Repisodes: The Berkeley Rep Podcast

Directed by Les Waters Read by Charles Shaw Robinson From a perch beyond this life, an actor observes as a group of masked people finally return to the courtyard of Berkeley Rep — to the theatre, the place we made to gather, breathe together, and share the stories that remind us of our humanity.

It's 1959, and tobacco smoke snakes across the bustling café from its prized corner table, where artists and students debate political treatises, muse on philosophy, and share thrilling new poetry.

Read by Steven Anthony Jones and BD Wong On a chilly autumn night, an old fisherman makes his way to the lake in the dark. He casts a line...and reels in the ghost he's been seeking.

Straddling the worlds of her divorced parents, Yasmine doesn't feel fully at home in either. Desperate to see her best friend in San Francisco, she embarks on the voyage across the Bay alone, exhilarated at her newfound independence.

How do you find your people in middle school — especially when you don't quite fit the mold? A girl experiments, assimilates, adapts, and journeys towards genuine self-love and community.

Bored, lost, and lonely, a teenager stumbles into a café. While eating a cup of soup, he hears a wondrously inscrutable sonata, and begins to sense that being lost might not be such a lonesome condition after all.

Sometimes music becomes indelibly linked to specific memories, invoking the people with whom we shared them. Songs by Isaac Hayes, Peter Tosh, Stevie Wonder, the Doors, the Knight Brothers, and Patti LaBelle conjure a deep friendship, one that began on a hot night in 1986 outside Leopold's Records.

Hope, fear, excitement, and a dizzying array of possibilities unspool across an expectant dad’s imagination, as he and his partner navigate medical uncertainties and rediscover each other as almost-parents.

A young oboist kisses a pianist on a street corner. At long last! But the kiss unlocks pressures, expectations, dreams, and fears. Can we learn to live with uncertainty? To ask for what we need?

A neighborhood park — its playground, sloping hillside, and basketball court; its tunnel to a rose garden and many paths — bears witness to a boy, growing up and growing old.

This is the last Repisode in the 19/20 season! This is Part Two of our special two-part Core series on SCHOOL GIRLS. In this series, Berkeley Rep directing fellow Nailah Harper-Malveaux, who also worked as the assistant director on the show, speaks with two local artists about recent exhibits that connect to the work onstage. In this conversation, Nailah speaks with Toshia Christal, co-curator of the SOMArts exhibit, Unbound Roots: a Paradigm for Healing. They explore the parallels between the wellness industry and the beauty industry, what visual art can teach us about capturing a moment in time and how to take care of yourself during this period of increased physical isolation. Learn more about Toshia Christal's work: https://www.mutualart.com/Artist/Toshia-Christal/26E8C28D0BD0641A Learn more about SOMArts and check out the exhibit: https://www.somarts.org/ Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka. THANK YOU FOR LISTENING! WE MISS YOU ALL!

In a grand finale to our prematurely closed play, we are launching a special two-part CORE series around SCHOOL GIRSLS: OR, THE AFRICAN MEAN GIRLS PLAY. In this series, Berkeley Rep directing fellow Nailah Harper-Malveaux, who also worked as the assistant director on the show, will speak with two local artists about recent exhibits that connect to the work onstage. If you’re not able to see the play online, know that this conversation is still for you! We’ll reference the play as a jumping off point, but the majority of the conversation will delve into how the play’s themes connect with the Black is Beautiful exhibit, which was recently shown at the Museum of the African Diaspora. Joining us is Mark Sabb, the Senior Director of Innovation and Engagement at the museum, as well as an artist, writer and creator of the art collective, FeltZine. Learn more about Mark: http://mark.feltzine.us/portfolio Learn more about MoAD and check out the exhibit: https://www.moadsf.org/ Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program portion of Repisodes, we read out loud from the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. It's like we are reading you a short series of stories. For the SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY Program, we hear Charlie Dubach-Reinhold’s essay on colonialism, Ghanaian education, and international beauty standards and pageants. SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY was unfortunately closed down due to coronavirus concerns before it was even able to open. However, if you’re a subscriber or managed to snag a ticket within a tiny window last week, you will receive a link to a filmed version on BroadwayHD and get to experience the one and only full run of it that a few Berkeley Rep staff members were lucky enough to see live. We are so sad that not all of you will be able to experience the show, but we hope that this Repisode can illuminate some of the serious and historical undertones of Jocelyn Bioh’s wonderful comedy! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

