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marintheatre.orgFind exclusive background content on our website. Go to the Good People web page and click the “Learn More” tab.

• Browse costume and scenic designs.

• Read a web exclusive article on merit and the American Dream.

• Did you know that 4 out of 5 US adults struggle with joblessness, near-poverty or reliance on welfare for at least part of their lives? Follow links to Guardian, New York Times and Atlantic features about economic insecurity and class.

• Why don’t many American playwrights write about class? Read interviews with playwright David Lindsay-Abaire.

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TABLE OF CONTENTS

5 FROM THE ARTISTIC DIRECTOR 7 FROM THE MANAGING DIRECTOR 9 MTC NEWS IN BRIEF 10 IN THE COMMUNITY: PARTNERSHIP WITH BAY AREA CHILDREN’S THEATRE 13 PROGRAM 15 CAST 16 DRAMATURGY 16 WHAT IT MEANS TO BE “GOOD PEOPLE” 18 PRIMARY SOURCES FOR FURTHER CONSIDERATION 23 WHO’S WHO31 MTC STAFF AND BOARD 32 DONORS 36 PATRON INFORMATION

AUG/SEPT 201347th SEASON

Amy Resnick | photo by Ed Smith;cover illustration by Mick Wiggins

2013-14 SEASONMARIN THEATRE COMPANY

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Welcome to our 2013-14 season. Thank you for joining us. We have an exciting line-up of provocative plays that are sure to keep you entertained, talking and

debating the ideas of our passionate playwrights all season long.

We’re opening and closing the season with two very differ-ent regional premieres. David Lindsay-Abaire’s Broadway hit

Good People is under the direction of Tracy Young, a talented director who we’ve been wanting to work with for some time. She has assembled an amaz-ing cast of veteran MTC actors and has led them to a very funny, very moving exploration of living on the economic edge in America.

To close the season, Chicago playwright Philip Dawkins’ wildly imaginative, lyrical fable Failure: A Love Story will bring to the stage four of your favorite MTC actors, who between them play 17 different musical instruments to tell the story of the doomed but boisterous Fail sisters.

This season includes two exciting world premieres that have multiple produc-tions lined up through the National New Play Network’s Continued Life of New American Plays Program. San Francisco-based Lauren Gunderson’s I and You, a beautiful, haunting play about two high school seniors who find their lives inseparably intertwined, will go on to productions in Olney, Maryland, Indianapolis and Rochester, New York. Carson Kreitzer’s Lasso of Truth, about the man who created Wonder Woman, is a co-commission between MTC and NNPN and has been undergoing development for two years here and in part-nerships with the Playwrights’ Center in Minneapolis, Oregon Shakespeare Fes-tival’s Black Swan Lab and Lark Play Development Center in New York City. After our winter production, the play will move on to Atlanta and Kansas City.

To round out the season, we have the holiday treat Jacob Marley’s Christmas Carol and the next installment in our exploration of August Wilson’s Century Cycle, his Pulitzer Prize-winning Fences.

I’m delighted that Equivocation and 9 Circles playwright Bill Cain will be in residence at MTC for two weeks in October to develop his new play 33 with our artistic staff. Bill and Lauren Gunderson will be our special guests for a conversation about creating new plays at a fundraising event to benefit our New Plays Program on October 6 at Mill Valley’s Savory Thymes. You don’t want to miss this very special evening with two of our favorite playwrights.

With so many good plays and good people from beginning to end, I hope you’ll join us all season long!

– Jasson Minadakis

FROM THE ARTISTIC DIRECTOR

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As of the first preview of Good PeoPle, it is six months ago almost to the day that my wife Heidi and I moved to Mill Valley and I started my work as the

managing director of Marin Theatre Company. It’s an arbi-trary milestone, but I think it’s worth taking stock of what I’ve learned, where MTC’s headed, and how you might come along.

First off, everything I suspected about the artistic process and output at MTC is true. This doesn’t mean I’m prescient; it means that it’s blindingly obvious that we are producing quality plays on our stages. Is there room for us to im-prove? Always. But take it from me as a recent out-of-towner: MTC is produc-ing provocative plays by passionate playwrights featuring the highest caliber artists from around the Bay Area and the country, right here in our backyard.

Marin County is a place for families and children, and MTC is no exception. It’s been exciting to get out into the schools and see the impact that our teach-ing artists have on students all over the county. Thousands more attend free or reduced-price matinee main stage performances and our Theater Series for Young Audiences, and even more take conservatory classes or attend a camp here at the theater. Creating the next generation of audiences and artists is central to MTC’s mission, and the daily squeals and yawps elicited from our Education Program participants are a reminder that we’re living it.

I’ve also been wowed by the deep commitment to the arts in Mill Valley. From galleries to the Mountain Play and Throckmorton to all the summer Arts Commission activity and more (not to mention MTC!), this town has put the arts at the center of its life. The 2040 City Plan (available for some light read-ing at cityofmillvalley.org) includes, for the first time in Mill Valley history, a section devoted to the arts. For a town of this size to articulate a formal commitment to supporting the arts is virtually unheard of. We’re excited to see where this partnership with city government leads.

In the coming months, Jasson, the Board of Directors, MTC staff and I will be engaging in a renewed strategic planning process, building on our recent successes in order to create a sustainable and dynamic future for MTC. As a valued member of our family, always feel free to reach out to me by email at michaelb@marintheatre.org. I look forward to seeing you at the theater over my second six months – and beyond!

– Michael Barker

FROM THE MANAGING DIRECTOR

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Savory Thymes benefit

On Sunday, October 6, please join artistic director Jasson Minadakis and MTC playwrights Bill Cain andLauren Gunderson for a benefit in support of MTC’s New Plays Program at Hillside Gardens in Mill Valley. $75/person, includes exclu-sive sneak peak at Cain’s new play in development, 33. For tickets and information, call Susan Gordon, 415.322.6035.

Announcing new adult classes

We are excited to begin offering adult theater classes this fall. Our first class, “Contemporary American Play-wrights,” will be a reading group for new plays led by artistic director Jas-son Minadakis and director of new play development Margot Melcon. Classes will be held at MTC, Mon-days, Sept. 9 to Nov. 18, 7:00–8:30 p.m. For more information, call Mariel Rossman at 415.322.6026.

OSF trip nearly full

Packages for our fifth annual Theater Tour to Oregon Shakespeare Festival, Oct. 31 to Nov. 4, are nearly sold out. To snap up yours today, call Susan Gordon, 415.322.6035. See brochure in lobby for details.

