2014/15 Season: Fetch Clay, Make Man


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48TH SEASON | AUG 14 - SEPT 7


F R O M T H E A RT I ST I C D I R E C TO R

WeLCoMe to ouR first production of the 2014-2015 season.

I believe this line-up of plays and playwrights is the most challenging, and also rewarding, body of work this theater has attempted to field in its 48 years. every play will ask you to view the world from a different perspective and to be part of a cross-global, cross-generational, cross-cultural conversation about some of the most important issues we face. I hope you will join us for the entire thrilling and thought-provoking journey.

this season, I’ve programmed what I think are seven of our most daring theatrical minds, writers who have influenced the shape of what is possible in the American theater. the production you are about to experience is by San Francisco native Will Power, one of the founders of the hip-hop theatre movement over a decade ago, and one of the true trailblazers in our contemporary theater.

In the Whale, you’ll see why Samuel D. Hunter has exploded on the American theater scene in recent years with productions all over the country from coast to coast. He, along with the Way West playwright Mona Mansour, are both recent winners of our Sky Cooper New American Play Prize. Both of their plays began their lives at other prestigious companies, Sam’s at the Denver Center Theatre Company and Mona’s at Steppenwolf Theatre Company in Chicago.

Austin Tichenor and Reed Martin are the Reduced Shakespeare Company. their newest play takes on the entire history of comedy in their trademark style that combines the best of a scripted play and the chaotic fun of improvisational theater.

Danai Gurira has penned an epic trilogy of plays about the colonization of the region now known as Zimbabwe. the Convert is the first play of this fascinating series about that country and its history, politics, religion and culture.

We close the season with Choir Boy and the return of Tarell Alvin McCraney, who MtC first introduced to the Bay Area in 2010 with In the Red and Brown Water. tarell’s latest is a Gospel-infused coming-of-age story set in a private boys’ school in the South, where the young men must face up to their history and decide how to move into the future with honor and integrity.

I believe these plays weave a season-long dialogue and I invite you to engage in that dialogue with us at the theater in our post-show Q&A Discussions, as well as Community Lectures and Adult Classes. I look forward to yet another season of sharing great theater and having inspirational conversations with you.

JassonMinadakis

6 MTC | 2014-15 SEASON | AUG 14 - SEPT 7 7AUG 14 - SEPT 7 | 2014-15 SEASON | MTC

I ReCentLy HAd tHe pleasure of spending several hours discussing Marin theatre Company with a group of our subscribers. they were primarily from Marin, but came from as far away as Alameda and San Francisco. Some had subscribed since the old days at the Mill Valley Golf Clubhouse; others had only discovered MtC in the past year.

With Fetch Clay, Make Man, Marin theatre Company begins its 48th season. this length of history is a remarkable achievement, made all the more remarkable given the provocative plays we produce. these

plays could not be performed on our stage without adventurous subscribers. So as we embark on this exciting year of story and conversation, I’d like to share a few reasons to subscribe that this group of MtC fans shared with me.

1. MTCsubscribersexpectproductionsofthehighestquality. It is our solemn vow to you that only the best American and Bay Area actors, directors and designers work on our stage. even if a certain play is difficult or not your cup of tea, the production values and performances are always second to none.

2. MTCsubscribersarethoughtful.We choose a season of plays with that in mind. We want you to leave here changed. you will see the world through someone else’s eyes. you will be transported to another world through language or music. our subscribers come to MtC to experience something unique and wonderful that opens their minds and their hearts.

3. MTCsubscribersengageindialogue. Live theater is a shared experience, and acutely so in a theater where you are always less than 30 feet from the actors. MtC audiences want to understand how their neighbors, who just shared an amazing two hours with them, feel and think too.

We strive to support this community of thoughtful and engaged audiences. new this season, the “Supper Club” series (2nd thursday) features a pre-show talk with catered gourmet dinner. We also deepen the dialogue with Community Lectures at local libraries and community centers, our long-running “Perspectives” series (3rd thursday), a special weekday matinee performance preceded by a brown bag lunch talk, and post-show Q&A Discussions with artists following almost every performance. We have more ideas around engagement and connectivity in the works (please send me yours!).

thank you for coming to Fetch Clay, Make Man. If you are a subscriber, I’d love to hear your story. email me at [email protected]. If you’re not yet a subscriber, I invite you to join this incredibly thoughtful and engaged group that enjoys what MtC always delivers – smart, uncommon and adventurous theater!

MichaelBarker

F R O M T H E M A N AG I N G D I R E C TO R

New online ticketing systemIt has never been easier to buy tickets to a performance at MtC. We have improved your online ordering experience by changing our ticketing system. Send any comments or suggestions about our new software to [email protected].

Producer-in-Residencethrough the generosity of the national new Play network, Rob Lutfy (assistant director of last season’s Lasso of truth ) has joined our staff for the 2014-15 season as our Producer-in-Residence. He will support our artistic staff while gaining hands-on experience producing new plays.

Leave a Legacy2016 marks Marin theatre Company’s 50th anniversary year. to celebrate this important milestone and to secure the next 50 years of excellence, we will establish the MtC tomorrow Legacy Circle. our goal is to have 50 members in our Legacy Circle by our 50th anniversary.

If you have already made arrangements for a bequest to Marin theatre Company, please let us know. We’d love to list you as a founding member and include you in future Legacy Circle appreciation events. Call the development office, 415.322.6043, for more information.

N E WS I N B R I E F

Enrollment open for all fall Drama Academy classesAdults now in its second year, our adult program kicks off with Playwriting, a six-week writing course for first time dramatists. Starts September 8 and runs Mondays 7-8:30 p.m. $175/person

4th-8th Grades the fall semester of our popular youth Conservatory, an experiential program that immerses students in grades 4-8 in acting, movement, vocal techniques and scene study, begins September 3. $594/child

For more information, visit marintheatre.org or call the education department, 415.322.6026.


the ideas you have after engaging with art. After Fetch Clay, Make Man (or any other piece of art), try using these questions as a starting point to think about and process your experience:

1. What do you notice?

2. What does it remind you of? What memory, experience, story, music or other work does this trigger?

3. What emotions do you feel as you respond to this work?

4. What questions does it raise for you?

5. What meaning or understanding is intended or conveyed in this work?

At Marin theatre Company, we want to have conversations with you about the plays that we produce and topics that are relevant and vital to our community. Please join us this season for any (or all) of the opportunities we provide for processing your experiences, including CommunityLectures, AdultTheaterClasses, and post-show Q&ADiscussions. to learn more about these events, visit marintheatre.org or contact my department, [email protected], 415.322.6026.

—DaunielleRasmussendirector of education and Community engagement

on Saturday, July 19, I wept in my seat as I watched the teens in our Professional Actor training Program conclude the tragic tale of timoune and daniel in once on this Island. I have had a love/hate relationship with this musical that reimagines Hans Christian Andersen’s the Little Mermaid since first experiencing it at Berkeley Playhouse in 2009. I enjoy the music and creative take on the fairy tale, but am challenged by the injustice and tragedy that befall timoune and the pain she inflicts upon herself through her choices. I know that the ending is

meant to be uplifting and hopeful, but I have had a hard time getting past the tragedy. I am drawn to theater because it often elicits strong emotions that cause me to examine my visceral responses and force me to reflect on my own experiences in order to identify where these reactions come from. this is not always a comfortable journey, but with some guidance it can become revelatory.