As many of you know, we very sadly had to close our show CULTURE CLASH (STILL) IN AMERICA early. But we still had two conversations with our cultural partners outstanding and ready to roll...so the art continues! This Core episode, where we connect the play to the real world, is entirely in English (the last one was in Spanish). We talk with Anna Flurry, a paralegal with East Bay Sanctuary Covenant House, about the work she does with asylum seekers here in the Bay Area. and how all of that work is changing with COVID-19. Learn more about the work East Bay Sanctuary Covenant House does on their website: https://eastbaysanctuary.org/ Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

Yes, performances for Jocelyn Bioh's SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY were cancelled. Which makes us incredibly sad. but if you are a Berkeley Rep subscriber or already bought an e-ticket, you received a link to a video of the one and only performance the play had on our stages. Here, we feature an interview writer Jocelyn Bioh did with Katie Craddock, our artistic associate. Jocelyn is a first-generation Ghanaian-American writer/performer from New York City. Jocelyn is a commissioned playwright with Manhattan Theatre Club, Second Stage, Williamstown Theatre Festival, and the Atlantic Theater Company, and was a Tow Playwriting Fellow in 2018/19. Her plays include the multi-award-winning School Girls; Or, The African Mean Girls Play, which had two celebrated runs at MCC Theater and is also playing at the Goodman Theatre this spring; Nollywood Dreams (Powerhouse Theater at Vassar College, 2016; upcoming at MCC Theater this spring; Kilroy’s List 2015); and the new musical Goddess (Powerhouse Theater at Vassar College, 2019) of which she is the book writer. She has her BA in English and Theatre from The Ohio State University and MFA in Theatre-Playwriting from Columbia University School of the Arts. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