New Plays Program update

The submission period for our 2014 Sky Cooper and David Calicchio new play prizes closes on August 31. We receive over 700 submissions annually to this program, now in its seventh year.

Our next production, Lauren Gunderson’s I and You, received support from the National New Play Network’s Continued Life of New Plays Fund. After we kick off the show’s Rolling World Premiere in October, it will be produced by Olney Theatre Center in Maryland and Phoenix Theatre in Indiana.

Playwright Bill Cain (Equivocation and 9 Circles) is in residence at MTC for two weeks in October to work-shop his new play 33.

Affiliated playwright premieres

Our 2010-11 NNPN Playwright-in-Residence Frances Ya-Chu Cowhig’s play The World of Extreme Happi-ness premieres at London’s National Theatre in September 2013.

Our 2012-13 NNPN Playwright-in-Residence JC Lee makes his NYC debut with the world premiere of his play Luce at Lincoln Center’s LCT3 in October 2013.

Other upcoming events

• Free library lecture series, 7:30 p.m. Topic: Lauren Gunderson’s I and You

– 9/26: Belvedere-Tiburon Library

– 10/1: Larkspur Library

– 10/2: Mill Valley Public Library

• 10/10-11/3: I and You | Mainstage

• 11/2-11/10: Rapunzel | Theater Series for Young Audiences

Visit marintheatre.org for more infor-mation about our shows, events and programs. n

NEWS IN BRIEF

IN THE COMMUNITY

I love theater for youngaudiences. It is a joy to see how young ones light up when they

experience the magic of live theater. They are so engaged and present, con-necting deeply to the story being told in front of them. One of the values that Marin Theatre Company holds that drew me to this organization is their belief that every child should grow up experiencing great theater. We want to produce great work that inspires audiences of all ages.

When I first came on board at MTC, Jasson and I decided that it is a top priority to create extensive program-ming for families. Knowing that it

will take several seasons to build the infrastructure needed to sup-port producing a full season of plays for youth, I started to think about potential partnerships that would allow us to serve our young audiences more fully today. Up until this year, we produced one to two School Tour productions each year that toured throughout Marin County and the Bay Area. A few years ago, we also started presenting the School Tour onsite at MTC to engage neighbor-hood families in the experience.

Due to logistical challenges, I real-ized last December that we weren’t going to be able to mount the MTC

Partners in fun |

10

Claire Slattery (Thing 2) with audience members during Bay Area Children’s Theatre production of The Cat in the Hat. | photo by Joshua Posamentier

Bay Area Children’s Theatre and MTC join for new Theater Series for Young Audiences

IN THE COMMUNITY

run of our The Lion, the Witch and the Wardrobe School Tour in March and April 2013, but I didn’t want to lose our one slot in the year where we had been presenting work for children and families. That’s when the light bulb lit up in my mind and I thought that this might be an opportunity to pilot a partnership experiment to see how Marin County families would receive it.

When selecting a partner, it is im-portant to find someone who shares similar values and whose work you respect. For me, I knew right away that I wanted to work with Bay Area Children’s Theatre. I first encountered BACT when I attended their produc-tion of Junie B. Jones and a Little Monkey Business in 2006. I was dazzled by the show; it was a magical experience made by people who have what it takes to make meaningful work for children that doesn’t pander or wallow in didactic language. Their work is smart, funny and innovative, engaging families with each other in creative experiences. Those are the

values we hold in our own work.

I reached out to Nina Meehan, executive director of BACT, and she thought to bring Ivy + Bean, the Musical to MTC. I loved the idea, and the benefits of working together were very apparent for both organizations. With every show sold out, the MTC run of Ivy + Bean went even better than we had anticipated, so continu-ing the partnership seemed to be a no brainer.

We are excited about this partnership as it creates the opportunity for us at MTC to provide a full season of quality theater for young audiences in Marin County with a partner who, over the last ten years, has created a home for Bay Area children to engage creatively with their families and their imaginations.

We look forward to seeing you and the young people in your life this season! n

– Daunielle Rasmussen Director of Education

Recommended for ages 3-12 | Running times are 45-60 minutes

Tickets: $15 children under 14 | $20 adults | $17 seniors 65 and overGroup Sales: Groups of 15+ save $3 off each ticket – not available onlineFour-show packages are available. $60 children | $80 for adults, include free ticket exchanges – not available online

Learn more at marintheatre.org or by calling our Box Office, (415) 388-5208.

2013-14 Theater Series for Young Audiences

10:30 a.m. & 12:30 p.m. on Sat & Sun:

• 11/2-10: Rapunzel

• 1/11-19: A Year with Frog & Toad

• 3/8-16: Mercy Watson to the Rescue

• 5/24-6/8: Ladybug Girl and Bumblebee Boy, the Musical

Contact Sasha to learn more:415.388.5200 x3313

sasha@marintheatre.org

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22 Miller AvenueMill Valley CA 94941Mill Valley CA 94941

Just across Miller from the Depot Plaza

We are open Late-Night!Join us before or after the performance

and enjoy a 10% discount on food purchasewhen you present your ticket receipt

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GOOD PEOPLE is presented by special arrangement with Dramatists Play Service, Inc., New York.

Originally commissioned by the Manhattan Theatre Club (Lynn Meadow, artistic director; Barry Grove, executive producer)

with funds provided by Bank of America and received its world premiere there on February 8, 2011.

Original music ©2013 Chris Houston Music ASCAP

+ Member, Stage Directors and Choreographers Society

*Member, Actors’ Equity Association

**Member, United Scenic Artists Local 829

MARIN THEATRE COMPANY

JASSON MINADAKIS | ARTISTIC DIRECTOR MICHAEL BARKER | MANAGING DIRECTOR

by David Lindsay-Abaire

directed by Tracy Young+

Scenic Designer Nina Ball**

Lighting Designer Gabe Maxson

Costume Designer Heidi Leigh Hanson

Sound Designer & Composer Chris Houston

Dialect Coach Lynne Soffer*

Stage Manager Sean McStravick*

Properties Artisan Seren Helday

Casting Director Meg Pearson

Dramaturg Margot Melcon

Assistant Director Keating Marie

FEATURING

Mark Anderson Phillips,* Anne Darragh,* Ben Euphrat, Jamie Jones,* ZZ Moor & Amy Resnick*

BAY AREA PREMIERE

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Peter J. Owens fund

1414

this production ofGood People

is generously underwritten by the following:

