons came to believe their names were the nicknames they heard floating across these fields and answered to these names building ideas of who they were around the sound never dreaming their real legal name was lying in wait for them written on some paper in Chicago and that name would be the name they’d prefix with “Mr.” and that name would be the name they’d die with.” Norman Rockwell —The Motel Chronicles, Sam Shepard Photo: Walker Evans BC_Program_Final.indd 14-15 9/11/13 3:10 AM CONTINUED continually evades the notion of truth. We are left with a death, the inheritance of a legacy, an unearthed symbol of broken taboos, and Halie’s disembodied voice reminding us of the mysterious fecundity of the once-fallow field: 1964 Cowboys 1964 The Rock Garden 1965 Chicago 1965 Icarus’s Mother 1965 4-H Club 1966 Red Cross 1967 La Turista 1967 Cowboys #2 1967 Forensic & the Navigators 1969 The Unseen Hand 1969 Oh! Calcutta! (contributed sketches) 1970 The Holy Ghostly 1970 Operation Sidewinder 1971 Mad Dog Blues 1971 Back Bog Beast Bait 1971 Cowboy Mouth (with Patti Smith) 1972 The Tooth of Crime 1974 Geography of a Horse Dreamer 1975 Action 1976 Suicide in B Flat 1976 Angel City** 1977 Inacoma** 1978 Buried Child** 1978 Curse of the Starving Class 1978 Tongues (with Joseph Chaikin)** 1980 True West** 1981 Savage Love (with Joseph Chaikin) 1983 Fool for Love** 1985 A Lie of the Mind 1987 A Short Life of Trouble 1991 States of Shock 1993 Simpatico 1998 Eyes for Consuela 2000 The Late Henry Moss ** 2004 The God of Hell 2007 Kicking a Dead Horse 2009 Ages of the Moon 2012 Heartless Shepard’s ability to balance on the edge of the irrational while remaining within the parameters of realistic dialogue and action, suggests a profound distrust of any belief that we can ever fully perceive the truth, or indeed, that truth as such, even exists. The rational world recedes as Shepherd takes us beyond our limited perceptions of human existence, beyond sense and knowledge. I think it’s a cheap trick to resolve things. It’s a complete lie to make resolutions. I’ve always felt that, particularly in theater, when everything’s tied up at the end with a neat little ribbon and you’re delivered this package. You walk out of the theater feeling that everything’s resolved and you know what the play’s about. So what? It’s almost as though why go through all that if you’re just going to tie it all up at the end? It seems like a lie to me. ~Sam Shepard Dodge’s farm is not a passive construct, but functions as a harbinger of news from a primordial past. The progression of the earth’s produce carried into the farmhouse reflects the downward movement of the search for the child’s identity: from the tall corn plant from which the ears are picked, to the carrots pulled directly out of the soil, to the bundle of bones Tilden must dig out of the earth with his bare hands. The return of the dead to plague the living is one of the most primitive and basic of all human fears. Buried Child hints at the substratum of those fears—incest and infanticide. Shepard walks the knife-edge of terror with Buried Child, reminding us that no matter how deeply we plant our secrets, everything hidden must eventually be revealed. – Jane Ann Crum BC_Program_Final.indd 16-17 chronology of plays by Sam Shepard Halie: I’ve never seen such corn. Have you taken a look at it lately? Dazzling. Tall as a man already. This early in the year. Carrots, too. Potatoes. Peas. It’s like a paradise out there, Dodge. You oughta take a look. A miracle . . . I’ve never seen a crop like this in my whole life. Maybe it’s the sun. Maybe that’s it. Maybe it’s the sun. Plays debuted at Magic Theatre Previously at Magic Theatre, Jane Ann Crum served as production dramaturg for Liz Duffy Adams’ Or, and Luis Alfaro’s Oedipus el Rey and Bruja. She teaches M.F.A. directors and playwrights at the New School for Drama in New York City. Her publications include essays on Sam Shepard’s Buried Child and A Lie of the