TheCriticalResponseTool is one way to help you unpack the emotions you feel and

Emotional BaggageUnpacking an arts experience with the Critical Response Tool

Cast of Once on This Island, MTC Professional Actor Training Program, July 2014. Photo: Jay Yamada

F R O M T H E C L AS S R O O MF R O M T H E C L AS S R O O M

Unpacking my experience of seeing Once on This Island:1.Whatdoyounotice?

The musical choices of the composer and lyricist are bright and uplifting while the story being told is tragic. The juxtaposition of the two makes my experience of the dark themes of oppression, racism, classism and the power of personal choice more acute.

2.Whatdoesitremindyouof?Whatmemory,experience,story,musicorotherworkdoesthistrigger?In the character of Timoune, I am reminded of one of my best friends in high school, who had a similar forbidden romance and tragic end.

3.Whatemotionsdoyoufeelasyourespondtothiswork?I feel anger towards Timoune for her headstrong determination to subjugate herself, not just for love but for faith as well. I am also frustrated by the reality of her and Daniel’s world, which is disinclined to make an exception for their love.

4.Whatquestionsdoesitraiseforyou?(You’ll have to ask me personally. Since I’m an educator, it’s a long list!)

5.Whatmeaningorunderstandingisintendedorconveyedinthiswork?I think the intention was to elicit a strong emotional response by depicting injustice and oppression. The creators of this piece crack open the concepts of racism, classism and religious repression, exploring the roles they play in a culture and how they affect the individual choices that people make.

MTC Wish ListTherearemanywaystosupportMTC.Pleasetakealookatourwishlistandrespondifyouareable.Ifyouoryourbusinesswouldliketocontributeanyoftheitemsorserviceslisted,pleasecontacttheDevelopmentDepartment,[email protected]

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The New York Premiere of FETCH CLAY, MAKE MAN was produced by New York Theatre Workshop James C. Nicola, Artistic Director, William Russo, Managing Director.

The play was originally commissioned and produced by McCarter Theatre Center with support from the NEA/TCG Residency Program for Playwrights

+ Member, Stage Directors and Choreographers Society

*Member, Actors’ Equity Association

**Member, United Scenic Artists Local 829

MARIN THEATRE COMPANY

by Will Powerdirected by Derrick Sanders+

ScenicDesigner Courtney O’Neill**

LightingDesigner Colin Bills**

CostumeDesigner Heidi Leigh Hanson

SoundDesigner Christopher Baine

VideoDesigner Caite Hevner Kemp

StageManager Sean McStravick*

PropertiesArtisan Kirsten Royston

CastingDirector Meg Pearson

Dramaturg Margot Melcon

AssistantDirector Edgar Gonzalez

FEATURING

Eddie Ray Jackson*, Roscoe Orman*, Jefferson A. Russell*, Robert Sicular* and Katherine Renee Turner

JASSON MINADAKIS | ARTISTICDIRECTOR MICHAEL BARKER | MANAGINGDIRECTOR

WEST COAST PREMIERE



MARIN THEATRE COMPANY

*Member, Actors’ Equity Association

Special thanks to Brandon “Flawless” Gonzales at Flawless Boxing & Fitness in Sacramento and Edward “Boone” Green at Marin City Boxing Club.

WEST COAST PREMIERE


Cast of Charactersin order of appearance

StepinFetchit�� Roscoe Orman*

MuhammadAli ��Eddie Ray Jackson*

BrotherRashid ��Jefferson A. Russell*

WilliamFox�� Robert Sicular*

SonjiClay �� Katherine Renee Turner

Please remember to turn off all cell phones or any other devices that could make a noise and be distracting to people around you.

Photographs and recordings of any kind are strictly prohibited.

Time: 1965

Place: Lewiston,Maine

Please join us for a Q&A Discussion led by a member of our artistic staff, immediately following this performance (except on Saturdays and Opening and Closing Nights).

This production ofFetch Clay, Make Man

is generously underwritten by the following:

MTC PARTNERS

Anonymous | The Bellebyron Foundation | Terry Berkemeier & Lori Lerner

Estate of Jack Bissinger | N.J. “Sky” Cooper

The William and Flora Hewlett Foundation

Gage Schubert | The Shubert Foundation

Christopher B. & Jeannie Meg Smith

SEASON PARTNERS

Marin Community Foundation | Beth & James Wintersteen

VIP PRODUCERS

Mrs. Gale K. Gottlieb | The Haughton Family Charitable Fund

Carol & Duff Kurland | Shirley Loubé | Melanie & Peter Maier

Venturous Theater Fund at the Tides Foundation

EXECUTIVE PRODUCERS

Gerald Cahill & Kathleen King | Bobbie & Dave Chapman

John & Shelley Chesley | Clay Foundation - West | Molly & Brett Dick

Dyett / Richardson Family Fund | Brian & Tracy Haughton

Susan & Russ Holdstein | The Kimball Foundation

Bernard Osher Foundation | Peter J. Owens Fund | Kiki Pescatello

Ivan & Lochi Poutiatine | Stacy Scott Catering | Vickie Soulier

Fred & Kathleen Taylor | Dr. Hugh Vincent & Joan Watson

FetCh Cl ay, Make Man PRODUCERS

Fred & Kathleen Taylor | Beth & James Wintersteen

FOUNDATION SUPPORT


Lewiston, Maine, was not the first place that boxers Cassius Clay and sonny Liston faced off across a ring. when their first bout took place in Miami Beach on February 25, 1964, Liston was the world Heavyweight Champion. He had learned to box in the Missouri state Penitentiary while serving time for armed robbery, and his boxing career was managed by a one-time hit man who ran boxing interests for the Mafia.

Cassius Clay was a fast-talking 22-year-

old challenger who had won the light heavyweight gold medal at the 1960 olympics in Rome, italy. The signatures of Clay’s style – constant movement and a tendency to keep his hands low and lean away from punches – were viewed as fundamental flaws that would be quickly exploited by an experienced, hard-hitting heavyweight like Liston.

at the opening bell of the Liston-Clay fight in Miami, an angry Liston charged Clay, looking to end the fight quickly

“The most popular fight since Hitler

and Stalin”JIMMuRRAy

—LOSANGELESTIMES,1965

and decisively. Clay’s superior speed and movement were immediately evident, as he slipped most of Liston’s lunging punches, making the champion look awkward. after six rounds, Liston refused to leave his corner when the bell sounded, and Clay was declared the winner by technical knockout.

There were allegations of a fix as soon as the fight ended, but a month-long investigation brought no evidence to support the claim. The unexpected ending of the bout took on even more suspicious overtones when it was discovered that the two fighters had a rematch clause in their contract. Many argued that Liston had more to gain financially from losing the first bout and fighting a rematch than he did from winning.

on February 27, 1964, just days after the first Liston-Clay fight, Clay announced that he had become a member of the nation of islam. Clay began going by the name Cassius X until nation of islam leader elijah Muhammad announced that Clay would be renamed Muhammad ali.

state boxing commissions were reluctant to license the controversial rematch, but it was decided that the fight would take place

november 16, 1964, in Boston. However, the bout was delayed, rescheduled and moved, until finally it landed on May 25, 1965, in a small city in Maine, located 35 miles north of Portland.

