Accidental Death of an Anarchist
By Dario Fo
Adapted by Gavin Richards from a translation by Gillian Hanna
Directed by Christopher Bayes
Main Season · Roda Theatre
March 7–April 20, 2014
Running time: 2 hours and 20 minutes, including one 15-minute intermission
A bank gets bombed, a suspect dies in custody, and the police inquiry turns into…a masterpiece of comedy? Steven Epp returns to Berkeley Rep for a criminally funny production of Accidental Death of an Anarchist. He delighted audiences as Figaro and The Miser—now he’s back in another madcap show directed by Christopher Bayes. Nobel Prize-winner Dario Fo penned more than 70 incisive scripts, and this is by far his most famous. With Epp’s outrageous Anarchist, Berkeley Rep hauls you down to the station for a hilarious interrogation of our culture.
Accidental Death of an Anarchist uses haze and strobe effects, as well as loud noise. Berkeley Rep offers an advisory about any stage effect of potential concern to patrons’ health. We don’t offer advisories about subject matter, as sensitivities vary from person to person. If you have any concerns about content, please contact the box office.
Cast and creative team
Liam Craig* · Superintendent
Liam previously appeared at Berkeley Rep in A Doctor in Spite of Himself, which he previously performed at Yale Rep along with The Servant of Two Masters, both directed by Chris Bayes. His New York credits include the Broadway production of Boeing-Boeing (understudying and performing the role of Robert) and off-Broadway productions of The Internationalist (Vineyard Theatre), Aunt Dan and Lemon (the New Group), Two Noble Kinsmen (The Public Theater), and Don Juan (Theatre for a New Audience). His regional theatre credits include The Happy Ones (Magic Theatre), The Government Inspector (the Shakespeare Theatre Company), The Wild Duck (Bard Summerscape), A Christmas Story (Actors Theatre of Louisville), The Scene (Hartford Stage and the Alley Theatre), The Lady from the Sea (Intiman Theatre), and Henry V (Shakespeare on the Sound). His television and film credits include Unforgettable, Mercy, Rescue Me, Boston Legal, Law & Order, Law & Order: Special Victims Unit, Late Night with Conan O’Brien, and The Royal Tenenbaums. Liam received his BA in English and theatre studies from Yale College and his MFA from NYU’s Tisch School of the Arts Graduate Acting Program.
Steven Epp* · Maniac
Steven had appeared at Berkeley Rep in A Doctor in Spite of Himself, Figaro, The Miser, The Green Bird, and Don Juan Giovanni. He was an actor, writer, and co-artistic director at Theatre de la Jeune Lune, winner of the 2005 Tony Award for Outstanding Regional Theatre, from 1983 to 2008. Title roles there included Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and The Miser, as well as major roles in Yang Zen Froggs, Romeo and Juliet, Cyrano, Children of Paradise, Scapin, Germinal, Don Juan Giovanni, The Three Musketeers, Twelfth Night, The Magic Flute, The Hunchback of Notre Dame, The Seagull, and The Little Prince. His Yale Rep appearances include Theatre de la Jeune Lune’s Children of Paradise: Shooting a Dream (1993), Truffaldino in The Servant of Two Masters (2010), and Sganarelle in A Doctor in Spite of Himself (2011). His other theatre credits include productions at the Guthrie Theater, La Jolla Playhouse, Trinity Repertory Company, Spoleto Festival, American Repertory Theater, Actors Theatre of Louisville, the Alley Theatre, Intiman Theatre, Center Stage, off-Broadway’s the New Victory Theater, the Shakespeare Theatre Company, PlayMakers, Seattle Repertory Theatre, and ArtsEmerson World Stages. Steven is the co-artistic director of the Moving Company. Steven holds a degree in theatre and history from Gustavus Adolphus College. He was a 1999 Fox Fellow, a 2009 McKnight Theatre Artist Fellow, and a Beinecke Fellow at Yale School of Drama. He lives in Minneapolis with his wife and three children.
Renata Friedman* · Feletti
Renata previously appeared at Berkeley Rep in A Doctor in Spite of Himself. Her other Bay Area credits include Upright Grand at TheatreWorks and Sleeping Rough at TheatreWorks New Works Festival. In New York, she’s appeared at Page 73, the New Victory Theatre, Aquila Theatre Company, FringeNYC, and Fringe Encores. She has also appeared in shows throughout the country at Yale Repertory Theatre, Actors Theatre of Louisville, Milwaukee Repertory Theater, the Humana Festival, Illusion Theater (Minneapolis), Barrington Stage Company, JAW (Portland Center Stage), Aquila Theatre national tour, the Icicle Creek Theater Festival at A Contemporary Theatre, the Orchard Project, and nearly a dozen productions in Seattle at Intiman Theatre, Seattle Repertory Theatre, ACT, and Seattle Children’s Theatre. A graduate of New York University, Renata is a 2011 Gregory Award nominee for Outstanding Actress and Seattle Magazine’s 2011 Actress of the Year.
Allen Gilmore* · Pissani
Allen is happy to return to Berkeley Rep, where he appeared in A Doctor in Spite of Himself, directed by Chris Bayes, and The Arabian Nights and Argonautika, directed by Mary Zimmerman. Other collaborations with director Chris Bayes include The Servant of Two Masters at the Guthrie Theater and Yale Repertory Theatre, the Shakespeare Theatre Company, ArtsEmerson, and most recently Seattle Repertory Theatre; Scapin at the Idaho Shakespeare Festival, Intiman Theatre, and Court Theatre; The Comedy of Errors at Idaho Shakespeare Festival; Endgame at Court Theatre; and A Doctor in Spite of Himself at Intiman Theatre. He recently performed as Arsinoe in The Misanthrope, Turnbo in Jitney, and he just completed a run as Hedley in Seven Guitars, all at Court Theatre in Chicago. Other favorite roles include Othello and Iago in Othello, Bynum in Joe Turner’s Come and Gone, Cyrano in Cyrano de Bergerac, James Hewlett in The African Company Presents Richard the Third, and Sizwe Banzi in Sizwe Banzi Is Dead.