MTC PARTNERS

Anonymous | The Bellebyron Foundation | N.J. “Sky” Cooper

The William and Flora Hewlett Foundation

Marin Community Foundation | Gage Schubert

Christopher B. & Jeannie Meg Smith

SEASON PARTNERS

Tracy & Brian Haughton | The Shubert Foundation

James & Beth Wintersteen

VIP PRODUCERS

The Capital Group Companies

Mrs. Gale K. Gottlieb in honor of Dr. Kenneth I. Gottlieb

The Haughton Family Charitable Fund | Susan & Russell Holdstein

Lori Lerner & Terry Berkemeier | Shirley Loubé

Melanie & Peter Maier | Kiki Pescatello

Venturous Theater Fund at the Tides Foundation

EXECUTIVE PRODUCERS

Carl & Linden Berry | Bobbie & Dave Chapman

John & Shelley Chesley | Molly & Brett Dick

Tina McArthur & Richard Rubenstein

Robin & Rick Rice | Fred & Kathleen Taylor

PATRON EVENT SPONSORS

La Coppa Coffee | Stacy Scott Catering

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MARIN THEATRE COMPANY

BAY AREA PREMIERE

Cast of Charactersin order of appearance

Margaret . . . . . . . . . . . . . . . . Amy Resnick*

Stevie . . . . . . . . . . . . . . . . . . . . Ben Euphrat

Dottie . . . . . . . . . . . . . . . . . Anne Darragh*

Jean . . . . . . . . . . . . . . . . . . . . Jamie Jones*

Mike . . . . . . . . . . . .Mark Anderson Phillips*

Kate . . . . . . . . . . . . . . . . . . . . . . ZZ Moor

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.

Place:South Boston’s Lower End and Chestnut Hill, Massachusetts

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There is one 15-minute intermission.

Please join us for After Words, a question and answer session led by a member of our artistic staff,

immediately following this performance (except on Saturdays and Opening and Closing Nights).

Special thanks to Benjamin Pryor and University of San Francisco Performing Arts Department

DRAMATURGY

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It is Saturday morning and I’m at the San Francisco Public Library picking up some authori-

tative research on what it means to be a “good person” so I can write an informed article – this article – for our production of David Lindsay-Abaire’s Good People. Loaded with an armful of books, I walk by a man who looks at me in a too-sleazy-for-a-Saturday-morning way and makes a lewd comment about the size of my stack. (To be fair, he could have been referring to the books I was carrying, but I’m pretty sure he meant some-

thing else). That guy, I decide with a cringe, is not good people.

But then, as I’m making my way to a quiet table on the third floor to flip through said books, one slips off the stack and clatters to the floor with enough noise to cause the librarians to impulsively look up and shush me with their eyes. A man who had just gotten off the elevator hurried over to pick up the book and place it gin-gerly on top of the rest, since both of my hands were full. This guy, I think, is good people.

Are Margie (Amy Resnick) and Mike (Mark Anderson Phillips) good people? | photo by Ed Smith

What it means to be “good people”

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DRAMATURGY

We make thousands of judgments like these every day about each other and about ourselves. Hold the door for someone, call an aging relative just to say hello, decide to adopt a child in need: good people do these things. Cut someone off on the freeway, take credit for some-one else’s work, lie to your partner about why you were late – do these things automatically make you a bad person, or just a person who made a bad choice?

What does it mean to be a good person? There are plenty who claim to be experts on goodness who attempt to teach or guide or lead the rest of us (though whether they themselves always act in a befitting way is another story), but how do they know? There are some generally agreed upon criteria for being a good person: following the golden rule of doing unto others as you would have done unto you; being kind, gener-ous, unselfish, compassionate; paying heed to sentences that begin with “thou shalt not;” avoiding anything that will lead to jail time, and so on.

Rather than large acts, it would seem that most principles of goodness re-volve around small, everyday acts of kindness. William Wordsworth said, “The best portion of a good man’s life is his little, nameless, unremem-bered acts of kindness and of love.” In Merchant of Venice, Shakespeare writes, “How far that little candle throws his beams! So shines a good deed in a naughty world.” There are

few opportunities for heroic gestures in a lifetime, but everyday decisions offer many opportunities to do the right thing, for yourself and others.

Discussions of what it means to be a good person falter because they are not only subjective, but can also be contradictory. What is right in one situation might be wrong in another. Sometimes doing something good for one person means harming another. According to Aristotle, “It is easy to perform a good action, but not easy to acquire a settled habit of perform-ing such actions.” Acting in a moral or ethical manner requires an ongo-ing debate with conflicting impulses that lure one to act selfishly or unself-ishly, for personal advancement or greater good.

With the exception of extreme cases like sociopaths, most people at least try to be good. The information in the stacks of books I read through all impress upon the reader that trying to be a good person is really the best we can do. Very few people can claim perfection, but making the effort to choose to be kind and make a positive difference in the lives of people around you means almost as much. What it means to be a good person may be the awareness of the opportunities we all have every single day to make the choice to try to be a good person. And that might be enough. n

– Margot Melcon Dramaturg

One difficulty in talking about class is that the word means different things to different people. Class is rank, it is tribe, it is culture and taste. It is atti-tudes and assumptions, a source of identity, a system of exclusion. To some, it is just money. It is an accident of birth that can influence the outcome of a life. Some Americans barely notice it; others feel its weight in powerful ways.

At its most basic, class is one way societies sort themselves out. Even societ-ies built on the idea of eliminating class have had stark differences in rank. Classes are groups of people of similar economic and social position; people who, for that reason, may share political attitudes, lifestyles, consumption patterns, cultural interests and opportunities to get ahead. Put ten people in a room and a pecking order soon emerges.

When societies were simpler, the class landscape was easier to read. Marx divided 19th-century societies into just two classes; Max Weber added a few more. As societies grew increasingly complex, the old classes became more heterogeneous. As some sociologists and marketing consultants see it, the commonly accepted big three – the upper, middle and working classes – have broken down into dozens of microclasses, defined by occupation or lifestyles.

One way to think of a person’s position in society is to imagine a handful of cards. Everyone is dealt four cards, one from each suit: education, income, occupation and wealth, the four commonly used criteria for gauging class. Face cards in a few categories may land a player in the upper middle class. At first, a person’s class is his parents’ class. Later he may pick up a new hand of his own; it is likely to resemble that of his parents, but not always. n

Excerpt from “From Shadowy Lines That Still Divide,” by Janny Scott and David Leonhardt, part of the series “Class Matters,” The New York Times, May 15, 2005.