The atmosphere surrounding the second fight was tense, largely due to the repercussions of ali’s public embrace of the nation of islam. Malcolm X, who had a public falling out with elijah Muhammad, had been assassinated several months before the fight; the men arrested for his murder were members of the nation of islam. Rumors circulated that ali might be killed by Malcolm’s supporters in retaliation. The FBi took the threats seriously enough to post a guard around ali. Liston’s camp claimed he had received death threats from the nation of islam. security for the fight was unprecedented.

Due to the remote location and the fear of violence, only 2,434 fans were present in the 4,900-seat arena, a community ice-hockey rink, setting the all-time record for the lowest attendance for a heavyweight championship fight. Fetch Clay, Make Man begins just days before their epic rematch.

—MargotMelcon, dramaturgAn Epic RematchWhy Muhammad Ali vs. Sonny Liston remains the most anticipated, watched and controversial bouts in boxing history

D R A M AT U R GYD R A M AT U R GY

Clay and Liston’s first fight, February 25, 1964.


with image in a way, and in a larger and more accessible medium, than any other black actor had before. For this, Perry was vilified, at the time and for years to come, said by many to embody the negative stereotypes of black men. He was accused of being a tool of white oppression, an Uncle tom, and of holding black culture back by presenting an unflattering and shallow view of an entire population.

similarly, when Cassius Clay came out as a boxer in the early 1960s, his outspoken bragging and playful way with words – and his insistence that others recognize his physical prowess and good looks – outraged people across the country. He was loud and proud and an intimidating 6’3,” 215-pound young black man who hit people for a living. But Clay was also fiercely charming, extremely hard working, intelligent, devout, loyal and, in his private life, a modest and thoughtful man.

Clay came of age during the Civil Rights era, a time of great transition that had many people deeply invested in who would represent black americans. emerging from the shadows of Reverend Martin Luther King, Jr. and Minister Malcolm X, Cassius Clay infamously became Heavyweight Champion Muhammad ali; a spokesperson for many black americans,

LinCoLn PeRRy was an american comedian and actor who, in the 1920s and 30s, was one of the highest paid actors working in the Golden age of Hollywood. He was the first black actor to become a millionaire, working alongside some of the most famous early motion picture artists. He was a shrewd negotiator, a brilliant strategist, hard working and deliberate. But he was known throughout his life as the iconic and controversial character he created: the lazy, shiftless, mumbling stepin Fetchit.

Perry was a master at the creation of his image. The outward persona of stepin Fetchit very little resembled the man, but was crafted so convincingly that the world believed that Lincoln Perry and stepin Fetchit were one and the same. in the early part of the 20th century, Perry’s options as a performer were limited by where artists of color were able to perform and by america’s perception of black men. He took those perceptions, used them, exaggerated them, exploited them to his advantage and made a career of playing

The Making of an IconStepin Fetchit and Muhammad Ali

Stepin Fetchit, Fox publicity photo, 1929. Cassius Clay, early publicity photo.

D R A M AT U R GYD R A M AT U R GY

Sonji and Muhammad Ali.

Lewiston, Maine, 1965. Ali and Perry at Ali’s training camp.

he perfectly executed the role he played in the public eye.

“ali cultivated an image that was the warrior and the politician. it seems to be in juxtaposition to what the image that stepin Fetchit was doing, but they were both doing something that was very important,” commented director Derrick sanders to the cast and creative team at the first rehearsal for Fetch Clay, Make Man. “How do you keep that core of yourself as you try to cultivate an image to move people forward, whether it’s through laughter or through fighting?”

Both Muhammad ali and stepin Fetchit were cultural icons in a shifting america.

They both made choices about who they were, as public figures and as private men. Both had people around them who wanted to shape and form their identities, some with righteous motives and some exploitative. Despite manipulation coming from all sides, each man was able to maintain a sense of self as well as a savvy understanding of how the persona they presented was moving society forward.

—MargotMelcon, dramaturg

18 MTC | 2014-15 SEASON | AUG 14 - SEPT 7

Primary Sources – “Extremism in quest of justice”The black people in this country have been the victims of violence at the hands of the white man for 400 years, and following the ignorant Negro preachers, we have thought that it was godlike to turn the other cheek to the brute that was brutalizing us. And today, the Honorable Elijah Muhammad is showing black people in this country that just as the white man and every other person on this earth has god-given rights – natural rights, civil rights, any kind of rights that you can think of when it comes to defending himself – black people should have the right to defend ourselves also. And because the Honorable Elijah Muhammad makes black people brave enough, men enough to defend ourselves no matter what the odds are, the white man runs around here with the doctrine that Mr. Muhammad is advocating violence when he’s actually telling Negroes to defend themselves against violent people.

Excerpted from The Negro and the American Promise, Nation of Islam minister Malcolm X interviewed by Dr. Kenneth Clark on WGBH, June 24, 1963.

My reason for believing in... intelligently directed extremism, extremism in defense of liberty, extremism in quest of justice, is because I firmly believe in my heart, that the day that the black man takes an uncompromising step, and realizes that he’s within his rights, when his own freedom is being jeopardized, to use any means necessary to bring about his freedom, or put a halt to that injustice, I don’t think he’ll be by himself.

Excerpted from a speech given by Malcolm X at Oxford University on December 3, 1964. He was assassinated less than 3 months later, on February 21, 1965.

For further consideration• How do Muhammad Ali and Stepin Fetchit navigate the difference between

their public and private personas? Do Fetchit and Ali create their own images or did others create their personas for them?

• How does the play show the difference between Ali-the-icon and Ali-the-man?

• How much control did the actor Lincoln Perry have over his character Stepin Fetchit? Why was Stepin Fetchit so controversial?

• The play is set in 1965. What events were happening in 1965 that influenced this story? How does this time period remind you of today?

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Will Power (playwright) makes his MtC debut with Fetch Clay, Make Man. He is an award-winning playwright and performer. Fetch recently enjoyed a successful run off-Broadway at new york theatre Workshop. His other plays include Steel Hammer with SItI Company at the Humana Festival of new American Plays (Actors theatre of Louisville), the Seven (Lucille Lortel Award Best Musical) at new york theatre Workshop and La Jolla Playhouse in San diego, Five Fingers of Funk! at Children’s theatre Company in Minneapolis, Honey Bo and

the Goldmine at La Jolla Playhouse and two acclaimed solo shows, the Gathering and Flow, which have toured to over 70 cities nationwide, europe and Australia. Power’s numerous awards include a united States Artist Prudential Fellowship, the tCG Peter Zeisler Memorial Award, a Jury Award for Best theatre Performance at the HBo uS Comedy Arts Festival and the trailblazer Award from the national Black theater network. Power’s numerous film and television appearances include the Colbert Report (Comedy Central) and Bill Moyers on Faith & Reason (PBS). He spent his early years as a key member in two critically acclaimed avant-garde music groups, Midnight Voices and the omar Sosa Sextet. With these groups, Power recorded and toured extensively. He has taught theater around the world and held a number of artist fellowships and guest teaching positions at institutions such as the City College of new york, Princeton university and the university of Massachusetts Amherst. Power is currently on the faculty at the Meadows School of the Arts – Southern Methodist university in university Park, texas, and is the Andrew W. Mellon Foundation Playwright in Residence with the dallas theatre Center.