Aaron Halva · Music Director / Composer / Musician
Raised amongst polkas and hymns in Iowa, Aaron has since studied music in Cuba, Puerto Rico, Argentina, Greece, and Spain. He was last seen at Berkeley Rep in A Doctor in Spite of Himself (also at Intiman Theatre and Yale Repertory Theatre). His New York theatre credits include Red Noses by Peter Barnes, Four by Feydeau, The Bourgeois Gentleman, The Molière One Acts, Monsieur de Pourceaugnac, and The Love of Three Oranges by Carlo Gozzi (the Juilliard School); The Imaginary Invalid by Molière, The New Place by Carlo Goldoni, We Won’t Pay! We Won’t Pay! by Dario Fo, and a new adaptation of Molière’s The Reluctant Doctor of Love (New York University’s Tisch School of the Arts Graduate Acting Program). Regional credits include The Servant of Two Masters (Yale Repertory Theatre, the Guthrie Theater, ArtsEmerson, the Shakespeare Theatre Company, and Seattle Repertory Theatre) and The Molière Impromptu (Trinity Repertory Company). He also appeared in Ballywoonde at the Edinburgh Fringe Festival. Aaron’s film credits include Wall Street: Money Never Sleeps, as leader and arranger for Cuban music group Nu D’Lux.
Travis Hendrix · Musician
Travis is an eclectic multi-instrumentalist and composer from the North Bay. His musical education comes from no single source, and he is equally as comfortable in an orchestra pit or jazz combo as he is playing klezmer music or performing his own electronic compositions. Some of Travis’ accomplishments include playing several nationally acclaimed festivals, landing his first musical director gig at age 17, and re-harmonizing, arranging, and performing a rendition of the national anthem for 40,000+ people. Recently he has toured nationally with a variety of projects and collaborated as a composer, music director, and performer with the Imaginists Theatre Collective, an experimental theatre from his hometown of Santa Rosa.
Eugene Ma* · Constables
Eugene is a multidisciplinary theatremaker based in New York. As an actor, he just finished playing Silvio in Chris Bayes’ production of The Servant of Two Masters at Seattle Repertory Theatre. He has also been seen performing at venues like La MaMa Experimental Theatre Club, Mabou Mines, the old Ohio Theater in Soho, Joe’s Pub, Jack, the Stone, a loft in Williamsburg, Greenwood Cemetery, and even an art gallery in Budapest, working with the likes of Josh Fox, Orlando Pabotoy, Alan Tudyk, and the late Ruth Maleczech. As a director, Eugene’s recent credits include Mike Lew’s Ten Page Manifesto, Shane Sakhrani’s Hero Hindustani, Molière’s The Imaginary Invalid, Mark Ravenhill’s pool (no water), and Thornton Wilder’s Childhood (as a clown show). Last year, he served as the composer and musician for All Which Way and That at Yale School of Drama, and composed and performed his Drama Desk-nominated “Silent Film” score for The Man Who Laughs at Urban Stages. A recent graduate of Tisch School of the Arts at NYU, Eugene is currently an apprentice teacher in physical comedy under Chris Bayes at Yale School of Drama and the Juilliard School.
Jesse J. Perez* · Bertozzo
Jesse has been seen at Berkeley Rep in The Arabian Nights and Argonautika, both directed by Mary Zimmerman. His Yale Rep credits include In a Year with 13 Moons (2013), The Servant of Two Masters (2010), Lulu (2007), The Cherry Orchard (2005), and The Taming of the Shrew (2003). He has also appeared in New York shows such as Triple Happiness (Second Stage Theatre), Barrio Girl (Summer Play Festival), Recent Tragic Events (Playwrights Horizons), In the Penal Colony (Classic Stage Company), Up Against the Wind (New York Theatre Workshop), and Lucia di Lammermoor (the Metropolitan Opera). Jesse’s regional theatre productions include A Midsummer Night’s Dream, Othello, and Much Ado About Nothing (Shakespeare on the Sound); Hard Weather Boating Party (Humana Festival of New Plays); Argonautika, Lookingglass Alice, and Cascabel (Lookingglass); Pericles and Candide (the Goodman Theatre, the Shakespeare Theatre Company); The Servant of Two Masters (the Shakespeare Theatre, the Guthrie Theater); and Hamlet (McCarter Theatre Center). His film and television credits include American Splendor, Enter Nowhere, Playing God, Kazaam, Person of Interest, Life on Mars, Law & Order, Law & Order: SVU, The Job, and Third Watch. Jesse is a graduate of the Juilliard School.
Christopher Bayes · Director
Chris began his theatre career with the Tony Award-winning Theatre de la Jeune Lune, where he worked for five years as an actor, director, composer, designer, and artistic associate. In 1989 he joined the acting company of the Guthrie Theater for over 20 productions, including The Tempest, King Lear, Marat/Sade, The Triumph of Love, and his one-man show This Ridiculous Dreaming, based on Boll’s novel The Clown. His directing credits include Accidental Death of an Anarchist at Yale Repertory Theatre, as well as productions at Berkeley Rep (A Doctor in Spite of Himself, co-produced with Yale Repertory Theatre), Intiman Theatre, Seattle Repertory Theatre, Court Theatre, Trinity Repertory Company, Touchstone Theater, and Idaho Shakespeare Festival. His New York work includes HERE Arts Center, Performance Space 122, Dixon Place, the Flea Theater, The Public Theater, the Juilliard School, NYU’s Graduate Acting Program, and the Atlantic Theater Company, where he designed the movement/choreography for John Guare’s new evening of short plays 3 Kinds of Exile. He served as movement director and creator of additional movement for the Broadway and national touring productions of The 39 Steps (the Roundabout’s American Airlines, Cort, and Helen Hayes theatres). He is a 1999/2000 Fox Fellow. He has served on the faculty of the Juilliard School and NYU’s Graduate Acting Program, was the head of movement and physical theater at The Brown/Trinity Consortium, and has taught workshops for Cirque du Soleil, the Big Apple Circus, The Public Theater’s Shakespeare Lab, and Williamstown Theatre Festival, among others. He is currently a professor at Yale School of Drama and head of physical acting.