Primary source | The attributes of class

DRAMATURGY

For further consideration

• Does class exist in America? How are class differences represented in modern society?

• Can everyone who works hard get ahead in the world or are there some circumstances that just can’t be escaped? Is hard work enough?

• What does it mean to achieve the American Dream?

• What defines someone as a good person?

• Who in the play do you believe is a good person? Why or why not?

• Do you consider yourself a good person? Why or why not? n

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WHO’S WHO

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David Lindsay-Abaire (playwright) is a playwright, screen-writer, lyricist and librettist whose play Fuddy Meers was previously staged by MTC. Premiering on Broadway, his play Rabbit Hole went on to receive the 2007 Pulitzer Prize for Dra-ma, the Spirit of America Award and five Tony nominations. He was also nominated for a Grammy Award (Best Musical

Show Album) and two Tony Awards (Best Book of a Musical and Best Score) for his work on Shrek the Musical. Prior to that, Lindsay-Abaire was awarded the 2008 Ed Kleban Award as America’s most promising musical theater lyricist. His other plays include Kimberly Akimbo, Wonder of the World and A Devil Inside, among others. His play Good People premiered on Broadway, starring Frances McDormand, and was nominated for a 2011 Tony Award. In addition to his work in theater, Lindsay-Abaire’s film credits include his screen adaptation of Rabbit Hole (starring Nicole Kidman, Aaron Eckart and Dianne Wiest; directed by John Cameron Mitchell), as well as Guardians of Child-hood (Dreamworks) and Oz: The Great and Powerful (Disney, directed by Sam Raimi). A New Dramatists alum and a graduate of Sarah Lawrence Col-lege and the Juilliard School, he is a member of the Writers Guild of America and the Dramatists Guild Council.

Tracy Young (director) makes her MTC debut with Good People. Having worked for four seasons with Oregon Shake-speare Festival, she has directed and co-adapted Medea/Mac-beth/Cinderella (also Yale Rep), The Imaginary Invalid (also Great Lakes Theater) and The Servant of Two Masters, as well as directed Luis Alfaro’s Breakfast, Lunch and Dinner. Her

other directing credits include Clybourne Park at Playmakers Rep in North Carolina, Taming of the Shrew at Idaho Shakespeare Festival, The Winter’s Tale at Ten Thousand Things in Minnesota, Michael Schlitt’s Jesus Ride at the Marsh and LA Fringe Festival, Alison Tatlock’s Jolly Good Fellow at Chalk Repertory Theatre in Los Angeles, The Wide Open Ocean Ate Aimee Semple Whole at Los Angeles Theatre Center and Hysteria, Euphoria and Dream Play at the Actors’ Gang in Los Angeles, where she was a resident director from 1992 to 2001. She was assistant director for The Clean House at Lincoln Center Theater. She’s also been an associate artist at Cornerstone Theater Com-pany in Los Angeles from 1996 to 2002. Young has received awards for direc-tion from Connecticut Critics Circle, Ovation, LA Weekly and Backstage West Garland; as well been a finalist for the Alan Schneider Directing Award, CTG Robert Sherwood Directing Award and the P.E.N. West Playwriting Award.

Mark Anderson Phillips (Mike) has appeared at MTC in Waiting for Go-dot, Edward Albee’s Tiny Alice, Happy Now?, The Last Schwartz and Sock-dology. Recently, he was seen in The Tragical History of Dr. Faustus at San

24

WHO’S WHO

Jose Rep. Locally, he has appeared in roles at TheatreWorks, Berkeley Rep, Magic Theatre, Aurora Theatre Company, SF Playhouse, Cal Shakes, the San Francisco Shakespeare Festival, Center REP and Word for Word. Regionally, he has appeared at A Contemporary Theatre in Seattle, Arizona Theatre Com-pany and Repertory Theatre of St. Louis. Anderson Phillips has

appeared at the Edinburgh Fringe Festival in Joan Rivers - a work in progress by a life in progress and the New York International Fringe Festival in Abra-ham Lincoln’s Big Gay Dance Party, which won Best of Fringe. He is the re-cipient of three San Francisco Bay Area Theatre Critics Circle awards for best performance by a male in a leading role. His film and TV credits include Nash Bridges, the children’s video project Flummox and Friends, This is Macbeth and This is Hamlet with Reinventing the Wheel Productions and Joan Rivers - A Piece of Work with Break Thru Films. markandersonphillips.com

Anne Darragh (Dottie) has previously appeared at MTC in The Good German, Charlie Cox Runs with Scissors, Com-municating Doors, The Crucible and Shadowlands. She has performed in numerous world premieres including Tony Kush-ner’s Angels in America at Eureka Theatre Company, Peter Nachtrieb’s T.I.C. (Trenchcoat in Common) with Encore The-

atre Company, Anthony Clarvoe’s Our Practical Heaven at Aurora Theatre Company, Brian Thorstenson’s Over the Mountain at Brava Theater Center and Michelle Carter’s Ted Kaczynski Killed People with Bombs at Magic The-atre. Locally, she has also performed with A.C.T., AlterTheater, Berkeley Rep, Campo Santo, Porchlight Theatre, San Jose Rep, Stephen Pelton Dance Theatre Company and TheatreWorks. She performed with Good People playwright David Lindsay-Abaire in Heartbreak House at Downtown Art in New York. Darragh’s film credits include Chris Brown’s award-winning Fannie, Annie and Danny. She grew up in Oakland and lives in Lagunitas with her family.

Ben Euphrat (Stevie) makes his MTC debut with Good People. His recent credits include KML Learns a Lesson with Killing My Lobster, Status Update at Center Rep and Enron and Assistance, which he directed and produced for OpenTab Productions where he is co-founder and artistic director. He has performed in the Bay Area with Cal Shakes, TheatreWorks,

Berkeley Playhouse, Shotgun Players and 42nd Street Moon. Euphrat’s film credits include Saltwater, which will be released later this year. He com-poses music; plays the drums, guitar and piano; has studied improv with The Groundlings and IO West in Los Angeles; and has even trained to be a corpo-real mime. His upcoming productions include Ideation at SF Playhouse and HIR at Magic Theatre. beneuphrat.com

WHO’S WHO

Jamie Jones (Jean) has previously appeared at MTC in Dis-placed and One Flew Over the Cuckoo’s Nest. Her Bay Area credits include The Underpants at Center REP, A Delicate Balance at Aurora Theatre Company, for which she received a San Francisco Bay Area Theatre Critics Circle Award nomina-tion, and Encore Theatre’s The Typographer’s Dream at Thick

House, as well as appearances at A.C.T. and Berkeley Rep. In Sacramento, she is a member of B Street Theatre acting company, co-director of the B Street Theatre Conservatory and has acted at California Musical Theatre, Capital Stage, New Helvetia Theatre and Sacramento Theatre Company. Her regional and New York credits include Utah Shakespeare Festival, the Connelly The-atre, Theatre at St. Clements and the Lincoln Center Director’s Lab at HERE space. Jones has appeared on television in Law & Order and the mini-series Gone But Not Forgotten. She holds an MFA from A.C.T.