Derrick Sanders (director) has previously directed August Wilson’s Fences at MtC. He also recently directed the Mountaintop at Virginia Stage Company, the world premiere of Mr. Chickee’s Funny Money at Chicago Children’s theatre, Clybourne Park at university of Illinois at Chicago School of theatre and Music, and Clybourne Park and the world premiere of Beneatha’s Place for “the Raisin Cycle” at Center Stage in Baltimore. His other credits include King Hedley II at the off-Broadway Signature theatre; Seven Guitars and King Hedley II for

“August Wilson’s 20th Century” at the Kennedy Center in Washington, d.C.; Joe turner’s Come and Gone at Center Stage; Fences and Radio Golf at Virginia Stage; Jitney at true Colors theatre in Atlanta; the world premieres of Bud, not Buddy and Jackie and Me at Chicago Children’s theatre; and the world premiere of Five Fingers of Funk at Children’s theatre Company in Minneapolis. Sanders was assistant director of August Wilson’s world premiere productions of Radio Golf and Gem of the ocean on Broadway and at the Goodman theatre in Chicago, as well as the Huntington theatre in Boston and Mark taper Forum in Los Angeles for Radio Golf. As the founding artistic director of Congo Square theatre Company in Chicago, he directed numerous productions including Joe turner’s Come and Gone, which won Black theatre Alliance Awards for best production and direction, and Seven Guitars, which won Joseph Jefferson Awards for best production and direction. A member of uIC’s theatre Faculty, he organizes Chicago’s August Wilson Monologue Competition. He was named Chicago tribune’s Chicagoan of the year in 2005. In March, Sanders made his filmmaking debut at the Queens World Film Festival in new york City with the premiere of his short Perfect day, which recently screened at the San Francisco Black Film Festival. He received his BFA from Howard university and MFA from university of Pittsburgh.

W H O ’ S W H O


Eddie Ray Jackson (Muhammad Ali) has appeared at MtC in August Wilson’s Fences. Most recently, he acted in the world premiere of Christina Anderson’s Pen/man/ship at Magic theatre. originally from San Francisco, he was a 2013 company member of oregon Shakespeare Festival and appeared in the Heart of Robin Hood. His new york credits include Much Ado About nothing at Classic Stage Company; A Midsummer night’s dream and La Ronde at Riverside theatre; and Miss Julie, the Proposal and endgame at Columbia university. His film

and television credits include Couched, Subway Candy and ex-Girlfriends. Jackson received an MFA in Acting from Columbia university and BA in theatre Arts from California State university, Sacramento. eddierjackson.com

Roscoe Orman (Stepin Fetchit) makes his MtC debut in Fetch Clay, Make Man. He is a 50-year veteran of stage, film and television. Widely known for his four decades as “Gordon” on Sesame Street, orman, an Audelco Award winner and a five-time nominee, played Gabriel in the original Broadway production of Fences. other theater credits include Whose Got His own, duplex, Fabulous Miss Marie, everynight When the Sun Goes down, Great Mcdaddy, Sixteenth Round, Last Street Play, Julius Caesar, Coriolanus, talented tenth, do Lord Remember Me,

driving Miss daisy, Jitney and the Confessions of Stepin Fetchit, to name a few. Films include Willie dynamite (title role), F/X, Follow that Bird, new Jersey drive, Striking distance, elmo In Grouchland and Jeremy Fink And the Meaning of Life. on television, he was tyrone in All My Children and has made numerous guest appearances, including Sanford and Son, Kojak, A Man Called Hawk, Law & order, Cosby, Sex and the City, the Wire and Alpha House.

Jefferson A. Russell (Brother Rashid) makes his MtC debut in Fetch Clay, Make Man. He has appeared at Round House theatre, MtC’s co-producer for Fetch, in two trains Running, Fahrenheit 451, Amadeus and one Flew over the Cuckoo’s nest. other credits include Clybourne Park (Helen Hayes Award nominated outstanding ensemble) at Woolly Mammoth theatre Company in Washington d.C.; the trinity River Plays at dallas theatre Center and the Goodman theatre in Chicago; the Piano Lesson at Hangar theatre in Ithaca, new york; Hecuba, Blood

Knot, A Raisin in the Sun and A Lesson Before dying at African Continuum theatre Company in d.C.; Gem of the ocean, Blues for an Alabama Sky, Hedda Gabler and the Soul Collector at everyman theatre in Baltimore; the tempest at Folger theatre in d.C.; Cyrano and edward II at the Shakespeare theatre Company in d.C.; Measure For Measure at Academy for Classical Acting at George Washington university in d.C.; and other theater companies including several national tours with the Kennedy Center for the Performing Arts. tV credits include HBo’s the Wire and nBC’s Homicide: Life on the Streets. Jefferson has a BA in Sociology/Criminal Justice from Hampton university, an MFA in Classical Acting from the Academy for Classical Acting at George Washington university, is a former Baltimore police officer and a founding member of GALVAnIZe, a network for artists of color.

Robert Sicular (William Fox) has appeared at MtC in Arms and the Man, the Seafarer and the world premiere of Magic Forest Farm. He has also performed locally with A.C.t., Berkeley Rep, San Jose Rep, theatreWorks, Center ReP, Cal Shakes and the San Francisco Shakespeare Festival. His other theater credits include the denver Center theatre Company, South Coast Rep, Seattle Rep, Repertory theatre of Saint Louis, Actors theatre of Louisville, Sacramento theatre Company, the Shakespeare theatre Company in Washington

d.C. and the Colorado, Lake tahoe, Santa Fe Shakespeare Festivals, as well as eight seasons with the oregon Shakespeare Festival in Ashland. Sicular’s screen credits include recurring roles on General Hospital and the young and the Restless, a starring role in the science fiction comedy thriller never die twice, a featured part in the Bollywood potboiler dil Pardesi Ho Gayaa and the role of “dad” in Josh Kornbluth’s upcoming Love and taxes. He also stars in the podcast series dr. dark Presents (drdarkpresents.com). A Bay Area native, Sicular attended the university of California, Berkeley, and the London Academy of Music and dramatic Art.

Katherine Renee Turner (Sonji Clay) makes her MtC debut in Fetch Clay, Make Man. A Washington d.C. based actor, she has appeared in that region in the threepenny opera at Signature theatre, Photo-op at urbanArias, A Midsummer night’s dream and Much Ado About nothing at Shakespeare theatre Company, the Laramie Project (2014 Helen Hayes nominated) at Ford’s theatre, the twelve days of Christmas at Adventure theatre and Rumplestiltskin at Imagination Stage. Her television and film credits include the RA’s,

Wintersmith and Ward 11. turner is a graduate of Ithaca College and the national theater Institute at eugene o’neill theatre.

Sean McStravick (stage manager) has previously stage managed MtC’s production of Good People. In the Bay Area, he has stage managed for Shotgun Players, 42nd Street Moon and Willows theatre Company, where he was the production stage manager from 2010 to 2012. Regionally, he has worked with north Coast Repertory theatre, Blue trunk theatre Company, Back Seat theatre and Actors Alliance of San diego.