Kate Noll · Scenic Design
Kate is a third-year MFA candidate at Yale School of Drama, where her credits include set design for Cloud Nine and costume design for House Beast. Her other credits include Yale Cabaret, where she designed sets for Rey Planta, Funnyhouse of a Negro, The Fatal Eggs, Ermyntrude & Esmeralda, and costumes for Ain’t Gonna Make It and The Bird Bath. She was also the resident designer for the 2013 Summer Cabaret, designing sets for Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, Heart’s Desire, Drunk Enough to Say I Love You, and costumes for In the Bar at a Tokyo Hotel. Previously she assisted artist and director Doug Fitch with his Cunning Little Vixen for the New York Philharmonic, The Abduction from the Seraglio for the Teatro del Lago in Chile, and a new production of Peter and the Wolf. She has been a resident set designer at the Sundance Directors Lab, where she workshopped the films Little Birds, My Brother the Devil, and Beasts of the Southern Wild. She has lived in New York, Amsterdam, and Rome, where she practiced as a studio artist, stylist, and production designer for TV and film. Kate is a graduate of the Rhode Island School of Design with a degree in painting.
Elivia Bovenzi · Costume Design
Elivia is a third-year MFA candidate at Yale School of Drama, where her costume design credits include King Richard 2 and Cloud Nine. Other credits include The Yiddish King Lear (Yale Cabaret), Doctor Faustus Lights the Lights (assistant costume designer, Yale School of Drama), and Good Goods (assistant costume designer, Yale Repertory Theatre). She also designed costumes for Abyss, an epic classical music and dance performance created by Stephen Feigenbaum and Charlie Polinger, performed at Yale College. Prior to her time at Yale, Elivia worked as resident costume designer for Russell Sage College in New York, where she designed costumes for Peter Pan: The Musical, Urinetown, The Heiress, A Piece of My Heart, and Whose Life Is It Anyway? Prior to becoming a costume designer, Elivia studied acting and holds a BS in musical theatre from Russell Sage College.
Oliver Wason · Lighting Design
Oliver designs lighting for theatre, dance, music, and most anything else. He is a current MFA candidate at the Yale School of Drama where he is in his final year. In New York his work has been seen at HERE Arts Center, the Incubator Arts Project, the Spoon Theater, Paradise Factory, the CSV Cultural Center, La MaMa Experimental Theatre Club, and the Cherry Pit, among others. He was an assistant designer on productions with Playwrights Horizons, Second Stage, the Public Theater, Naked Angels, Page 73, Clubbed Thumb, and Lincoln Center. He is designing the upcoming production of A Little Night Music at Berkshire Theatre Festival. Visit oliverwason.com.
Nathan A. Roberts · Composer / Sound Design
Nathan is a multi-instrumentalist who specializes in creating original music and soundscapes for plays, often live on stage. He was a musician and sound designer for Yale Rep’s The Servant of Two Masters and has been enjoying designing sound for that production’s reincarnations at Seattle Repertory Theatre, ArtsEmerson, the Guthrie Theater, and the Shakespeare Theatre Company. His other recent credits include original sound and music for On Borrowed Time and Electric Baby (Two River Theater Company), Our Town (Ford’s Theatre), Twelfth Night and The Tempest (Hartford Stage), and live foley for It’s a Wonderful Life (Long Wharf Theatre). He also designs and builds musical instruments, with a special emphasis on flutes and hurdy-gurdies. Nathan received his MFA from Yale School of Drama and is a member of the theatre studies faculty at Yale College.
Charles Coes · Sound Design
Charles’ New York credits include Wanda’s Monster, Louis Armstrong: Jazz Ambassador, The Butterfly, Dreams of the Washer King, The Shot, The Realm, User 927, Up Up Down Down, and Stand Tall. Regional theatre credits include Passion Play at Yale Repertory Theatre; My Wonderful Day at the Wilma Theater; One Slight Hitch at Williamstown Theatre Festival; Parade at Ford’s Theatre; The Servant of Two Masters at the Shakespeare Theatre Company, the Guthrie Theater, ArtsEmerson, and Seattle Repertory Theatre; Annie and The Sound of Music at North Shore Music Theatre; and Electric Baby and On Borrowed Time at Two River Theater Company. He has also worked on art installations with Anne Hamilton, Abelardo Morell, and Luis Roldan, as well as aerial and aquatic spectaculars on Oasis of the Seas, Allure of the Seas, and other Royal Caribbean ships. He has served as an associate on the Broadway productions of Peter and the Starcatcher, Vanya and Sonia and Masha and Spike, Grace, Chinglish, In the Next Room (or the vibrator play), The Glass Menagerie, and Macbeth. He received his MFA from Yale School of Drama.
Michael F. Bergmann · Projection Design
Michael is a third-year MFA candidate at Yale School of Drama, where he has designed Accidental Death of an Anarchist (Yale Repertory Theatre), Iphigenia Among the Stars, and Fox Play. He served as assistant projection designer on In a Year With 13 Moons at Yale Repertory Theatre and The Seagull and Angels in America, Part Two: Perestroika at the School of Drama. His other projection design credits include Creation 2011, Dracula, and Cat Club at Yale Cabaret; and Terre Rouge and The Marriage of Bette and Boo at Théâtre Glendon. He has consulted on numerous productions at the Yale Cabaret and other theatres. His other credits include directing Mute at the Toronto Fringe Festival and This Still Night at the Prague Fringe Festival, producing a variety of theatre and film projects including Under Milk Wood and Leer at Abrams Studio, and the short An Encounter. A proud Canadian, Michael holds a BFA from Ryerson University in Toronto and is an Eldon Elder fellow at Yale. Visit bergarts.com.
Samantha Lazar · Production Dramaturg
Samantha is a second-year MFA candidate at Yale School of Drama, where she served as dramaturg for The Cold in My Eye. She has worked in various capacities at Yale Cabaret, where her credits include MilkMilkLemonade, The Twins Would Like to Say, and Crave. Prior to going to Yale, she worked as a dramaturg and set designer in Philadelphia, where favorite credits include Red (Philadelphia Theatre Company), Ubu Roi (Renegade Classic Theatre), and Becky Shaw (Montgomery Theater). She has written performance reviews and criticism for Philadelphia-based publications and is currently a managing editor of Theater magazine. She holds a BA from the University of Pennsylvania.