Mind. 2 Plus 2 Bookkeeping No matter how complex your business... Controller for Magic Theatre Richard Lane 587 Lisbon Street San Francisco, CA 94112 415-335-9924 (phone) 888-276-5118 (fax) [email protected] www.2plus2bookkeeping.com 9/11/13 3:10 AM biographies Photo: Brigitte Lacombe CONTINUED Did you know that this November 5 is Sam Shepard’s 70th birthday? Magic Theatre is getting ready to celebrate it in a big way this December. Stay tuned for more details coming soon! Want to stay up-to-date on everything Magic? Be our friend, Subscribe to our channel, Tweet us, Sign up for our email list, Check out our website, www.magictheatre.org and find out what’s next in new play development at Magic Theatre! BC_Program_Final.indd 18-19 the board and a former president of the Commonwealth Club of California; was a former board chair of the Presidio Graduate School; and has served on the boards of other nonprofit organizations and public companies. John Marx and Nikki Beach Producers began coming to Magic in 1981 and have enjoyed its intensity and independence ever since. John joined the Magic Theatre board in 2009, and served as President last season. In 1999, John co-founded Form4 Architecture, a SF based firm, which produces award-winning architecture ranging from a 2,000 square-foot penthouse in SF to a 4 million square-foot IT Campus in Pune, India. Other projects include the headquarters for Netflix, nVidia, and Vmware. Recently, a monograph was published on John’s work, by Balcony Press, entitled, Wandering the Garden of Technology and Passion. Nikki Beach makes model trees for architects worldwide. John and Nikki are honored to have been producers of Ti na nOg, Mauritius, Oedipus el Rey, The Lily’s Revenge, Bruja, Se Llama Cristina, and now Buried Child. They find the behind the scenes access and relationships they have formed from producing to be unforgettable. Becky and Jim Eisen Producers have been entranced by live theatre for many decades and have developed a passionate admiration for the magic of the written and spoken word. That passion has found a fulfilling outlet in their longtime support of Magic Theatre. They share and enthusiastically support Magic’s commitment to nurturing playwrights and producing vibrant new work. A partner in the law firm of Morgan Lewis, Becky is a past President of the Magic’s Board of Directors. Magic Theatre As one of the nation’s preeminent hothouses for bold new work, Magic Theatre has changed the face of American drama through its steadfast commitment to the cultivation of innovative plays, playwrights, and audiences – and its explosive and entertaining productions of original work. Now celebrating its 47th season, Magic passionately ensures the future vibrancy of the American theatre by providing a safe yet rigorous home for playwrights to develop their work into world premieres and by allowing them the rare opportunity to further evolve new work through a second or third production. Founded by the indefatigable John Lion, Magic has supported hundreds of artists beginning with Michael McClure as the first playwright in residence; his relationship with Magic began in 1969 with his first plays, The Cherub and Meat Poem. Sam Shepard followed in 1975 and wrote and premiered his seminal Buried Child (Pulitzer Prize, 1979) and True West (both directed by Robert Woodruff). Martin Esslin, internationally renowned scholar and critic, joined the company as the first resident dramaturg in American theatre. The next three decades heralded new work from an extraordinary range of artists all pushing the limits of form: Soon 3, Lynn Kaufman, Athol Fugard, Mark O’Rowe, Nilo Cruz, Octavio Solis, Claire Chafee, Jon Robin Baitz, Paula Vogel, Anne Bogart, Stephen Belber, Basil Twist, Julie Herbert, David Mamet, and Rebecca Gilman are just a notable few amongst hundreds of other formidable writers who have been a part of Magic’s history. Current Producing Artistic Director Loretta Greco took the