Courtney O’Neill (scenic designer) makes her MtC debut with Fetch Clay, Make Man. She is a Chicago-based scenic designer, whose regional credits include the Mountaintop at Virginia Stage Company; When I Come to die at the Kansas City Repertory theatre; Song Man dance Man at the Milwaukee Rep, Sons of the Prophet, noises off and Sundown town at theatreSquared; and this is our youth (associate designer) on Broadway. Her Chicago credits include Great God Pan at next theatre Company, the Little Prince at Lookingglass theatre Company and our town with the Hypocrites. o’neill received the 2013 united States Institute for theatre technology Scene design Award, a Joseph Jefferson Award for the Hypocrites’s Mud and a Jeff Award nomination for the Gift theatre Company’s talk Radio. She holds an MFA from northwestern university and a BFA from depaul university, where she currently teaches. courtneyoneill.com

W H O ’ S W H O W H O ’ S W H O


Colin K. Bills (lighting designer) makes his MtC debut with Fetch Clay, Make Man. He is a company member of Woolly Mammoth theatre Company and a “conspirator” with dog & pony dc. His work has been seen at Berkshire theatre Festival, Center Stage, Contemporary American theatre Festival at Shepherd university, dallas theater Center, the everyman theatre, Ford’s theatre, Imagination Stage, Intiman theatre, Kennedy Center for the Performing Arts, olney theatre Center, opera Lafayette, opéra Royal Versailles, Portland Center Stage, Round House theatre, the Smithsonian, Signature theatre, Studio theatre, Synetic theater, theater J, the Washington Revels, Williamstown theatre Festival and the Wilma theater. A graduate of dartmouth College, Bills has won three Helen Hayes Awards and a Princess Grace Fellowship.

Heidi Leigh Hanson (costume designer) has designed costumes for MtC’s productions of Jacob Marley’s Christmas Carol and Good People. She recently designed for the San Francisco Mime troupe’s Ripple effect and Shotgun Players’ Coast of utopia: Salvage. other recent projects include costume designer for Cutting Ball theater’s world premiere of Sidewinders and assistant costume designer for La Musica Lirica’s opera productions of Le nozze di Figaro, Suor Angelica, La cambiale di matrimonio and Lucia di Lammermoor. Her film and tV credits include netflix’s Arrested development and assistant costume designer for the film Lucky Strike, directed by Christopher Ashley. Hanson has also designed productions for Laguna Playhouse, open Fist theatre Company in Los Angeles and yale Repertory theatre, among others. originally from Martinez, she has a BA in theater from California State university Long Beach and an MFA in costume and set design from the yale School of drama. heidileigh.com

Caite Hevner Kemp (projection designer) makes her MtC debut with Fetch Clay, Make Man. A new york-based scenic and projections designer, her selected off-Broadway credits include Phoenix at Rattlestick Playwrights theater, My Mother Has 4 noses at the duke on 42nd Street, triassic Parq at Soho Playhouse, Jukebox Jackie at La Mama, Honky at urban Stages and Son of a Gun at theater Row. Her other new york design credits include Avery Fisher Hall, Ars nova, the Civilians, the Juilliard School, the Flea theater, Cherry Lane theatre and Studio 42; and regional credits include Arena Stage, Guthrie theater, Playmakers Rep, Williamstown theatre Festival, Artsemerson, Chautauqua theater Company, Bergen Stages, yale dramat, Premiere Stages and Greenwich Music Festival. caitekemp.com

Christopher Baine (sound designer) makes his MtC debut with Fetch Clay, Make Man. He recently designed detroit at Woolly Mammoth theatre Company, Water by the Spoonful at Studio theatre, yellow Face at theater J and Romeo and Juliet at Folger theatre (2014 Helen Hayes Award nominee). For Woolly Mammoth, he also designed the elaborate entrance of Chad deity (2013 Hayes Award nominee), Gruesome Playground Injuries and A Bright new Boise (2012 Hayes Award winner for outstanding sound design). Baine has also designed for many regional theaters including Shakespeare theatre Company, the Kennedy Center for the Performing Arts, olney theater Company, the everyman theatre, Forum theatre, dog & pony dc, Adventure theater, Children’s theatre of Charlotte, Synetic theater and theatre Alliance of Washington d.C. A 2012 Kenan Fellow at the Kennedy Center, he has also been the Resident Sound designer for Imagination Stage and a guest artist with the university of Maryland, Catholic university and American university. bainedesign.com

Kirsten Royston (props artisan) was the assistant props artisan for MtC’s last production, Failure: A Love Story. the resident technical director of San Francisco State university’s

Brown Bag production development class, she is a Bay Area-based set, props and production designer. Her recent prop work includes American Buffalo and the Letters at Aurora theatre Company and daylighting: the Berkeley Stories Project and edward Gant’s Amazing Feats of Loneliness at Shotgun Players. kirstenroyston.com

Jasson Minadakis (artistic director) is in his ninth season as artistic director of MtC, where he has directed Failure: A Love Story, the world premiere of Lasso of truth, the Whipping Man (San Francisco Bay Area Critics Circle Awards for best production and best acting ensemble), Waiting for Godot, othello, the Moor of Venice, the Glass Menagerie, edward Albee’s tiny Alice, the world premiere of Seagull, Happy now?, equivocation (SFBAtCC Award for best director), the world premiere of Sunlight, Lydia, the Seafarer, Frankie and Johnny in the Clair de Lune, A Streetcar named desire, said Saïd, Love Song and the Subject tonight is Love. As artistic director of Actor’s express theatre Company, he directed the Pillowman, Bug, the Love Song of J. Robert oppenheimer, echoes of Another Man, Killer Joe, Burn this, the Goat or, Who is Sylvia?, Blue/orange and Bel Canto. As producing artistic director of Cincinnati Shakespeare Festival, he directed Jesus Hopped the ‘A’ train, Chagrin Falls (2002 Cincinnati entertainment Award for Best Production) and numerous others, including 19 productions of Shakespeare. Regional credits include the Whipping Man at Virginia Stage Company, Cat on a Hot tin Roof and Hamlet at Georgia Shakespeare, Copenhagen at Playhouse on the Square (2003 ostrander theatre Award for Best dramatic Production) and Bedroom Farce at Wayside theatre.

Michael Barker (managing director) joined MtC in February 2013. He was previously the general manager of Laguna Playhouse in Southern California, the managing director for the Los Angeles classical theater ensemble the Antaeus Company, associate managing director at yale Repertory theatre and managing director of yale Summer Cabaret. Prior to graduate school, Michael was associate director of marketing for Court theatre in Chicago and also worked with Goodman theatre, American theater Company, Sansculottes theater Company and the Playground theater. He holds an MFA in theater management from yale School of drama and an MBA from yale School of Management. At yale, he was the recipient of the daniel and Helene Sheehan Scholarship for theater management. He serves on the Mill Valley Arts Commission and the board of the yale School of Management Alumni Association.

Margot Melcon (dramaturg and director of new play development) joined Marin theatre Company as literary manager and dramaturg in 2008 and has served as dramaturg for all productions in the past five seasons in addition to managing new play development for the company. She has worked on new plays with the Kennedy Center, the new Harmony Project, the Playwrights’ Center in Minneapolis, Shotgun Players, Berkeley Rep’s Ground Floor and Bay Area Playwrights Festival, and was a fellow at the national Critics Institute at the o’neill Playwrights Festival. She is a graduate of California State university, Chico.