Kimberly Mark Webb* · Stage Manager
Kimberly’s credits at Berkeley Rep include more than 75 productions over the last 30-plus years. His other work includes productions for Center Theatre Group, New York’s Joyce Festival, the Huntington Theatre Company, La Jolla Playhouse, Williamstown Theatre Festival, American Conservatory Theater, and Kansas City Repertory Theatre. Kimberly served as production stage manager at Theatre Three in Dallas for six years.
Tara Rubin · Casting Director
Tara has been casting at Yale Rep since 2004. Her upcoming Broadway projects include Bullets Over Broadway and Aladdin, and past Broadway productions include A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (U.S. casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; and Contact. She has cast for the off-Broadway shows Love, Loss, and What I Wore and Old Jews Telling Jokes. Tara has also worked for the Kennedy Center, La Jolla Playhouse, Dallas Theater Center, the Old Globe, Westport Country Playhouse, and Bucks County Playhouse. Her film work includes Lucky Stiff and The Producers.
Walton Wilson · Vocal Coach
Walton is head of voice and speech at Yale School of Drama. He was trained and designated as a voice teacher by master teacher Kristin Linklater and was trained and certified as an associate teacher by master teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. As a voice/dialect coach, his New York credits include The Violet Hour and Golden Child on Broadway, the world premiere productions of The Laramie Project and The Laramie Project: 10 Years Later, and Endangered Species. Regional credits include productions at Actors Theatre of Louisville, American Repertory Theater, Long Wharf Theatre, McCarter Theatre Center, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for In a Year with 13 Moons, A Doctor in Spite of Himself, Autumn Sonata, Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.
Yale Repertory Theatre · Co-Producer
Yale Repertory Theatre has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Rep are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, Yale’s Binger Center for New Theatre is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. The Binger Center has supported the work of more than 40 commissioned artists and the world premieres and subsequent productions of 15 new American plays and musicals. Recent and upcoming Yale-commissioned world premieres include Amy Herzog’s Belleville and The Realistic Joneses by Will Eno (opening on Broadway this spring), cited among the year’s Top Ten by The New York Times in 2011 and 2012 respectively, and this season’s These Papers Bullets, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong. Visit yalerep.org/center.
Jack Tamburri · Assistant Director
Steven Klems · Projection Programmer
* Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
“Steven Epp manages to combine the cheerful hostility of Groucho Marx, the winsomeness of Tommy Smothers and the stupidity of Homer Simpson.”—New York Times
“The sublime Steven Epp is a dream to watch. Loose-limbed, supple-voiced, and blessed with devastating comic timing.”—The Washingtonian
“Epp’s witty elan and winning bewilderment come across as comic grace. He’s altogether lovable…a stylistic cousin-in-clowning to the humility-projecting Bill Irwin.”—Washington Post
“Fo emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.”—The Swedish Academy, in awarding Dario Fo the Nobel Prize for Literature
“Bay Area audiences met and fell in love with Steven Epp when, as part of the touring Theatre de la Jeune Lune company, he threw himself around the Berkeley Repertory Theatre stage. We first saw him in 1994 in Don Juan Giovanni, a mashup of Beaumarchais plays and Mozart’s opera. More recently—and perhaps most memorably—he was the titular skinflint in Jeune Lune’s extraordinary The Miser in 2006.”—San Francisco Chronicle
Prologue: from the Artistic Director
I first met Dario Fo some 30 years ago. I picked him up at the airport, and he immediately asked if I could take him and his party (he never went anywhere without a large, rambunctious entourage) to a restaurant. Any restaurant. We went to a Chinese place in the Mission where the group proceeded to consume mountains of food while shouting to/at each other in Italian. People started to stare. Taking this as a personal challenge, Dario stood up and took stock of the room. To my shock and amazement, he began moving from table to table, introducing himself in Italian and then launching into a series of animal impressions. Donkeys, giraffes, dogs…by the time he got to the baboons everyone in the place was howling. He took phone numbers, told people about his show, and left to a standing ovation. It was one of the greatest, spontaneous performances I have ever seen.
Fo’s plays (50 and counting!) bear that same distinction: you can read them all you want, but they only come alive in performance. They are built around his persona as a professional Fool, a court jester whose job is to expose the hypocrisy of the state and to satirize all forms of corruption. The Fool speaks the truth when no other person dares to: he creates jokes that are based in reality and relentlessly ridicules those who have lied, cheated, or killed to attain power. In that sense, the Fool is a teacher, and the conspiratorial laughter he creates with the audience is both relieving and alarming. Fo’s entire career has been dedicated to the creation of subversive laughter. He has famously taken on politicians, the police, and, his personal favorite, the pope. For his efforts he’s been vilified and adored, condemned as an outlaw and celebrated as champion of the people. At one point the State Department labeled him as a dangerous criminal, and for many years he was barred from entering the United States.
Just before I met him, the ban was lifted and Fo was allowed to perform at theatres across the United States and at any restaurant he frequented. Accidental Death of an Anarchist, written in 1970, was first produced in America in the mid-‘80s and has been performed the world over. This revival brings Steve Epp back to Berkeley, himself a Fool of the first order. He teams up again with expert director Christopher Bayes, who has spent a lifetime studying commedia dell’arte and observing the political machinations of our world. Together they reprise the story of a disastrous police investigation, one that seems all too common today. They’ve armed the Fool (called “maniac” in this play) with an updated political rant, just to make sure we’re all in on the fun. Fresh from Yale Rep where the play enjoyed a great run, we welcome them back to Berkeley, along with the great Dario Fo.
Prologue: from the Managing Director
When you walked into the lobby today, you may have noticed posters for a play that hasn’t received much attention to this point. Yes, Berkeley Rep is very pleased to host the 10th-anniversary production of Brian Copeland’s Not a Genuine Black Man in April. If we’ve piqued your interest about this show, you may then have been struck by its location at the Osher Studio. What and where, you may ask, is that? Well, if you’ve never seen Brian Copeland, a terrific Bay Area artist, and if you’ve yet to see the Osher, then it’s probably time for you to see both!