reins in 2008. In Greco’s first five seasons at Magic Theatre, 20 of the 23 new plays produced by Magic have had or will enjoy extended life on other stages, further fulfilling Magic’s mission to enrich the American theatrical canon with vibrant new plays. Since its world premiere in 2009, American Hwangap, by Lloyd Suh has already been published three times and has been performed in three other theatres throughout the U.S. and in the Philippines. Hwangap was joined by Mauritius in the San Francisco Chronicle’s Top Ten Plays of 2009. In addition, Mauritius was named best play of the year by the San Francisco Bay Times and was nominated for seven Bay Area Theatre Critics Circle Awards, winning three. Three of the four plays Magic produced in 2010 appeared in the San Francisco Chronicle’s Best of 2010: Luis Alfaro’s Oedipus el Rey and Liz Duffy Adams’ Or, were listed in the top ten and The Brothers Size, as part of The Brother/Sister Plays, presented in an unprecedented collaboration with Marin Theatre Company and A.C.T., was named the Theatrical High of the Year and “one of the most unforgettable events of the decade.” Oedipus el Rey also received seven LA Ovation Award nominations and one from the LA Drama Critics Circle. In addition, it was awarded the prestigious Will Glickman Award. the San Francisco Chronicle’s Best of 2012 list: Any Given Day by Linda McLean, Bruja by Luis Alfaro, and The Other Place by Sharr White. Additionally, The Other Place opened on Broadway in January 2013. Magic’s latest world premiere, Octavio Solis’ Se Llama Cristina will enjoy a continued life as it completes its National New Play Network rolling world premiere with productions at Kitchen Dog Theater in Dallas, TX and The Theatre @ Boston Court in Pasadena, CA. special thanks Adopt-a-Play parent: Pattie Lawton Lynn Goldstein Camilla Betteridge Jon Weiss wish list • Ergo office chairs • Ticket scanner • Frequent flier miles • MacBook Pro 17” Laptop • 27” iMac • Lateral filing cabinets If you can help by providing any of the above, please call the box office at 415.441.8822. rbcellars.com 1835 san jose avenue, alameda, ca 94501 510 749 8477 All three of the world premiere plays presented by Magic during the 2011-12 sesaon have gained national recognition or have received further productions: Annapurna by Sharr White was one of six finalists for the 2012 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for the best scripts that premiered professionally outside New York City during 2011 and recently completed a run in Los Angeles; Jesus in India by Lloyd Suh received an Off-Broadway production; and Bruja by Luis Alfaro has several productions in the works. Three of Magic’s 2012 shows appeared in 9/11/13 3:10 AM Board of Trustees President Corky LaVallee Vice President Pattie Lawton Treasurer Lynn Goldstein Secretary LeAnne Crounse Staff Producing Artistic Director Loretta Greco Director of Production Sara Huddleston General Manager Peter Yonka Director of Institutional Giving Carol Eggers Major Gifts Officer Pat Kilduff Associate Artistic Director Ryan Guzzo Purcell Director of New Play Development Dori Jacob Development & Marketing Associate Lorna Velasco Patron Services Manager Alysha English Artistic Associate Susie Lampert Marketing/Development Volunteer Susan Boynton Controller Richard Lane Bookkeeper Rhonda Zeilenga Artistic Direction Apprentice Ellen Abram Artistic Direction Apprentice Sam Fiorillo Literary Apprentice Rebecca Deutsch Production Apprentice Kristine Reyes Marketing and Development Intern Kathryn Curotto Season Art Design Robert Brill Commissioned Playwright in Residence Octavio Solis Patron Services Associates Charlene Eldon, Kyle McReddie Trustees Margaret (Ginger) Alafi (emeritus) Debra Baker Bruce Colman Pamela Rummage Culp Delia Ehrlich Mike Fleming Loretta Greco, Producing Artistic Director Cindi King Ginny Spiegel Lewis John Marx Gail Murphy Jaime Mayer Phinney Toni Rembe Bert Steinberg Artistic Associates Literary