ZZ Moor (Kate) makes her MTC debut with Good People. Locally, she is a guest company member with BATS Improv and has appeared in The Mountaintop at Capital Stage, Cat on a Hot Tin Roof at African American Shakespeare Com-pany and Race at San Jose Stage. Her regional credits include Richard III at the Colorado Shakespeare Festival, Clybourne

Park at Curious Theatre Company in Colorado and several productions at the Denver Center for Performing Arts. She received the Denver Post Ovation Award for best supporting actress in a drama for For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. Moor has appeared in televi-sion and films in NBC’s Trauma, VH1 Soul, Link TV, Nat Geo TV, Rent and national and regional commercials. A Bay Area native, she received her MFA in Acting from the National Theatre Conservatory in Colorado. zzmoor.com

Amy Resnick (Margaret) has previously appeared at MTC in Orson’s Shadow, Two for the Seesaw, Sockdology, The Loman Family Picnic, A Shayna Maidel and Lemon Sky. Her local credits include God of Carnage at San Jose Repertory, for which she won the San Francisco Bay Area Theatre Critics Cir-cle Award for best principal female actor, Body Awareness and

Collapse at Aurora Theatre Company, She Stoops to Comedy and Dead Man’s Cell Phone at SF Playhouse, The Laramie Project at Berkeley Rep, Yellow Face and Brooklyn Boy at TheatreWorks, Why We Have a Body and House of Yes at Magic Theatre and The Clean House and Around the World in 80 Days at B Street Theatre. Regionally, she has appeared in God of Carnage at Arizona Theatre Company, The Laramie Project and Laramie: Ten Years Later at Arena Stage in Washington DC, Philadelphia Theatre Company and the Cutler Majestic Theatre in Boston and Pride & Prejudice at Alliance Theatre.

25

WHO’S WHO

26

Resnick’s film and television credits include Haiku Tunnel, The Californians, Law & Order, Back To the Streets of San Francisco, St. Elsewhere, Picket Fences, Paper Chase, Midnight Caller and Paper Dolls. She is the recipient of four Drama-Logue Awards, two SFBATCC Awards, the Irene Ryan Acting Scholarship and a Hugh O’Brian Acting Award from UCLA.

Sean McStravick (stage manager) makes his MTC debut with 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.

Nina Ball (scenic designer) has previously designed the set for MTC’s productions of The Beauty Queen of Leenane and God of Carnage. Her designs have been seen at Aurora Theatre Company, Shotgun Players, SF Playhouse, Center REP, Z Space, Napa Valley Conservatory, San Francisco Mime Troupe, Word for Word, TheatreFIRST, Berkeley Playhouse, the Jewish Theatre San Francisco, Musical Theatre Works, Town Hall Theatre, Solano College, Willows Theatre Company, St. Mary’s College and San Francisco State University. She has been nominated for numerous San Francisco Bay Area Theatre Critics Circle, Shelley and Arty Awards. Recent awards include SFBATCC Awards for My Fair Lady at SF Playhouse and Metamorphosis at Aurora Theatre, a BroadwayWorld San Francisco Award for Care of Trees at Shotgun Players and an Arty Award for her design of Eurydice at Solano Col-lege Theatre. Ball is a company member of Shotgun Players and has an MFA in scenic design from San Francisco State University. Her upcoming shows include Strangers, Babies and Edward Gant’s Amazing Feats of Loneliness at Shotgun Players and Underneath the Lintel at A.C.T. ninaball.com

Gabe Maxson (lighting designer) has previously designed the lighting for MTC’s production of Circle Mirror Transformation. Other recent designs include Terminus at Magic Theatre, Assassins at Shotgun Players, Higher at A.C.T., The Tempest at Cal Shakes, The Companion Piece at Z Space, Paufve Dance’s So I Married Abraham Lincoln at Dance Mission Theater and Hunters Point at Strange Angels. Maxson was an artistic associate at the Wooster Group in New York City from 2002-2010, where he co-designed, with renowned designer Jennifer Tipton, the premieres of La Didone, Hamlet and Poor Theater and co-created the interactive video installation There Is Still Time... Brother. He is recipient of a 2009 Theatre Bay Area CA$H Grant (with his wife, actress Michelle Maxson) and a 2011 Lighting Artists in Dance Award. Maxson is an assistant professor of production and design and resi-dent lighting designer at the University of San Francisco.

WHO’S WHO

Heidi Leigh Hanson (costume designer) makes her MTC debut with Good People. She recently returned from a six-week tour of Italy as 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 other recent projects include set costumer for Netflix’s Arrested Development, assis-tant costume designer for the film Lucky Strike directed by Christopher Ashley and costume designer for Steel Magnolias at the Laguna Playhouse. Hanson has also designed productions for 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

Chris Houston (sound designer and composer) is a pianist, composer and sound designer. He has composed music and/or designed sound for 25 of MTC’s productions, including The Whipping Man (co-production with Virgin-ia Stage Company), Waiting for Godot, It’s a Wonderful Life: A Live Radio Play, Topdog/Underdog, Othello, the Moor of Venice, The Glass Menagerie, the world premiere of Bellwether, Seven Guitars, In the Red and Brown Water, Equivocation and more. Locally, his designs and compositions have been featured at A.C.T., Aurora Theatre Company, SF Playhouse, Center REP, Magic Theatre and the San Francisco Shakespeare Festival.