Our Osher Studio may be the most significant new performance space in downtown Berkeley. Back in 2003, Berkeley Rep’s rehearsal halls and offices were in a rather seedy building a block south of the Roda Theatre on Center Street. When that building was slated for demolition to make way for apartments, Berkeley Rep was able to secure a 20-year lease—thanks to the City of Berkeley’s cultural facility height bonus—in the new building. Berkeley Central opened last year with much-needed housing, an art gallery curated by our colleagues at Kala Art Institute, and three new halls on the first floor. Two of those halls became classrooms for the Berkeley Rep School of Theatre, allowing us to offer our programs to even more adults and children. These rooms are also used by other community arts organizations, including dance, music, and theatre companies.
The Osher Studio is the third space at Berkeley Central. Intimate and informal, this black box theatre is perfect for small arts organizations who can’t otherwise afford to lease, equip, or maintain a downtown facility. Already the Osher Studio has hosted performances by the Bay Area Children’s Theatre, Ragged Wing Ensemble, Danse Lumière, Berkeley Symphony Orchestra, and now Brian Copeland.
One of the best things about Berkeley Central is its Arts Passage, a covered walkway that connects Addison Street to Center Street. Located just across the street from our box office, the Arts Passage will be open before and after all of Berkeley Rep’s performances, making it easier and quicker for you to walk between the Theatre and the parking lot on Center Street.
Our new spaces at Berkeley Central are an added boost to the already burgeoning arts scene in downtown Berkeley. We’re excited to offer a downtown performance venue to the many small arts organizations in the East Bay and to expand our own school programming—with an easily accessible Arts Passage to boot. Best of all, our new Osher Studio allows us to present Brian Copeland’s seminal solo show Not a Genuine Black Man to new audiences. We hope to see you there starting April 23.
Dario Fo: An open revolutionary
By Sam Basger
In the early 1950s, as the country stirred from its fascism-induced coma into a thriving republic, a young revolutionary burst onto the stages of Northern Italy with scathing satire. This was Dario Fo, on the cusp of a prolific career and lifelong partnership with a sophisticated Milanese actress, Franca Rame, who trod the same boards.
Fo was born to a working-class family in 1926 in San Giano (or Sangiano), a small town on the shores of Lake Maggiore in the region of Lombardia. Fo’s father was a railway stationmaster, while his mother is often described as a “peasant” who was from a tradition of oral storytelling. Indeed it was his mother’s father, known affectionately to the community as Bristin (which loosely translates to “pepper seed”), who ushered Fo into the enchanting world of the fabulatori, local people such as fishermen, glassblowers, or vendors who would peddle their sometimes grotesque, often political, and usually paradoxical tales in public squares. Bristin would attract customers to his cart with his wit and wonder, selling his wares with an air of showmanship that would prove instrumental in building the foundations of narrative rhythm for Fo, whose first performances were versions of stories he had heard from the fabulatori.
As for any child growing up in Europe at that period of time, Fo’s adolescence was dominated by the outbreak of the Second World War. His studies in architecture at the Brera Academy in Milan were interrupted when Fo was called up for military duty in service to the army of the Salò Republic, a puppet state for Nazi Germany loosely controlled by Mussolini. Deserting a cause he never believed in, Fo spent the last few months of the war in hiding while also assisting his parents in the Resistance movement, tending to wounded partisans and helping Allied prisoners and Jewish refugees escape across the nearby border of Switzerland.
Returning to the Academy after the war, Fo found he had a diminished passion for architecture, and grew intoxicated by the intellectual discourse, creative endeavors, and political activism in the newly liberated Milan. He started reading Karl Marx and Antonio Gramsci (whose key arguments included the importance of intellectuals in creating a counter-current of thought which would eventually overcome the ideological dominance of the ruling class), in addition to playwrights Bertolt Brecht and Federico García Lorca. He also began associating with Communist Party members, painters, writers, and actors. Before long, Fo drifted into theatre, applying his storytelling heritage and his aptitude for improvisation to act in various sketches and revue shows in the late 1940s. Under the influence of French farce, neo-realist cinema, and the work of dramatist Eduardo de Filippo, he began to shape his own aesthetic as an artist. Soon he retired his architectural ambitions altogether, withdrawing from his degree only a few exams shy of graduation.
Fo’s big break came in 1950, when he presented some of his adapted stories to renowned actor Franco Parenti, including a comedic interpretation of the parable of Cain and Abel. Impressed by Fo’s gifts, Parenti enthusiastically welcomed him into his company. By the early 1950s, Fo’s series of comic performances collectively titled Poer Nano (translating to either “poor lad,” “poor wretch,” or “poor little thing”) was playing on larger stages, as well as being broadcast on the state radio channel. Parenti’s variety show is where Fo first laid eyes on Franca Rame, his future wife. Her photo in a company program struck him deeply, and when he saw her in three-dimensional form it only confirmed his suspicions: love at first sight. Not knowing how to approach her, he instead decided to ignore her in total, until she lost interest with that game and one day pinned him against a wall and kissed him. The pair married in 1954 and had their only child, Jacopo, one year later.
Fo and Rame decided to move to Rome where they pursued work in cinema, with Fo penning scripts and the two acting alongside each other in front of the camera. Their time working in film, however, was met with limited success and questionable fulfillment, and they soon found themselves headed back to Milan to establish their own theatre company, Compagnia Fo-Rame. Rame herself was from a well-regarded theatrical family, and Fo found inspiration from some of their old material which required participation from the public, stating in the stage directions that the audience “had to” laugh or applaud at certain moments. An active audience was important to Fo, and the farces were a prime way for him to entertain them while also conveying his own political agendas in a nondidactic form. From 1958, the company wrote and produced comedies, such as Comica finale, taking their performances on extended tours around the country. This decade became known as Fo’s “bourgeois period” where, despite a little social prodding, his work was popular and even considered safe.