As many of you know, the theaters are all closed. We very sadly had to close our show CULTURE CLASH (STILL) IN AMERICA early. But we still had two conversations with our cultural partners outstanding and ready to roll...so the art continues! This Core episode, where we connect the play to the real world, is entirely in Spanish. Sí, el Repisode está completamente en Español! Here, we talk with Stephanie Hooper, an artist with the collective Los Pobres Artistas, who, along with La Peña Cultural Center, partnered with BRT to display two murals in the lobby that connect to themes from the show. You don't have to have seen the show or have looked at the murals to enjoy this Repisode - we mostly talk about what it's like to be an artist in the Bay Area. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program portion of Repisodes, we read out loud from the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. It's like we are reading you a short series of stories. For the CULTURE CLASH (STILL) IN AMERICA Program, we will read The Origin Story - about the play's development process - and Sarah Rose Leonard's essay about the history of the company. And a special bonus: Charlie Dubach-Reinhold will read Richard Montoya's wacky ode to the birth of Culture Clash in what can best be described as...performance. CULTURE CLASH (STILL) IN AMERICA runs February 20–April 5, 2020 and tickets are available at berkeleyrep.org. Culture Clash was founded on May 5, 1984 at the Galería de la Raza in San Francisco's Mission District, by the writers José Antonio Burciaga, Marga Gómez, Monica Palacios, Richard Montoya, Ric Salinas, and Herbert Siguenza. The founding date is significant due to the importance of Cinco de Mayo to Mexican-Americans, the shared ethnicity of the majority of collaborators. Montoya and Sigüenza had both been involved in the Chicano art scene in the San Francisco Bay Area, Montoya being the son of Chicano poet, artist, and activist José Montoya, and Sigüenza having been involved in the art collective La Raza Graphics, which created works of graphic art to support campaigns of the Chicano Movement. Culture Clash's works range from comedic sketches to full-length plays and screenplays, all of which feature political satire and social satire. The troupe's members have appeared separately and together in several films and received numerous awards, commissions and grants. In 1993 they filmed 30 episodes of a sketch comedy television series, also called Culture Clash. Several episodes were aired on Fox affiliates. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In this Repisode we talk with Culture Clash - the legendary Latino performance troupe made up of Richard Montoya, Ricardo Salinas, and Herbert Siguenza - about what it was like to update material from their 20+ year catalog of interviews and create a new political satire for 2020. CULTURE CLASH (STILL) IN AMERICA runs February 20–April 5, 2020 and tickets are available at berkeleyrep.org. Culture Clash was founded on May 5, 1984 at the Galería de la Raza in San Francisco's Mission District, by the writers José Antonio Burciaga, Marga Gómez, Monica Palacios, Richard Montoya, Ric Salinas, and Herbert Siguenza. The founding date is significant due to the importance of Cinco de Mayo to Mexican-Americans, the shared ethnicity of the majority of collaborators. Montoya and Sigüenza had both been involved in the Chicano art scene in the San Francisco Bay Area, Montoya being the son of Chicano poet, artist, and activist José Montoya, and Sigüenza having been involved in the art collective La Raza Graphics, which created works of graphic art to support campaigns of the Chicano Movement. Culture Clash's works range from comedic sketches to full-length plays and screenplays, all of which feature political satire and social satire. The troupe's members have appeared separately and together in several films and received numerous awards, commissions and grants. In 1993 they filmed 30 episodes of a sketch comedy television series, also called Culture Clash. Several episodes were aired on Fox affiliates. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For this edition of The Core for BECKY NURSE OF SALEM, we speak with local Wiccan priestess Carolyn Hunt about witchcraft today, her part in the creation of Becky Nurse, and her reactions to the play. Our playwright, dramaturg, director, and actors consulted with Carolyn throughout the rehearsal process, on the modern world of witches and the Wiccan religion. The Becky Nurse company and Berkeley Rep staff members participated in a ritual led by Carolyn during previews, and everyone felt the magic in the performance that night. You can find out more about Carolyn's practice here: https://www.carolynhunt.co/ BECKY NURSE OF SALEM runs through January 26 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In this Repisode we talk with Sarah Ruhl, the playwright of BECKY NURSE OF SALEM, about what has changed in her thinking about the play as it has moved from development to the stage, and how current world events have permeated the play. Becky Nurse of Salem marks Sarah’s sixth production at Berkeley Rep; previous productions at Berkeley Rep include For Peter Pan on her 70th birthday, the West Coast premiere of Eurydice, the world premiere of In the Next Room (or The Vibrator Play), an adaptation of Chekhov’s Three Sisters, and the West Coast premiere of Dear Elizabeth. In the Next Room went on to Broadway, playing at Lyceum Theatre. Sarah’s other plays include The Oldest Boy, The Clean House, Passion Play, Dead Man’s Cell Phone, Melancholy Play, Orlando, Late: a cowboy song, and Stage Kiss. Her plays have been seen off Broadway at Women’s Project Theater, Playwrights Horizons, Second Stage Theatre, and Lincoln Center’s Mitzi E. Newhouse Theater. Her select regional credits include Yale Repertory Theatre and the Goodman Theatre. Sarah received the Susan Smith Blackburn Prize, the Whiting Award, the Lilly Award, a PEN Award, and the MacArthur Foundation “Genius” Award. She has been a two-time Pulitzer Prize finalist and a Tony Award nominee. Her book of essays, 100 Essays I Don’t Have Time to Write, was a New York Times notable book of the year. She teaches at Yale school of drama and lives in Brooklyn with her family. BECKY NURSE OF SALEM runs December 12 – January 26 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program portion of Repisodes, we read out loud from the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For the BECKY NURSE Program, we will read The Origin Story - about the play's development process - and dramaturg Madeleine Oldham's essay about how the play intersects with Arthur Miller's THE CRUCIBLE. and a special treat! Playwright Sarah Ruhl reads out loud from her program note. It's a delightful peek inside her brilliant and lovely mind.

For this edition of The Core for WHITE NOISE we highlighted selections from our Wednesday Night Speaker Series, in which we interviewed some of the Bay Area's leading thinkers on what they saw in the play. How does Brandi Wilkens Catanese, a professor of Performance Studies and African American Studies at UC Berkeley, look at playwright Suzan-Lori Parks’ career and where this play falls in it? What does Pendarvis Harshaw, a journalist at KQED, think about how the characters in this play embody and push up against hipster culture in the Bay Area? How does Taylor Crumpton, a music, pop culture, and politics writer, look at the gender politics at play in White Noise? And what story does she think the sound design is telling to the audience? WHITE NOISE runs September 26–November 10 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In this Repisode we talk with Suzan-Lori Parks, the playwright of WHITE NOISE, about play’s four contrasting perspectives, and how it anchors difficult topics in love and laughter. Suzan-Lori Parks was named one of time magazine’s “100 Innovators for the Next New Wave,” and is the first African American woman to receive the Pulitzer Prize in Drama for her play Topdog/Underdog. She is a MacArthur “Genius Grant” prize recipient. Broadway credits include the Tony Award-winning Gershwins’ Porgy and Bess. Other plays include In the Blood (Pulitzer Prize finalist) and, more recently, Father Comes Home from the Wars (parts 1,2&3)(Pulitzer Prize finalist). Parks has authored a novel: Getting Mother’s Body. Her screenplays include Girl6 (directed by Spike Lee), Their Eyes Were Watching God (produced by Oprah Winfrey), Anemone Me, and an adaptation of Native Son. New work includes The United States vs Billie Holiday, a stage-musical adaptation of the film The Harder They Come, and she’s currently the show-runner for genius: Aretha Franklin for National Geographic. Parks is now The Public Theater’s Master Writer Chair. She also writes songs and fronts her band: Suzan-Lori Parks & The Band. WHITE NOISE runs September 26–November 10 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program portion of Repisodes, we read out loud from the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For the WHITE NOISE Program, we will read two essays, one about Suzan-Lori Parks' writing style and one about the contemporary landscape of plays by writers of color. We think of the Audio Program as a story we are reading out loud to you, so enjoy! WHITE NOISE runs September 26–November 10 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