Meg Pearson (casting director and company manager) has directed casting for all MtC main stage productions since 2008. In addition, she directs casting for MtC’s School tour and MtC’s new Play Reading Series. outside of MtC, Pearson served as casting director on the feature film Seducing Charlie Barker, directed by Amy Glazer, and is a former Board member of the Bay Area Children’s theatre. Before coming to MtC, she served as casting assistant on television shows Las Vegas, King of Queens and Grounded for Life, as well as feature films eurotrip, dude, Where’s My Car? and Straight Jacket. Pearson is a graduate of the theatre Arts program at Boston College.

W H O ’ S W H OW H O ’ S W H O

M TC STA F F & B OA R D O F D I R E C TO R SW H O ’ S W H O


Led by Producing Artistic director Ryan Rilette, Round House Theatre is one of the leading professional theaters in the Washington, dC metropolitan area, producing a six-show season of modern classics, new plays and musicals for more than 40,000

patrons each year at our 400-seat theater in Bethesda, Maryland. Round House has been nominated for 140 Helen Hayes Awards (including eight in 2014) and has won 27 (including three in 2014). It’s productions have won “outstanding Resident Play” four times.

Round House’s educational programs serve more than 2,500 students of all ages at its six-classroom education Center in Silver Spring, Maryland and in schools throughout Montgomery County. Its many innovative education programs encompass Full day Programs for youth, including Summer Programs for K – 12; a teen Performance Company, with classes and events for teens throughout the year culminating in the Sarah Metzger Memorial Play, the only play produced by a regional theater that is directed, acted, and designed by high school students; School outreach, including Intersections, Student Matinees, and Play It Forward, a program that allows Montgomery County high school students to attend Round House performances for free; and Classes for Adults & youth.

Round House is a member of LoRt (League of Resident theatres), tCG (theatre Communications Group), and LoWt (League of Washington theatres). the theater is a 501(c)3 not-for-profit organization with major support from Montgomery County, the Maryland State Arts Council, and the Arts and Humanities Council of Montgomery County.

Marin Theatre Company is the Bay Area’s premier mid-sized theater and the leading professional theater in the north Bay. We produce a six-show season of provocative plays by passionate

playwrights from the 20th century and today in our 231-seat main stage theater, as well as a five-show theater Series for young Audiences (in partnership with the Bay Area Children’s theatre) in our 99-seat studio theater. We are committed to the development and production of new plays by American playwrights, with a comprehensive new Play Program that includes productions of world premieres, two nationally recognized annual playwriting awards and readings and workshops by the nation’s best emerging playwrights. our numerous education programs serve more than 6,000 students from over 40 Bay Area schools each year. MtC was founded in 1966 and is a 501(c)3 nonprofit organization.

MtC is a proud member of the National New Play Network, the country’s alliance of nonprofit professional theaters that champions the

development, production and continued life of new plays for the American theater.

UBER is MtC’s preferred transportation partner. Visit uber.com/go/marintheatre for $20 off a first uBeR ride for new users.

BOARD OF DIRECTORS

Gale GottliebPresident

Terry Berkemeier treasurer

John ChesleySecretary

Fred TaylorVice President

Robin RiceAsst. treasurer

Kipp Delbyck Asst. Secretary

CarlBerry

DaveChapman

MollyDick

MichaelDyett

BrianHaughton

SusanHoldstein

LoriHorne

CarolKurland

KikiPescatello

IvanPoutiatine

StacyScott

ChristopherB.Smith

MarthaSmolen

BeverlyTanner

BethWintersteen

JassonMinadakisArtistic director

MichaelBarkerManaging director

ARTISTICMargot Melcon | director of new Play development & dramaturgEdgar Gonzalez | Company ManagerThomas Bradshaw | Playwright under Commission

DEVELOPMENTNoraleeMonestereMcKersie | development dir.

MARKETING & PUBLIC RELATIONSSasha Hnatkovich | Communications dir. & Interim Marketing dir.Mason Dille | Communications and Marketing AssociateJeff Berlin | Graphic designer

ADMINISTRATIONMira Greene | General ManagerSafi Manzoor | Business ManagerRené Mejorado, Apollo Gorospe | I.t. ManagersPerotti And Carrade | Auditors

EDUCATIONDaunielle Rasmussen | director of educationEdgar Gonzalez | Resident teaching Artist & Associate Producer

David Abrams | Resident teaching ArtistLeShawn Holcomb | Resident teaching ArtistJason Gorelick | Summer education InternSam Engle | Summer education Intern

FRONT OF HOUSEJudith Peck | director of ticketing & Audience ServicesMargot Manburg | Acting Box office Mgr. Gillian Eichenberger | Box office AssociateMaureen Biggart, Sissel Grove, Donna Platt, Sue Urquhart, Elfi Weideli | Café

PRODUCTIONDouglas Frazer | Production ManagerJoe Mizzi | technical directorJeff Klein | Asst. technical directorDanny Osburn | Master electricianBetsy Norton | Production AssistantSophia Fong | Scenic ArtistCaitlin Steinmann | Head electrician & Board opWill Campbell, Kyle Herbert, Courtney Johnson, Seth Tuthall, Jeff Dolan | electricians

ADVISORy BOARD

Ellen Arenson

Michael Axelrod

Linden Berry

Joseph Bodovitz

Jerry Cahill

Ann Cameron

David Catania

Bobbie Chapman

Peter T. Esty

Douglas P. Ferguson

Nancy Goldberg

Gerry Goldsholle

Brian Golson

Gail Harris

Jerry Herman

Peter Jacobi

Kimberly Jessup

Dirk Langeveld

Shirley Loubé

Melanie Maier

Peter Maier

Andrew Poutiatine

Russell Pratt

Christopher Raker

Laura Scott

Dana Shapiro

Gary Shapiro

Tara J. Sullivan

Hugh Vincent

Jennifer Yang Weedn

Phil Woodward


INDIVIDUALS

PARTNER CIRCLE

MTCPartner$50,000&aboveterry Berkemeier & Lori Lernerestate of Jack Bissinger n.J. “Sky” CooperGage SchubertChristopher B. &

Jeannie Meg Smith

SeasonPartner$25,000to$49,999Beth & James Wintersteen

PRODUCER CIRCLE

VIPProducer$15,000to$24,999Mrs. Gale K. GottliebCarol & duff KurlandShirley LoubéMelanie & Peter Maier

ExecutiveProducer$10,000to$14,999Gerald Cahill & Kathleen KingBobbie & dave ChapmanJohn & Shelley ChesleyMolly & Brett dickdyett / Richardson Family FundBrian & tracy Haughton Susan & Russ HoldsteinPeter J. owens FundKiki PescatelloIvan & Lochi PoutiatineVickie SoulierFred & Kathleen taylordr. Hugh Vincent &

Joan Watson

Producer$5,000to$9,999

Linden & Carl BerryJanet BrownGerry Goldsholle & Myra

LevensonJim & Barbara KautzCharles & Barbara LavaroniFred Levin & nancy Livingston -

the Shenson FoundationHersh Markusfeldtina McArthur & Richard

RubensteinRobin & Rick RiceBeverly tanner & Jerry

Hermantoni K. Weingarten Fund

AssociateProducer$3,000to$4,999Kipp & Roy delbyckdennis & Susan GilardiKenneth & Joan GoslinerLori & Mark Hornedana & Gary ShapiroMartha & Jonathan Smolen