A marked change came for Fo in 1967 when his play, La signora è da buttare (Throw the Lady Away), an attack on the American involvement in Vietnam, raised public ire and was met with heckles and even police involvement. Fo was threatened with arrest for some of the jokes deemed offensive to Lyndon Johnson, a foreign head of state. This may have been the catalyst for the dissolution of their company Compagnia Fo-Rame and the formation of Nuova Scena, or New Scene. With the socialist debates and student revolts of 1968, the political climate in Italy was significantly different. Fo and Rame were ready to break away from what was popular and bourgeois, including their own company, despite the fact that by this time, Fo was indisputably Italy’s most prominent playwright. It was this “revolutionary period” that yielded the most well-known works of Fo’s career, including Legami pure che tanto io spacco tutto lo stesso (Tie Me Up But I’ll Still Smash Everything) which condemned the Italian Communist Party for its compromises with capitalism, Mistero buffo (Comic Mystery) which mocked the church, Morte accidentale di un anarchico (Accidental Death of an Anarchist), and Non si paga! Non si paga! (Can’t Pay! Won’t Pay!), a critique on the exploitation of the proletariat.
This new rebellious direction was met with forcible censorship, violence, and it even prevented Fo from entering the United States for an Italian theatre festival in 1980, when he was denied visas by the Reagan administration on the grounds of his “subversive” nature. Though, as scholars Farrell and Scuderi point out, “there was nothing subversive, or at least nothing covert, about Fo’s aims. He was as openly revolutionary as any man could be.”
Despite adversity, the work of Fo (and Rame) has retained an undeniable relevance and lasting impact, which was truly acknowledged with his receipt of the Nobel Prize for Literature in 1997. When accepting his award, about a quarter of his speech consisted of him recounting a story that he heard from a fabulatore when he was a child in San Giano. Coming full circle to honor his roots, Fo never betrayed his humble origins by becoming the cliché of the populist, pretentious artist; he never sold his soul. Today, his work continues to demonstrate that a revolution can be more than just a destructive uprising. It can be open, it can be intellectual, and it can be fun.
Accidental death of an actual anarchist
By Julie McCormick
Dario Fo’s beloved farce satirizes a miscarriage of justice so outrageous that all one can do is laugh. What makes it all the more extraordinary is that it is based on true events.
On December 12, 1969, a bomb exploded at the Piazza Fontana in Milan, in the headquarters of the National Agricultural Bank. It was a devastating terrorist event that killed 16 people and may have injured more than 100. Two more bombs went off simultaneously in Rome, and other undetonated explosives were found elsewhere in Milan. The Prime Minister of Italy at the time, Mariano Rumor, said that the explosions were “an act of barbarism which has no precedent in the history of the country,” and gave the investigators the permission “act with the maximum severity against those who want to poison the peace of the Italian people.” The police took his words to heart and immediately began detaining suspects from local anarchist groups. The BBC estimates that the Italian authorities ultimately made over 4,000 arrests in conjunction with the attack.
One of these suspects was Giuseppe Pinelli, whose story informs the plot of Fo’s play. A railroad worker and an active member in his local anarchist chapter, Pinelli was arrested soon after the bombing and interrogated for three days without seeing a judge. At the end of the third day, he fell to his death from a fourth-floor window at police headquarters. Though the three police officers interrogating Pinelli were placed under investigation, his death was ultimately determined to be of “accidental” causes.
This is only one instance of the many questionable circumstances surrounding the Piazza Fontana bombing. The trials and investigations continued for decades, and the twists and turns of justice along the way are worthy of their own play, too. Anarchist Pietro Valpreda was held for three years in preventative detention before finally being sentenced. It was only after 16 years of appeals and several mistrials that his name was cleared.
Originally, the investigations focused solely on Milanese anarchist groups, but in the 1970s, three fascists working for the Italian secret police were tried in absentia, found to be guilty, and sentenced to life in prison. All three were later acquitted in the late 1980s. In 1998, evidence of foreign involvement emerged: a U.S. Navy officer, an Italian CIA coordinator, and an officer in the U.S.-NATO intelligence network were all implicated in the Piazza Fontana bombing, but none of them were ultimately sentenced. In 2001, members of the Italian right-wing political group Ordine Nuovo were convicted of the bombing, but those convictions were later overturned in 2004. As of the last trial in 2005, no one had actually been found guilty of the bombing.
The attacks and surrounding scandal were unfortunately not isolated incidents of political unrest and government corruption. The decade following the Piazza Fontana bombing (roughly 1969 to 1979) has come to be known as the Anni di piombo, or the “Years of Lead.” Some suggest this name comes from the sheer volume of bullets that were fired during this time. There were constant confrontations between the various political factions in the country, instigated by decades of unrest within Italy boiling to the surface.
During the postwar years, a boom in factory production drew families from the agricultural south up to the more cosmopolitan and industrialized north in droves. Cities were unready for this massive migration, and overcrowded slums sprung up around urban areas overnight. At the same time, the Communist Party gained more power in the central government and pushed for labor reform and more worker benefits. These population shifts combined with union-associated costs in the 1960s to create virulent inflation.
The economic downturn came to a head in the “hot autumn” of 1969, when workers and students went on strike and occupied factories and classrooms, and mass demonstrations swept throughout Northern Italy. But the protests were not just about better wages and working conditions—they were also about challenging the conservative status quo. The church lost some of its cultural and political power as the general population secularized. Regular church attendance fell in the latter part of the 20th century, from about 70 percent in the mid-1950s to about 30 percent in the 1980s. Old-fashioned ideas about traditional family structures loosened as women gained more social rights, education, and power in the workforce. (Women in Italy did not have the right to vote until 1960, and the first divorce law was not passed until 1970.)
During the Years of Lead, neo-Fascist and right-wing groups sought to take power from the left and undermine the Communist Party’s recent labor advances. Derailed trains and terrorist bombs like the one at Piazza Fontana were blamed on the left, but many were actually perpetrated by the right, often in cahoots with the government. Atrocities were committed by all sides, however; one of the most notable was the kidnapping and assassination of the Christian Democrat Prime Minister Aldo Moro by the Red Brigades in 1978. Though this “strategy of tension” was motivated by domestic angling for power, there is evidence of international (read, American) interference in a Cold War effort to wrest power away from communists.
Rather than bombs or bullets, theatre artists like Dario Fo used their art to call attention to the hypocrisies of those in power. He says about Accidental Death’s first appearance just a few years after the Piazza Fontana bombing:
[The audience] split their sides laughing at the effects produced by the comical and at the same time satirical situations. But as the performance went on, they gradually came to see that they were laughing the whole time at real events, events which were criminal and obscene in their brutality: crimes of the state.