Lynne Soffer (dialect coach) has provided coaching for 27 MTC produc-tions, including The Beauty Queen of Leenane, Othello, the Moor of Venice, A Steady Rain, The Glass Menagerie, Happy Now?, My Name Is Asher Lev and Lydia. She has worked on over 240 theater productions at A.C.T., Berke-ley Rep, San Jose Rep, Magic Theatre, Cal Shakes and Marin Shakespeare Company among others. Her regional credits include the Old Globe, Dal-las Theater Center, Arizona Theatre Company, the Arena Stage, Seattle Rep and Denver Center Theatre Company. Her film and television credits include Metro, Duets, The Land of Milk and Honey and America’s Most Wanted. Sof-fer also works as a professional actor and acting teacher and is the recipient of the 2011 Actors’ Equity Association Lucy Jordan Humanitarian Award.

Seren Helday (properties artisan) is resident props artisan for MTC. She has provided props for all productions since 2008. She has also provided props for A.C.T., Center REP, Cal Shakes and SF Playhouse. She spent one year as Mas-ter Carpenter at New Conservatory Theatre Center in San Francisco, building some 30 shows for their season. Helday was also technical director of the Live Theatre Workshop in Tucson in addition to working as a designer, performer and manager.

27

WHO’S WHO

Jasson Minadakis (artistic director) is in his eighth season as artistic direc-tor of MTC, where he has directed The Whipping Man, Waiting for Godot, Othello, the Moor of Venice, The Glass Menagerie, Edward Albee’s Tiny Al-ice, the world premiere of Seagull, Happy Now?, Equivocation (San Francisco Bay Area Critics Circle Award for best director), the world premiere of Sun-light, Lydia, The Seafarer, Frankie and Johnny in the Clair de Lune, A Street-car Named Desire, said Saïd, Love Song and The Subject Tonight is Love. As artistic director of Actor’s Express Theatre Company, he directed The Pil-lowman, 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 Entertain-ment Award for Best Production) and numerous others, including 19 produc-tions 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. In 2004, The Atlanta Journal Constitution, Creative Loafing and Southern Voice named him best director of the year.

Michael Barker (managing director) joined MTC in February 2013. He previously was the general manager of Laguna Playhouse in Southern Califor-nia, 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. He was Seattle Repertory The-atre’s 2008 Managing Director Fellow, apprenticed to Benjamin Moore, who has managed SRT for nearly 30 years. 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 manage-ment from Yale School of Drama and an MBA from Yale School of Manage-ment. At Yale, he was the recipient of the Daniel and Helene Sheehan Scholar-ship for theater management. He serves on the board of the Yale School of Management Alumni Association.

Margot Melcon (director of new play development and dramaturg) 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

28

WHO’S WHO

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 cast-ing for MTC’s School Tour and MTC’s New Works staged readings series. Outside of MTC, Ms. Pearson served as casting director on the feature film Se-ducing Charlie Barker, directed by Amy Glazer, and is a member of the Board of Directors 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.

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 Pro-gram 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 Net-work, the country’s alliance of non-profit professional the-

aters that champions the development, production and continued life of new plays for the American theater. n

29

BY AMY HERZOGDIRECTED BY JOY CARLINBAY AREA PREMIEREWinner of the New York Times’ Outstanding Playwright Award

MENTION CODE MTCATR10 FOR

RevolutionRevolutionRevolutionAFTER THE

510.843.4822 auroratheatre.org 2081 Addison St., Berkeley

STARTS JUNE 14

$10 off

tickets!

BOARD OF DIRECTORS

Gale GottliebPresident

Fred TaylorVice President

Terry Berkemeier Treasurer

Robin RiceAsst. Treasurer

John ChesleySecretary

Kipp Delbyck Asst. Secretary

Carl BerryDave ChapmanMolly DickMichael DyettKenneth GoslinerBrian HaughtonSusan HoldsteinTina McArthur

Iris MetzKiki PescatelloIvan PoutiatineStacy ScottChristopher B. SmithMartha SmolenBeverly TannerBeth Wintersteen

MTC STAFF & BOARD OF DIRECTORS

Jasson MinadakisArtistic Director

Michael BarkerManaging Director

ARTISTIC

Margot Melcon | Director of New Play Development & DramaturgMeg Pearson | Casting Dir. & Company Mgr.Daunielle Rasmussen | Director of Education

DEVELOPMENT

Ema Ripley | Development DirectorSusan Gordon | Development Mgr.

MARKETING & PUBLIC RELATIONS

Julie P. Knight | Marketing DirectorSasha Hnatkovich | Communications Dir.Jeff Berlin | Graphic Designer

ADMINISTRATION

Mira Greene | General ManagerSafi Manzoor | Business ManagerRené Mejorado | I.T. ManagerPerotti And Carrade | Auditors

FRONT OF HOUSE

Judith Peck | Dir. of Ticketing & Audience ServicesRichard Mosqueda | Box Office ManagerMargot Manburg | Front of House Assoc.Sissel Grove, Donna Platt, Sue Urquhart, Jenny Taylor, Elfi Weideli | MTC Café

EDUCATION

Mariel Rossman | Education CoordinatorZphyna Caldwell, Gamal Chasten | Resident Teaching and Community ArtistsThomas Benoist, Erin Lafferty | Interns

PRODUCTION

Douglas Frazer | Production ManagerLizabeth Stanley | Asst. Production Mgr.Joe Mizzi | Technical DirectorJeff Klein | Asst. Technical DirectorAlex Marshall | Master ElectricianMia Baxter | Costume Shop ManagerBetsy Norton | Production AssistantChristina Hogan | Wardrobe CrewDarl Andrew Packard | Lighting Design Asst.Leticia Samonte | Scenic Charge ArtistCourtney Johnson, Colin Suemnicht | CarpentersKim Bernard, Charles Clear, Jeff Dolan, Courtney Johnson, Mike McCann | ElectriciansCharles Clear | Lighting Board Operator

ADVISORY BOARD

Ellen ArensonMichael AxelrodJoAnne BerlinLinden BerryJoseph BodovitzJerry CahillDavid CataniaBobbie ChapmanValerie Crane-Dorfman

Brett DickPeter T. EstyDouglas P. FergusonJay FramsonNancy GoldbergGerry GoldsholleBrian GolsonJerry HermanPeter Jacobi

Kimberly JessupShirley LoubéMelanie MaierPeter MaierMarly NorrisAndrew PoutiatineRussell PrattChristopher RakerLaura Scott

Dana ShapiroGary ShapiroTara J. SullivanJennifer Yang WeednPhil WoodwardLloyd Yates

31

INDIVIDUALS

PARTNER CIRCLE

MTC Partner$50,000 & aboveAnonymousN.J. “Sky” CooperGage SchubertChristopher B. &