PremiereProducer$1,000to$2,999dennis & tracy Albersellen & Ron ArensonJosh Brier & Grace AlexanderBetty BlumlenJohn Boneparth & Gail HarrisCheryl & Rick BrandonKen & Jackie Broad

Family FundBeverly ButlerLynne Carmichaeldavid Catania &

diana Gay-CataniaBrian Chadbourne &

diane MurakamiGeorge & Katherine Couch

Steven de Hart & Sheldon donig

Valerie & Paul Crane dorfmanSteve & Bunny Faynethe Gensler Family FoundationBrian & Alisa Golsonelisabeth & Howard JaffeBob Kaliski & Linda nelsondiane & Larry MartinKevin & Paula McGrathKen & Vera MeislinIris & Henry MetzVivienne MillerLetitia & Milan MomirovMark & Mauree Perry in honor

of Carl & Linden BerryRobert & donys PowellIngrid Purcell*Jane & Peter RichmondLeigh & Ivy Robinsonthomas & Jill SampsonMichael & Susan

Schwartz Funderic SchwartzStacy Scott & Chuck CiaccioKathleen SkeelsMeg Wallhagen & William

StrawbridgeBob & Valli tandlerWill & Leslie thompsonWendy Wyse*

CREATIVE CIRCLE

Director|$500to$999AnonymousKedar K. AdourLee AubryRichard L. BarnesRichard Bergmann & denise

Filakosky

MARIN THEATRE COMPANy ACKNOWLEDGES THE GENEROuS SuPPORT of the following corporations, foundations and individuals whose contributions make great theater possible. For information about making a donation or corporate sponsorship opportunities, please contact MTC’s Development Department at 415.388.5200 x3306. The following gifts were received between July 15, 2013, and July 15, 2014.

Joseph e. Bodovitz & Margaret Kaufman

nick & Joan BoodrookasJosh Brier & Grace AlexanderMarcus and Sara ByruckGraham & theresa Campbell*dr. Paula CampbellRichard & Veronica CharvatMark darleyRuth dellStuart & emily dvorinWilliam S. Farmer &

Leida SchoggenJay Framson & Joseph LaneMargot Fraser Funddavi HarringtonGail HenricksonSandra Hess*dwight Johnsontom & Harriet KosticLinda Kislingbury &

Scott MacLeodtracy MacLeoddavid Madfes*William & Janet McAllisterFranklin & Mary MeredithIris & Henry MetzMary & Steve Mizrochnancy Mutnick*John S. osterweisRichard & Janet PearsonPeirce Family FundMichael & Hailey PoutiatineLarry & diane RosenbergerPaul & Sylvia RoyeFred & dolores Rudowdiana & Richard ShoreJoel & Susan Sklartara J. Sullivan & Jim HoranMary & Herman WaetjenSusan & Harvey Wittenbergnathan Wolfe &

Lauren Gunderson

Designer|$250to$499Anonymous (2)drs. Paul & Geraldine Alperttom & Lois AshleyBarbara & Larry BabowRobert & Irene Belknap

david & Rosalind Bloom Philanthropic Fund

ute & Jack Brandondonna BrownAmanda BrownWendy BuchenJohn & deborah BuehlerAlan & Caren CascioGary CecchiniAnthony & Martha easonSabrina eliasophLeland H. Faustdennis & Pam FiscoAlison FullerVera GertlerLewis & Helene GibbsLaurel & Michael GothelfSheryl HausmanKaren HaydockMary & doug HerrWilliam & Susan HoehlerRoger & Jean HumphreyAnne IrwinGlenn & Gabriella IsaacsonLeonard & Flora Lynn Isaacsonellen K. JasperBonnie & Peter JensenSheila-Merle Johnsondan & Lyra KellyJane KramerGail & Steve LazarusCourtney LearyWarren & Barbara LevinsonMichael & Sharon MarronAlbert Martin & diana

RichmondSteve & Patricia McMahonPurple Lady - Barbara J.

Meislin FundJane MillerHarry Murphy &

deborah Gliden*Cynthia PillsburyStephanie PlexicoRobert & Madeleine ProvostAmy Rabe*Barbara & Joel RenbaumPaula & Bob ReynoldsGrace RogersAlan & enid Rubin

William SchwarzerValerie S. SchwimmerLaura & Michael ScottRod & Sandy SeegerConnie ShapiroMichael & Marsha SilbersteinPatricia Silvereve Simon*don & Jane Slacktimothy Standing &

Renee M. MarlerStephen & elizabeth Sutro*Carol & Sanford SvetcovLeRose WeikertVictoria WooKirke & Patty Wrenchtravis WrightGlea G. WylieAlan & Monica Zimmermann

Actor|$150to$249AnonymousJoanne Abrams*Julia AlthoffJerome & Susan Apartonernest & Marilyn AuSusan C. BeechPhilip BernsteinHoward & Susan BlairMelinda Booth & Robert Leadaphne Bransten in honor of

Melanie Maier’s birthdaydorothy & Richard BreinerKaren CarmodyC. J. & donna Carrillo*John & Karen Chuday

in Honor of Savannah Souza’s 18th Birthday

James & Linda CleverJanet & Alan ColemanBetty & Bob CopplePatricia & Authur davidsontom & Rebecca edwardsJohn eichhorst &

Jennifer BlackmanKerry Weiner & Andy elkindSamuel & Shari esterkynKit evertsdavid Fain & Fran Andersonerdmuth Folker

D O N O R SD O N O R S

Cynthia FolkmannLee & Lyn FollettRobert Fossumdonna & Michael FranzblauCarin Garland &

Paul GoldsmithKent & Rita GershengornJoan Gordondr. Joseph GutstadtRobert HallKathe HardyMarc & Peggy HaymanKip & Sara HowardJohn HowardGeorgia HughesAuban A. JacksonCary & elaine JamesKatelyn JohnsonVirginia & Michael KahnJohn & Catharine KalinSusan KolbRoger & Lynn KuhnRobert Lea & Melinda BoothWolfgang Ledererdavid Lesninidavid & Carolyn LongGarrett Loube &

Marcie RodgersLewis ManchesterMyrna Margolin

toni MartinHerbert MillerKathleen & Michael MontagueKelli Murray &

Laurence PulgramRobert newcomer & Susanne

LightVirginia newhallLucienne o’KeefeClyde & Merle ongaroHarry oppenheimerJack & Gail osmanderek & nancy ParkerGerald & nancy ParsonsBarbara PaschkeGary & Gisela PeasleySusan & Jon PeckMr. & Mrs. Henk PeetersLynn PerrySle & Milton PickmanHal V. & Mary PlimptonWendy PolivkaStuart PollakBill & Barbara RichHector Richardsdeborah L. Robbins &

Henry navasRichard C. RobertBarbara RosenblumMeline & Jirayr Roubinian

Mark & tobi RubinAngelo & Kimberly SalarpiRichard & Sandra SchaeferHerb SchuytenBetty ScottJane & Michael Scurichterry SeligmanRolf & Jettie SelvigBarry & esther Shafrandouglas & Carole SheftRoger & Kay SmithGlenn SmithShayna SteinJean SwardWilliam & utta telliniJoe & eileen tennJames tustinMarilyn & Ivan WeinbergRachel WeinsteinHarriet WellerValerie WestenBarbara Wilkes

If your name has been misspelled or omitted, please call MTC’s Development Department, 415.388.5200 x3317.