Committee Tim Bauer, Janine DeMaria, Hal Gelb, Karina Gutierrez Gillian Heitman, Christine Keating, Daniel Kessler, Margot Manburg, Jack Miller, Erin Panttaja, Todd Pickering, Arthur Roth Docents Michele Benjamin, Bruce Colman, Marguerite Cueto, Lea Ann Fleming, Gillian Heitman, Leigh Wolf May 1, 2012 – August 27, 2013 We gratefully acknowledge all those that support Magic Theatre with gifts and in-kind donations to our Annual Fund, Benefit Fundraiser, and special projects INDIVIDUALS Leadership Circle ($25,000 and above) John Marx and Nikki Beach Arthur and Toni Rembe Rock Directors Circle ($15,000 - $24,999) Ginger and Moshe Alafi Bruce Colman and Margaret Sheehan Becky and Jim Eisen Delia F. Ehrlich Fred M. Levin and Nancy Livingston, The Shenson Foundation Bert Steinberg and LeAnne Crounse Executive Producer ($10,000 - $14,999) Mike and Lea Ann Fleming Molly Starr and Bruce Zuckerman Producer ($5,000 - $9,999) David and Karen Crommie Pamela Culp Margaret and Stephen Gill Harvey and Gail Glasser Larry S. Goldfarb Lynn Goldstein Courtland and Donna Lavallee Patricia Lawton Linda McPharlin and Nick Nichols Robert and Cristina Morris Gail and Patrick Murphy Leigh and Ivy Robinson Maureen O’Brien Sullivan Ron Wynn and Cynthia King Robert and Sharon Yoerg Associate Producer ($2,500 - $4,999) Neil and Gene Barth Michele and David Benjamin Dale Carlson and Meagan Levitan Martha Heasley Cox Paul S. Daniels and Stephen E. Cole David S. H. Rosenthal Laura and John J. Fisher Jim and Barbara Kautz Rella Lossy Charitable Fund Elizabeth and William Shea Jerry and Dick Smallwood Matt Sorgenfrei and Evangeline Uribe Ginny Spiegel Lewis Elizabeth W. Vobach Robert and Sharon Yoerg Anonymous (2) Angel ($1,000 - $2,499) Robert and Rosalie Applebaum Nancy Baker and Cathy Hauer Tom and Carol Burkhart Bryan and Lauren Burlingame Kelli S. and G. Steven Burrill Frances Campra Lucretia Carney Miriam Chall Steven A. Chase and Andrea Sanchez Dr. Joy and Mr. Ellis Wallenberg Carol Eggers and Dan Gruzd Elizabeth Erdos and Wayne Dejong Rebecca Foust and Brian Pilcher Rebecca and Pete Helme Betty Hoener Michaele James Margaret Kavounas Missy Kirchner Linda and Robert Klett Suzanne Lampert and Barbara Brenner Ann and Karl Ludwig Deborah Mann Frances Campra Dennis and Karen May Judy and Jay Nadel Kelly Niland and Stephen Bramfitt Claire J. Noonan and Peter Landsberger Matt Pagel Jim and Maxine Risley Lois and Arthur Roth Judy and Wylie Sheldon Les Silverman and Irvin W. Govan Toni K. Weingarten Will Wenham Peregrine Whittlesey Peter B. Wiley and Valerie M. Barth Jennifer Wilson Julius O. Young Anonymous Patron ($600 - $999) Marcus and Barbara Aaron Lisa Avallone Sheldon Axler Lisa Bardaro Theresa H. Beaumont Richard Boyer in Honor of Penelope Boyer Magic Artistic Leadership Production Personnel Assistant Director Sam Fiorillo Production Assistant / Run Crew Christina Hogan Assistant Production Manager Michael Ferrell Assistant Costume Designer Antonia Gunnarson Wig Artist Erin Hennessey Master Electrician Ray Oppenheimer Light Board Programmer Lauren Wright Light Board Operator Michael Ferrell Electricians Molly Stewart-Cohn, Zoltan Dewitt, Sophia Fong, Will Poulin, Nathan Ulmer Carpenters Matthew Puffer, Michael Ferrell, Charles Granich, Christopher “Loid” Capko Scenic Artist Ewa Muszynska Dramaturgical Support Christine Keating Drums Jon Weiss John Lion (1967 – 1991) Harvey Seifter (1991 – 1992) Larry Eilenberg (1992 – 1993) Mame Hunt (1993 – 1998) Larry Eilenberg (1998 – 2003) Chris Smith (2003 – 2008) The following individuals have generously provided for Magic Theatre in their estate plans: C. Edwin Baker · Martha Heasley Cox · Bob Lemon · Mike Mellor · Mary Moffatt · Julia Sommer · Bert Steinberg Magic Theatre is generously supported by: The Andrew W. Mellon Foundation BC_Program_Final.indd 20-21 Magic Theatre Contributors Want to get more involved with Magic Theatre? If you like what you see at Magic, we have many ways for you to be a part