So the grins froze on their faces and in most cases turned into a kind of grand guignol scream which had nothing liberating about it, nothing to make things palatable—on the contrary, it made them impossible to swallow.
This style of provocative theatrical satire is not a relic of the 1970s—it remains a sharp political tool even today. As Fo observes, something about the form seems uniquely suited to Italy: “because of a particular historical and cultural process, the taste for satire touches a very deeply rooted feeling in the Italian public…The taste for satire was not suppressed even by fascism—in fact it developed.”
And despite advantages in media technology, theatre remains a preferred platform for political critique. Italian media is highly regulated by the government. The major television network, RAI, is state-run, and former Prime Minister Silvio Berlusconi also founded Mediaset, one of Europe’s largest TV companies. Berlusconi, a billionaire media mogul who is also the head of the right-wing political party Forza Italia, has been accused of everything from tax evasion to bribery and solicitation of underage prostitutes. When comedians or satirists called attention to charges of corruption or outright criminality in Berlusconi’s administration, their programs were yanked from the airwaves. In November of 2004, comedian Sabina Guzzanti launched a TV program called Raiot satirizing the state-owned television network. Despite extremely high numbers of viewers for its premiere episode, it was taken off of the network, and Guzzanti has since turned her program into a theatrical event.
Il Partito d’Amore (The Party of Love) is another example of political critique moving from the screen to the stage. This long-running piece used real transcripts of interviews and parliamentary meetings to build its dialogue and ever-changing script. The twist? The parts were performed by actual sitting members of the Italian legislature.
If politicians can try their hands at comedy, then so too can comedians try their hands at politics. After his pointed barbs were banned from the small screen, stand-up comedian Beppe Grillo took his political critiques to the streets and the internet. His popularity both in Italy and abroad grew to the point where he founded a new political movement in 2010—the Five Star Movement. Using the internet and word-of-mouth, it has garnered enormous support from Italians fed up with the corruption and excesses of the current government. The movement does not affiliate itself with either the traditional left or the right, and demands answers to tough questions about corruption, the environment, Italy’s inclusion in the EU, and the wars in Afghanistan and Iraq. In 2007, Grillo put together the first “V-Day” rally (here, the “V” stands for vaffanculo, Italian for “fuck off” or “fuck you”), excoriating corrupt politicians. Two million people showed up at the rally. During the 2010 regional elections, four councilors associated with the movement were elected, and in 2012 the movement received the third-highest number of votes overall and won the mayoral seat in Parma. It remains to be seen how the fledgling direct-democracy movement performs in office, but what is clear is that the people of Italy are ready for a change.
If there is one thing that recent events have taught us, it’s that history repeats itself. Though the exact circumstances might change over time, both our capacity for corruption and the intense desire to bring it into the light remain intact. We are all somehow implicated in the triumphs and failings of our society, whether we are perpetrators or rebels or indifferent bystanders, but it is the artist who has the unique ability to hold up a mirror to our greatest flaws and make us truly see them.
The clown jumped over the moon
By Sam Basger
Christopher Bayes: director, actor, designer, composer, clown. No, he doesn’t do birthday parties. Rather, he has embraced the art of clowning and commedia dell’arte—an Italian style of improvised comedy using masks that portray archetypal characters—since his time with the internationally acclaimed Theatre de la Jeune Lune, training with alumni of the prestigious Lecoq School in Paris. For Bayes, this fascination with physical exploration, the freedom to play and create with one’s body, has prompted fruitful collaborations between artists and innovative experiences for audiences. Juggling his busy schedule, Mr. Bayes took a moment to chat with us about how his career so far has led from Molière to Italian madmen, while instructing a few fledgling clowns in between.
How would you describe the world of Accidental Death of an Anarchist?
The play is built on a farce structure and takes place in two identical rooms. One is on the first floor and one is on the fourth. It is written to be played on one set and takes place in 1970. For me, who grew up in the ‘60s and ‘70s it had a kind of sitcom feel, like Barney Miller gone terribly wrong or The Honeymooners or I Love Lucy gone completely psycho. So we used this feeling as a kind of inspiration for the design elements. It feels very much of its time but also it is very clear that we are doing a period play in the present moment. There is a kind of acknowledgement of the theatrical conceit.
Why this play and why now?
We have been wanting to do this play for a few years but couldn’t seem to get the rights. So we did Servant of Two Masters instead, which ended up touring the country and playing in five regional theatres over the last four years. Finally we managed to get the rights to do Anarchist and it has been a delight to work on it. I don’t think that there is a particular moment in time that we said, “Oh look at all of this corruption…we need to do Dario Fo!” Corruption and cover-ups never seem to stop. They just seem to get stupider because we have grown to expect them.
What makes a clown?
The clown is an innocent, a beautiful creature full of hope and playfulness that springs from the backstage world of our imagination. The clown is the unsocialized self sent to show us the poetry and beauty that we have given away by becoming organized and responsible adults. It reminds us of possibility of play and the gleeful disaster.
Can you teach someone to be funny?
Yes. I do it every day.
When did you know that physical comedy would become an area of focus for you? How did you discover your aptitude for it?
I don’t really know. When I began as an actor almost all of my training had been in Stanislavsky-based work. Somehow it never seemed completely satisfying to me. I always felt like a bit of a liar. Then I began exploring some more physically based work—Noh theatre and the teachings of Jacques Lecoq. All of the sudden the world of the theatre, the architecture, and the actor-audience relationship began to make sense. The world of the Clown and Commedia came alive for me. And people began to laugh at my idiotic shenanigans. All of the sudden I felt a kind of ownership of the work in a way that I had never felt before. There is also something about the abandon and fearlessness that physical comedy requires that appealed to me as a kind of celebration of the theatrical conversation. It is a kind of call and response that brings everyone together in the room. I think that we go to the theatre for that kind of experience.
How did your relationship with physicality affect your connection with verbal language?
It all travels together. Gesture and language spring from the same source. I guess “the source” is the need to tell a story or the attempt to illuminate something about the human experience. If a story is told with more physicality it becomes a more visceral experience. Verbal storytelling tends to be more of a cerebral experience.
What was your greatest experience in a theatre?