Jeannie Meg Smith

Season Partner$25,000 to $49,999Tracy & Brian HaughtonJames & Beth Wintersteen

PRODUCER CIRCLE

VIP Producer$15,000 to $24,999Mrs. Gale K. Gottlieb

in Honor of Dr. Kenneth I. Gottlieb

Susan & Russell HoldsteinLori Lerner &

Terry BerkemeierShirley LoubéMelanie & Peter MaierKiki Pescatello

Executive Producer$10,000 to $14,999Carl & Linden BerryBobbie & Dave ChapmanJohn & Shelley ChesleyMolly & Brett DickTina McArthur &

Richard RubensteinRobin & Rick RiceFred & Kathleen Taylor

Producer$5,000 to $9,999AnonymousGerald K. Cahill &

Kathleen S. King Fund

Buffy & George MillerTom L. Davis &

Marden N. PlantJim & Barbara KautzChuck & Barbara Lavaroni

– Capegio PropertiesFred Levin & Nancy

Livingston in Memory of Ben and A. Jess Shenson

Ivan & Lochiel PoutiatineTheodore Rosenberg

Charitable Foundation in Honor of Theodore Rosenberg and Jerold & Phyllis Rosenberg

Toni K. Weingarten Fund

Associate Producer$3,000 to $4,999AnonymousJohn E. & Helen K.

Cahill FundMichael Dyett &

Heidi RichardsonJay Framson & Joseph LaneArt & Drue GenslerDennis & Susan GilardiGerry H. Goldsholle &

Myra K. LevensonKenneth & Joan GoslinerKipp & Roy DelbyckDirk & Madeleine LangeveldIris & Henry MetzRussell Pratt Dana & Gary ShapiroMartha & Jonathan SmolenBeverly Tanner &

Jerry Herman

Premiere Producer$1,000 to $2,999Dennis & Tracy AlbersEllen & Ron Arenson

Michael & Joyce AxelrodThe Barth FoundationIda Baugh &

John HarringtonBob Begley & Lynn JonesRichard Bergmann &

Denise FilakoskyJoseph E. Bodovitz &

Margaret KaufmanJohn Boneparth &

Gail HarrisCheryl & Rick BrandonBeverly & Michael ButlerLynne CarmichaelDavid Catania &

Diana Gay-CataniaSheldon Donig &

Steven De HartWilliam S. Farmer &

Leida SchoggenThomas & Cynthia FosterRobert Fourr &

Pamela PhillipsAmy & Mort FriedkinLori & Mark HorneElisabeth & Howard JaffeKurland Family FoundationKen & Vera MeislinVivienne MillerMatt PagelRobert & Donys PowellRobert J. & Paula

Reynolds FundLeigh & Ivy RobinsonArthur & Toni Rembe RockJill & Tom SampsonEric SchwartzMichael & Susan SchwartzLaura & Michael ScottRichard & Diana ShoreKathleen Skeels

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 Ema Ripley, Director of Development, at 415.388.5200 x3306. The following gifts were received between July 1, 2012, and June 30, 2013.

DONORS

32

William Strawbridge & Meg Wallhagen

Will & Leslie ThompsonH. Hugh Vincent &

Joan WatsonWilliam & Janet McAllisterDiane & Howard Zack

CREATIVE CIRCLE

Director | $500 to $999Susan Adamson &

George WestfallJoan & Nick BoodrookasJosh Brier & Grace AlexanderJohn & Deborah BuehlerBrian Chadbourne &

Diane MurakamiRichard & Veronica CharvatJames & Linda CleverRoland Cline &

Mary PapenfussGeorge & Katherine CouchGatian CunninghamStuart & Emily DvorinAnthony & Martha EasonDennis & Pam FiscoRoger & Martha FleischmannJill & Steven FugaroBrian & Alisa GolsonLauren GundersonWilliam & Kathryn HarrisonJamie HaughtonPeter & Maggie HaywoodNigel & Jane HeathJules HeumannDwight JohnsonBob Kaliski & Linda NelsonYork KennedyElizabeth & Wesley KinnearTom & Harriet KosticKevin Lima &

Brenda Chapman-LimaTracy MacLeodScott & Linda MacLeodLarry & Diane MartinMary & Steve MizrochDevan & Elizabeth NielsenJohn S. OsterweisLynn PerryMatthew PurdonLarry & Diane RosenbergerPaul & Sylvia RoyeAngelo & Kimberly SalarpiCarol & Rand Selig*

Ellen & Donald SchellJoel & Susan SklarBeryl Jean SymmesPeter & Irene TabetBob & Valli TandlerKate Taylor*Sandra Weingart &

Jeremy RothenbergAlexis Weiss &

Mark JohnsonJohn YamadaKatz Family FoundationMargot Fraser Fund

Designer | $250 to $499Lisa BakerBob Begley & Lynne JonesJoAnne Berlin &

Richard SlossHoward & Susan BlairJohn & Deborah BuehlerRussell BurbankDr. & Mrs. Ronald ClymanJanet & Alan ColemanBob & Betty CoppleMartine CurranElizabeth DakinSuzanne DarleyRichard & Diane EinsteinSamuel & Shari EsterkynSteve Fayne*Margaret FeldsteinAlison FullerHelene & Lewis GibbsSylvia Gill*Laurel & Michael GothelfJoseph Grasso &

Victoria Pollock-GrassoRosalind HamarJamie HaughtonSheryl HausmanKip & Sara HowardGeorgia HughesLander & William HynesLeonard & Flora

Lynn IsaacsonEllen K. JasperPeter & Bonnie JensenVirginia & Michael KahnDan KellyGail & Steve LazarusWarren &Barbara LevinsonMyrna & Fred MargolinToni MartinJill Matichak

Linda Mazur in memory of Fern Rynecki

Patricia McMahonJane MillerRobert & Audrey PedrinRobert & Madeleine ProvostBarbara RichHector RichardsAlan & Enid RubinFred &d Dolores RudowRob & Lise SalmonHugh & Georgia SchallRod & Sandy SeegerJames & Connie ShapiroDon & Jane SlackWilliam & Utta TelliniMary & Herman WaetjenTim & Patti WarnerKenneth & Ellen WeberJennifer & Rob WeednHarriet WellerValerie WestenHarvey & Susan Wittenberg