*Italics denote first gift

CORPORATIONS / FOUNDATIONS / GOVERNMENT

PARTNER CIRCLE

MTCPartner$50,000&Abovethe Bellebyron Foundationthe William & Flora

Hewlett Foundationthe Shubert Foundation

SeasonPartner$25,000to$49,999Google, Inc.*Marin Community Foundation Marin Independent Journal*yP*

PRODUCER CIRCLE

VIPProducer$15,000to$24,999the Capital Group Companiesthe Haughton Family

Charitable FundKCBS All news 740AM &

106.9FM*Kurland Family Foundationnational new Play networkVenturous theater Fund

of the tides Foundation

ExecutiveProducer$10,000to$14,999Bernard osher Foundation

Clay Foundation – Westthe Kimball Foundationnational endowment

for the Artsnordstrom, Inc. Stacy Scott Catering*yelp*

Producer$5,000to$9,999California Arts Councilnational new Play networkSavory thymesthe Shenson Foundationthe tournesol Foundation

CAST PARTY! BUSINESS DONORS

A.C.t.Asian Art MuseumAt the top Salon and GalleryBardessono napa Valley-Lucy

RestaurantBay Area discovery MuseumBear Valley Music FestivalBerkeley Repertory theatreBody Kinetics of Mill ValleyBook PassageBR Cohn Winery & olive oil

CompanyCalifornia Academy of SciencesCalifornia Film Institute Calistoga InnCasa don Juan, Mexico Charles SchwabClub at Harbor PointContemporary Jewish MuseumCooper Alley Salondavid Haydon, Il davidediPietro toddemporio RulliFabrizioFine Arts Museums

of San FranciscoFirst Republic Bank

FoodniksFrantoio RistoranteHalf day CaféHaywood WineryHotel Casamar Suites, MexicoIlene Wolf, MFtImage FlowJacqueline Schwartz,

RSVP CateringJoshua ets-HokinKathy A Fields MdKimpton HotelsKissy Kissy Lagunitas Brewing CompanyLark theaterLuna Blu RestaurantMarin AirporterMarin Brewing CompanyMarin Shakespeare CompanyMarin Symphony Associationthe Melting PotMichael Chiarello, CoquetaMill Valley Auto Service napaStyle nina McLemore, San Franciscooctavia Riggsoregon Shakespeare Festival

Paradise FoodsPeju Family WineryPiatti Mill ValleyPresidio Bowling CenterRAB MotorsRistorante FabrizioRocco’s PizzaRound House theatreRuth Livingston StudioSF JazzShowroom 383Silverado Resort and SpaSloat Garden CenterSol FoodSoul CycleSouth Coast RepertorySpot Pet CareStacy Scott CateringStefano’s Pizzathrockmorton theatretoy Crazytrader Joe’stwo Percent GalleryV. Sattui WineryWe PlayersWellspring AcupunctureWoody’s Frozen yogurt Place


AssociateProducer$3,000to$4,999Lagunitas Brewing Company*Whole Foods

PremiereProducer$1,000to$2,999AnonymousBank of America

Matching Fundsthe Barth FoundationCenter for Cultural InnovationCheveron texaco Matching Gift

ProgramCMS, Inc.*County of Marin

First GivingFrancis S. north FoundationKoret FoundationMarin Charitable Mill Valley MarketMill Valley Rotary ClubPeju Province Winery*Wells Fargo Foundation Wigt Printing

CREATIVE CIRCLE

$150to$499Apple Matching Gifts ProgramArgo Group Matching

Contribution Program

dee’s executive Limousine Service

Macy’s Foundation Matching Gifts

Redwood Security Systemsthe Rock Foundationthe Samuel & natalie Lipsett

FoundationStrahm Communications*Wells Fargo Community

Support

* Denotes an in-kind donation

D O N O R SD O N O R S

36 MTC | 2014-15 SEASON | AUG 14 - SEPT 7

CONTACT US

Box Office: 415.388.5208

tuesday–Saturday, 12–5PM Closed Sundays, Mondays and Holidays during performance runs, the box office is open until show time and on Sundays.

Address: 397 Miller Avenue, Mill Valley CA 94941

General: 415.388.5200

Playbill Advertising:Sasha Hnatkovich, 415.388.5200 x3313

MainStageGroupSales:Groups of 8 or more receive a discounted rate plus one free ticket for the organizer. Contact the Box office 415.388.5208.

PERFORMANCE SCHEDULE

tue, thu, Fri, and Sat 8:00pm

Wed 7:30pm

Sun 7:00pm

Matinees (please check dates online): thu 1:00pm • Sat & Sun 2:00pm

TICKET DISCOUNTS

Rush tickets: $20 (cash only, sales begin one hour prior to curtain, based on availability)

Under 30: $20, in advance or at the door for all performances, must show valid Id

Seniors: $4 off tickets to all performances

SERVICES & INFORMATION

Arrive on time: Performances begin promptly. Late patrons will be seated at a designated seating break or possibly intermission. Patrons returning late from intermission will be seated at the discretion of the house manager.

MTC Café: Food and beverages are available be-fore performances and during intermission. Save time and order intermission refreshments prior to the start of the performance.

Recycling: Please help MtC conserve resources. Recycle your programs in the racks provided on the way out of the theater, and use the labeled recycling bins for cans, bottles and paper.

Recording Equipment: the use of sound, video or photographic recording equipment during performances is prohibited.

Listening Devices: For patrons with impaired hearing, listening devices are available for free. Please see the box office for details.

For information about physical and program access at MtC, please call

415.388.5208 or dial 711 to use the California telecommunications Relay Service.

☛ MARINTHEATRE.ORGVisit our website to join our email list, learn about our plays, purchase tickets and more.

Marin Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Cert no. SCS-COC-00989

10%

Cert no. SCS-COC-00989

10%

Life at the Villa, Find Your New Tempo

Robert StiversDRE License # 01248885

415-492-2408

For more information please call/or visit our website:

www.villamarin.comCCRC #158

Cal. Lic. H.S.: #22000161Cal Lic. S.S.: #210108102

100 Thorndale Dr., San Rafael, CA

• 100% Equity in your home (No Entrance Fee)

• Independent living, assisted, & skilled care on-site.

• Medicare Rated 5-Star Health Care Center.

• Pet friendly & Resident-Directed community.

• Meals, Housekeeping, and Medical transportation.

M TC PAT R O N I N F O R M AT I O N

Marin2014

101 Reasons We Love This Place

EditorsCHOICE’

+GET FIT FOR FREEWorkouts That Are Easy on the Wallet

WHITEWATER FUNRiding Rapids on

the American River

001_AUG_Cover.0814.indd 1 7/16/14 9:53 AM

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2014MILL VALLEYFall Arts Festival

Old Mill Park Mill Valley

Jean Gjevik

September 20 & 21 10 - 5

more than 140 fine artists live music childrens entertainment

admission $10 under 12 Free students/seniors $5

www.mvfaf.org

2014/15 Season: Fetch Clay, Make Man

Documents

Transcript of 2014/15 Season: Fetch Clay, Make Man