of helping making the Magic great! Contact a Trustee, or email Peter Yonka at [email protected] to find out more. Stacy Ross and James Carpenter in Any Given Day (2012) Photo: Jennifer Reiley 9/11/13 3:10 AM Susan Boynton Marilyn Bray Linda K. Brewer Susan Bronstein Barry and Millie Chauser LeAnne Crounse Marilyn and Les Duman Chuck Edelstein Larry Eilenberg Thomas Foote Kate Hartley and Mike Kass Carol and Tom Henry Bob Holub Richard Horrigan Keith Kappmeyer Anne Kenner Ann K. and Richard H. Lanzerotti Jan and Sofia Laskowski Jeffrey Livingston and Terri Chiu Jo Ann McStravick Jack and Mary Ellen Morton Margaret and Eamonn O’Brien-Strain Ann O’Connor and Ed Cullen Barbara Oleksiw Todd and Anh Oppenheimer Mauree J. Perry Wayne M. and Murphy A. Robins Dorothy Schimke Larry and Christine Silver Ruth and Gerald Vurek Paul Webber Anonymous Contributor ($300 - $599) Patricia Akre · Seth Ammerman · Gwynn E. August · Susan and Bill Beach · Robert Beggs · Allan Berland · Allan and Joanna Berland · Helen and Stuart Bessler · Rita and Irwin Blitt · Felix Braendel · Patricia Broderick · Paula Campbell · Lynne Carmichael · George M. Craford · Marguerite Cueto and Frank Coppola · Peter and Kate Daly · Debbie Degutis · David Denniston and Todd Yancey · Debra Dout and David Burns · G.B. Dryvynsyde and Matt Porta · Marie L. Earl and Peter Skinner · Donald Elliott · Gail Entrekin · Sippel/Farb Family · Marilyn and John Farnsworth · Saul and Gloria Feldman · Vicki and David Fleishhacker · Frannie Fleishhacker · Kerry Francis · Douglas and Mary Fraser · Joan Friedman · Dan M. Granoff · Gini Griffin· Katy and Michael Grischy · Carolyn and Robert C. Hall · Paul and Linda Rae Hardwick · Paul and Julie Harkness · David Iventosch · Jaimie Mayer Phinney · Paul Karlstrom · Karen Kidwell and Rodney Farrow · Amy Kossow · Suzanne Lampert · Bruce Lawrence, M.D. · Walter Lehman and Kathryn Fujisaka · Jack and Alice Leibman · Renee Linde ·Nancy and Fred Lonsdale · Paik Swan Low · Bradley W. Maring MD · Muriel and Kenneth Marks · Peter Martin · Nancy McCormick · Jacqueline C. and John McMahan · Ann Moen and Dean Pichotto · Sheila Moore and John Dalton · Jeanne Newman · Bill and Nancy Newmeyer · Michael O’Rand · KJ and Thomas C. Page · Thomas and Virginia Palmer · Barbara Paschke and David Volpendesta · Michelle Patterson and Michael Graham · Tillie Garay · Glen and Andrea Ramiskey ·Kim Regan · Henry Navas and Deborah Robbins · Rick M. Rogers · Karen and Ron Rose ·Gail & Lewis Rubman · Pamela and Kent Russell · Steve Scheier and Amy Doppelt (deceased) · Gene Segre and Pat Bashaw · Richard and Antje Shadoan · Pamela Smith · Jeffrey and Connie Smyser · Margaret Spaulding · Alan Stewart Arts and Animal Fund · Richard J. and Michele D. Stratton · Joseph Sturkey · Fred and Kathleen Taylor · Gerald and Deborah van Atta · Julie Wainwright · Wesley and Kate Moore · Leigh Wolf · Anonymous Supporter ($150 - $299) Julie Armistead and Fred McNear · Joel A. Armstrong and Joan Gilbert · Marilyn Bair · Lisa Baker · Barbara Bardaro · Evalyn Baron and Peter Yonka · Mike Basile and Carol Cassara · Marilyn and Al Benioff · Gail and Steven Berger · James D. Breckenridge · Richard and Marjorie Brody · Howard and Janna Brownstein · Vera Carpeneti · Dennis Carter · Susan Chandler and Peter Robrish · Jonathan Childs and Margaret A. Keller · Diane and William Clarke · Geraldine Clifford · Judith Cohen and Malcolm Gissen · Murray and Betty Cohen · Adam Cummings · Anne J. Davis · BJ Droubi ·Charles and Debby Feinstein · Susan Forsythe · Murray Friedman · Nancy M. Friedman · Jean and Barbara Gaskill · Arlene M. Getz · Robert Giannini and Derek K. Lorenz · Sandra Gore and Ron Sires · Donald and Maryann Graulich · Audrey Guerin · Carolyn Hall · Patricia J. Handeland · Lori Hanninen and Jeffrey Wheaton · Richard Hay · Jean E. Hayward · Sara Huddleston · Julian Hultgren · Dawn Iwamoto · Elizabeth P. Jasny ·Joy and Herbert Kaiser · Robert A. and Ruth Karlsrud · Kathryn Kersey · Susan