Actor | $150 to $249Caryn Anderson*Robert AndersonJerome & Susan ApartonSusan C. BeechRobert & Irene BelknapPhilip BernsteinEdward & Amy BloombergRichard BottegaElias & Carroll BotvinickUte & Jack BrandonDorothy & Richard BreinerWendy BuchenLynn Bunim &

Alexander Fetter in honor of Molly Dick

David Carson & Kim Bromley

George & Kathy CarverAlan & Caren CascioDiane & William ClarkeCharles & Eleanor CrawfordNancy DanielsonArthur DavidsonAnne DavisLivia DewathDino Di DonatoTom DiettrichLoree DraegerTom & Rebecca Edwards

DONORS

33

John Eichhorst & Jennifer L. Blackman

Paul & Cele ElderingAndrew E. ElkindDavid Fain &

Fran AndersonErdmuth FolkerRobert FossumDonna & Michael FranzblauRoberta FriendKent & Rita GershengornArlene GetzTheresa & Richard GordonMichelle GriffinRobert HallKathe HardyKaren HaydockMarc & Peggy HaymanMark HoffmanRoger & Jean HumphreyEdward & Gabriella IssacsonCary & Elaine JamesAlan & Jean KayPatricia KeehnDavid KincaidRobert Lea &

Melinda BoothDavid & Carolyn Long

Susanne Light & Robert Newcomer

Susan & Jay MallLinda Mazur in memory of

Fern RyneckiBeatrice McMurrayMario MereFranklin J. Meredith &

Mary Miller-MeredithHerbert MillerDon MillerJerry & Judith MillerGary & Kellie NelsonDaphna & Shamy NoilyClyde & Merle OngaroJack and Gail OsmanAnita PalonskyDerek & Nancy ParkerGerald & Nancy ParsonsGary & Gisela PeasleySusan & Jonathan PeckDavid PhillipsLaurence Pulgram &

Kelli MurrayPurple Lady/Barbara J. Meislin

Fund in memory of her mother Vivienn Fosmann

Irene & Mark Reich

Susan ReynoldsKaren RobbinsDeborah L. Robbins &

Henry NavasRichard C. RobertMeline & Jirayr RoubinianJane & Michael ScurichSusan SeefeldRolf & Jettie SelvigBarry & Esther ShafranCarole SheftMichael ShiffmanGlenn Smith &

Verlinda RoseRonald & Jo StehleLarry & Judy SweetJoe & Eileen TennJames & Gayle TunnellJames TustinConnie VandamentBob & Diane WagnerTravis WrightSusan York

We regret that mistakes occasionally occur. Please call us if your name has been misspelled or omitted.

DONORS

CORPORATIONS / FOUNDATIONS / GOVERNMENT

PARTNER CIRCLE

MTC Partner$50,000 & AboveThe Bellebyron FoundationMarin Community

FoundationThe William and Flora

Hewlett Foundation

Season Partner$25,000 to $49,999Google, Inc.*Marin Independent Journal*The Shubert Foundation YP*

PRODUCER CIRCLE

VIP Producer$15,000 to $ 24,999The Capital Group

CompaniesThe Haughton Family

Charitable FundKCBS All News 740 AM &

FM 106.9*Venturous Theater Fund at

the Tides Foundation

Executive Producer$10,000 to $14,999The Bernard Osher

FoundationNational Endowment for

the ArtsNational New Play NetworkNordstrom, Inc.Peter J. Owens FundThe San Francisco

FoundationStacy Scott Catering*

Producer$5,000 to $9,999Acqua Hotel*California Arts Council –

Artists in Schools

Clay Foundation – WestMarin Magazine*SF Weekly*Theatre Bay Area*

Associate Producer$3,000 to $4,999Cuisine by Lela*La Coppa Coffee*The Tournesol ProjectWhole Foods

Premiere Producer$1,000 to $2,999Bay Club Marin*Cavallo Point - The Lodge at

the Golden Gate*County of MarinFrancis S. North FoundationJoshua Ets-Hokin

Photography*Koret FoundationKSFO 560 AM Radio*Lawrence J. Lococo &

CompanyMarin Airporter*Milvali Salon & Cosmetics*Marin CharitableNorthern Trust Company

Charitable TrustOld Republic Title CompanyPacific Union International, IncPeter Olivetti Photography*Roundhouse Theatre*R.S.V.P. Catering*Schwab Charitable FundSilverado Resort & Spa*Strahm Communications*The Walt Disney Family

Museum*Wigt Printing

CREATIVE CIRCLE

Director | $500 to $999Bank of America

Matching Funds

Book Passage*Chevron Texaco Matching

Gift ProgramMcCarthy Painting*Michael Merrill Design Studio*Nina McLemore Collection*The Rock Foundation

Designer | $250 to $499Anonymous *Argo Group Matching

Contribution ProgramBody Kinetics Health

Club & Spa*The Contemporary Jewish

Museum*Deerfield Ranch Winery*The Flamingo Resort & Spa*The Lodge at Sonoma, a

Renaissance Resort & Spa*Marie Veronique Organics*Peju Province Winery*Redwood Security Systems, Inc.

Actor | $150 to $249Apple Matching

Gifts ProgramBardessono*Cline Cellars*The Container Store*Grilly’s*Judds Hill Winery*Macy’s Foundation

Matching GiftsNapa Valley Bike Tours*Portalupi Wines*The Presidio Bowling Center*Showroom 383 Salon*SF Jazz Center*Sweet Things*Studio Thirty Four Salon *Wells Fargo Community

Support

* Denotes an in-kind

DONORS

35

MTC PATRON INFORMATION

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

Main Stage Group Sales: Groups of 15 or more receive a discounted rate plus a free group leader ticket. Julie Knight, 415.388.5200 x3302

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 PRICES

Previews: Thu through Sun, $37

All Other Performances:Tue, $42/37 (excludes Opening)

Wed, Thu eve & Sun eve, $47/$42

Fri, $53/48

Sat eve, $58/53

Matinees Thu, Sat & Sun $47/$42

Opening Night with Cast Reception, $58/53

Note: Price difference is between center and side sections. Prices are subject to change.

TICKET DISCOUNTSUnder 30: $20, in advance or at the door for all performances, must show valid ID

Seniors: $4 off tickets to all performances

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

SERVICES & INFORMATION

Arrive on time: Performances begin promptly. There are no refunds for latecomers. Late patrons cannot be seated until a designated seating break or possibly intermission. Patrons returning late from intermission will be seated at the discretion of the House Managers.

MTC Café: Food and beverages are available before 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 is operated 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%

36

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