Perhaps being brought up onstage for the curtain call on the opening night of Servant of Two Masters. I hadn’t taken a curtain call in 20 years. The audience looks so beautiful from up there. Especially when they are standing up and clapping with big smiles on their faces. I got to take a bow with my dear friend and co-conspirator of 30 years Steve Epp and a miraculous company of actors. It was a total surprise and very moving.
What makes theatre fun?
Fun makes theatre fun. When the actors are having fun, when we all feel a bit naughty or break some of the rules. Surprise. Or simply giving the gift of our performance away with a kind of reckless, gleeful abandon.
Can you name some of the artists that inspire you?
Elmer Fudd, Don Knotts, Roberto Benigni, Stan Laurel, George Carl, Terry Gilliam, Tom Waits, Jerry Garcia, Magritte, Mozart, The Lopsided Caravan of Misfit Toys, Eli and Cosmo. Annie.
What’s next for Christopher Bayes?
My big summer workshops are coming up in June. It’s an entire month of Clown and Commedia training in Brooklyn. I am always inspired by the courage that it takes for these actors just to get in the room. And then…who knows…perhaps Anarchist will travel more, or Servant of Two Masters may come back, or Doctor in Spite of Himself may go somewhere exciting. Or perhaps something entirely new and altogether surprising.
Michael Leibert Artistic Director Tony Taccone introduces Accidental Death of an Anarchist.
More about playwright Dario Fo, commedia dell’arte, political theatre, and the politics of Italy—all courtesy of our staff in the literary department.
- A detailed biography of Dario Fo and Franca Rame, written by the Nobel Foundation upon Fo’s receipt of the Nobel Prize for Literature in 1997.
- This article from the New York Times illustrates the controversy and criticism surrounding Fo being awarded the Nobel Prize, with the Vatican taking exception to the glorifying of a figure considered to be religiously subversive.
- A fascinating 1985 interview with Dario Fo from Brooklyn-based Bomb magazine, featuring direct insight into the mind of the great artist and activist only months after Accidental Death of an Anarchist closed its largely unsuccessful run on Broadway.
- A filmed English translation of Fo’s 2013 World Theatre Day address, which proves that, even at the age of 87, Fo is as much a revolutionary as he ever was.
Commedia dell’arte, an Italian style of improvised comedy using masks that portray archetypal or “stock” characters, was a big influence on Dario Fo, and a form which director Christopher Bayes studied extensively and has continued on to teach. Accidental Death of an Anarchist uses elements of both farce and commedia.
- An encyclopedic definition of commedia dell’arte from the New York Metropolitan Museum’s Department of European Paintings. Included is a slideshow of artworks depicting commedia performances and stock characters.
- A selection of short films from the National Theatre in London about the history, language, and physicality of this theatrical form.
- A short biography of Jacques Lecoq, the man considered to be one of the key practitioners of commedia dell’arte and physical theatre. In addition to collaborating with artistic figures such as Dario Fo and Franco Parenti, Lecoq’s highly regarded school in Paris was an influential training ground for director Christopher Bayes.
- From the Seattle Times, theatre critic Misha Berson explores the question of why political theatre faces such an uphill struggle for hearts and minds in contemporary America. The article discusses various playwrights and companies, such as the San Francisco Mime Troupe, to address the fact that theatre can still offer a “vibrant arena for imaginative illumination and gripping debate.”
- An article from the Brooklyn Rail magazine about the unique capacity of political plays to inform and entertain.
Brecht on Theatre: The Development of an Aesthetic edited and translated by John Willett
- This book is a selection of Bertolt Brecht’s essays from 1918 to 1956, in which he first explored his definition of Epic Theatre and theory of verfremdungseffekt, an alienation technique designed to draw the audience’s attention to the artifice of performance.
- In 2004, Silvio Berlusconi, the former Prime Minister of Italy, was silencing any opposition to his reign by having anything deemed subversive removed from broadcast media. As a result, the political conversations and criticisms moved to the theatre. This Economist article speaks of the difficulties that Dario Fo and others faced at the time in attempting to communicate their message with the public.
Italy at the time
A History of Contemporary Italy: Society and Politics 1943–1988 by Paul Ginsborg
- Paul Ginsborg’s book charts the profound economic and social transformation that occurred in Italy following the end of the Second World War, when the nation shook off its image as an agrarian “peasant country” and became one of the major industrial nations in the western world.
- An essay from the International Socialist Review by William Keach. The piece discusses Berlusconi’s governance in relation to the political uprisings of the late 1960s, when students and workers across the nation took to the streets.
Piazza Fontana: The Italian Conspiracy (2012) directed by Marco Tullio Giordana
- This critically lauded Italian film, a fictionalized chronicle of the infamous Piazza Fontana bombing and the events surrounding the incident, provides good context for the political temperature in Italy at the time.
Free Speech pre- and post-show enrichment programs
Meet us in the Theatre an hour before the show on Tuesdays and Thursdays for an engrossing presentation about your subscription-season play. Hear about the playwright’s perspective, dive into the historical context, and discover why the script is relevant right now. Each 30-minute talk includes plenty of time for your questions.
Post-show docent-led discussions follow matinees.
Our docents also offer talks off-site:
- Monday, March 10 · 7pm—Kensington Library
- Tuesday, March 18 · 7pm—Orinda Library
- Wednesday, March 19 · 2pm—Moraga Library
- Tuesday, March 25 · 7pm—Lafayette Library
Stick around after select performances for lively Q&A sessions with our artists on Tuesday, Thursday, and Friday nights.
- Thursday, March 27, 2014
- Tuesday, April 1, 2014
- Friday, April 11, 2014
Cap off your night with us after select evening performances throughout the season and sample wine, spirits, and other culinary delights from local vendors—all for FREE! Samplings begin immediately following the performance.
- Saturday, March 15, 2014
Teen Night gives local teens the opportunity to meet for dinner and a behind-the-scenes discussion with a member of the artistic team before attending each subscription-season production at an extremely discounted price.
Past Teen Night guests have included: Tony Taccone, Berkeley Rep’s Michael Leibert Artistic Director; Ray Garcia and Salvatore Vassallo, dancers in Rita Moreno: Life Without Makeup; and Michael Suenkel, Berkeley Rep’s production stage manager.
- Friday, March 7, 2014