Levine · Carol and Barry Livingston · JP Lor · Frank Lossy · Robert S. MacIntosh and Betsy England · Karen and Kevin Mangan · Janet Maslow · Sam and Cindy McCullough · Marilyn Meier · Amanda and Marc Meisner · Maeve Metzger ·Silvia and Wayne Montoya · Linda L. Carlson · Marsha A. O’Bannon · Mitchell Olejko and Jill Wolcott · Frances and John O’Sullivan · Regina Phelps · Max Pierson · Marcia and Robert Popper · Wendy Porter · Ann and Robert Pressley · Robert Purcell · Michael and Davida Rabbino · Harry and Kay Rabin · Gordon Reetz · Joan and Richard Reinhardt · Sandra and James Robbins · Kent Roger · Abraham Rudolph · Steve Scheier · Laurel Scheinman · Robert Schermer and Meryl Gordon · Peter Schmitz and Laurel Elkjer · Arnold and Madeline Schuster · Nina Schwartz · Helen Scott · James Seeman · Chris Shadix · Ted and Adele Shank · Stephanie Smith · Margaret Snape · Anthony and Carol Somkin · John Steinfirst & Sharon Collins · Walter and Esther Stone · Leslie Takamoto · Susan and David Terris · Bill Tiedeman and Pat Harding · Andrea Turner · Decker F. Walker · Merti Walker · Ronna and Bernard Widrow · Jill Wolcott and Mitchell J. Olejko · Art B. and Janet L. Wong · Jerald A. and Sharon A. Young · Anonymous (2) FOUNDATIONS / GOVERNMENT / CORPORATIONS Leadership Circle ($50,000 and above) The Wallace Alexander Gerbode Foundation Grants for the Arts/ San Francisco Hotel Tax Fund The William and Flora Hewlett Foundation The Andrew W. Mellon Foundation Kenneth Rainin Foundation The Ted and Mary Jo Shen Charitable Gift Fund Shubert Foundation Anonymous President’s Circle ($25,000 - $49,999) Columbia Foundation Venturous Theater Fund Directors Circle ($10,000 - $24,999) Edgerton Foundation Fleishhacker Foundation Gaia Fund The Ira and Leonore Gershwin Philanthropic Fund Hotel del Sol The Bernard Osher Foundation San Francisco Foundation Producer ($5,000 - $9,999) Clay Foundation – West CLIFT National New Play Network The Harold and Mimi Steinberg Charitable Trust The Tournesol Project Wallis Foundation The Zellerbach Family Fund Associate Producer ($500 - $4,999) The Mervyn L. Brenner Foundation, Inc. The Clorox Company Foundation The Dramatists Guild Fund Morgan, Lewis and Bockius LLP Peet’s Coffee & Tea The RHE Foundation John Wiley & Sons, Inc. Anonymous You are an artist. You see the true beauty in creative expression. You strive to elevate our culture. You believe the arts make our community and the world a richer place. For your dedication and your passion, we salute you. Union Bank is proud to sponsor the 2013-14 Magic Theater re Season. Congratulations to all the participants in tonight’s performance! Matching Gift Program Apple · Bank of America Foundation · Chevron · Climateworks · Clorox · Federated Department Stores · Genentech · Google · IBM Corporation · Microsoft Matching Gifts Program · Morgan Stanley · Peter Wiley and Sons, Inc. Eva Strnad Vice President, Mortgage Consultant NMLS ID # 765201 Direct 415-765-2620 [email protected] We strive for accurate donor listings. If you have a correction or question, or would like to find out more about ways to support Magic Theatre, please contact Carol Eggers at 415-263-9047 or [email protected] unionbank.com ©2013 Union Bank, N.A. All rights reserved. BC_Program_Final.indd 22-23 9/11/13 3:10 AM CELEBRATE CALIFORNIA’S LIVELY CULTURE AT SAN FRANCISCO’S HOTEL DEL SOL, AN EXPLOSION OF WEST COAST SPIRIT Once a 50s-style motor lodge, this San Francisco family-friendly hotel has been transformed to offer the style and personalized service of a boutique hotel. The spacious guestrooms evoke the bright and airy interior of a California beach house. Relaxing hammocks, a sparkling pool and towering palm trees in the courtyard are a colorful feast for the eyes. ENJOY 10% OFF YOUR STAY BOOK AT THEHOTELDELSOL.COM WITH PROMO CODE MAGIC 3100 WEBSTER STREET SAN FRANCISCO, CA 94123 415.921.5520 THEHOTELDELSOL.COM HOTEL DEL SOL IS A JOIE DE VIVRE HOTEL BC_Program_Final.indd 24 9/11/13 3:10 AM