Yes, the events of THE GREAT WAVE really happened. In this Repisode, lead actress Jo Mei (who plays Hanako) talks with Robert S. Boynton, who wrote the authoritative book about the North Korean abductions of Japanese citizens, The Invitation-Only Zone. THE GREAT WAVE runs September 12–October 27 and tickets are available at berkeleyrep.org. You’re listening to The Core edition of Repisodes, where we talk to members of the community to see where the onstage and offstage worlds of our season intersect. Check back here for more Repisodes: In Conversation, where we talk with the creators behind the plays, and Audio Program, where we strive to make our program articles accessible to all audiences by reading the essays from the program out loud. Robert S. Boynton is the author of The Invitation-Only Zone: The True Story of North Korea's Abduction Project (FSG, 2016) and The New New Journalism (Vintage, 2005) He directs NYU's Literary Reportage program, and his articles have appeared in The New York Times Magazine, The New Yorker, The Atlantic, The Nation, and elsewhere. https://www.robertboynton.com/ Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In this Repisode we talk with Mark Wing-Davey, the director of THE GREAT WAVE. We sat down with him in our in-house studio during a break from rehearsals, right before we went into tech, so you'll be catching him mid-process in this conversation. THE GREAT WAVE runs September 12–October 27 and tickets are available at berkeleyrep.org. Mark Wing-Davey first came to prominence in the United States in 1992 with his celebrated production of Caryl Churchill’s Mad Forest at New York Theatre Workshop. Since then he has worked extensively in New York for Labyrinth Theater Company, Lincoln Center, Manhattan Theatre Club, Playwrights Horizons, and The Public Theater/New York Shakespeare Festival. The Great Wave is his sixth show at Berkeley Rep. His other credits include productions of new writing and classic plays at theatres across the U.S., as well as shows at the Edinburgh Festival, London’s National and Royal Court Theatres, and musicals in the West End and Australia. He is an Arts Professor at New York University’s Tisch School of the Arts and Chair of its Graduate Acting Program. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

Welcome to the 2019-2020 season and welcome back to Repisodes: the Berkeley Rep podcast! We are so excited to produce new podcasts for this fresh season, the first with Artistic Director Johanna Pfaelzer. For the Audio Program portion of Repisodes, we read out loud from the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For THE GREAT WAVE Program, we will read an essay about the historical tensions between Japan and Korea. We think of the Audio Program as a story we are reading out loud to you, so enjoy! THE GREAT WAVE runs September 12–October 27 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

Welcome The Core for KISS MY AZTEC! In The Core, we talk to members of the community to see where the onstage and offstage worlds of our season intersect. In this Repisode, Literary Fellow Maddie Rostami sat down with Composer/Co-Lyricist Benjamin Velez and some members of the cast to talk about the show's diverse musical palette and the exuberant process of creating a show that celebrates the complexity of Latinx culture! KISS MY AZTEC! runs now through July 14th. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music Credit to Peter Yonka

Welcome to a special edition of The Core for THE GOOD BOOK with guest host, podcast extraordinaire, and actor Lance Gardner. In The Core, we talk to members of the community to see where the onstage and offstage worlds of our season intersect. In this Repisode, Lance and Berkeley Rep's literary manager Sarah Rose Leonard took a trip to The Center for the Tebtunis Papyrus at UC Berkeley to investigate the complicated history of writing, the process of how texts are passed down and interpreted, and the ethical and moral questions surrounding antiquities, all with an incredible spin from Lance's podcasting expertise. The Good Book runs through June 9. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher.

In our "In Conversation" part of Repisodes, we talk to members of the creative team to learn more about their process and the world of the play. Here, we sat down with KISS MY AZTEC! creators John Leguizamo and Tony Taccone in the middle of a workshop this March to talk about their personal connection to the story and the importance of creating art that showcases the vibrancy of Latinx culture. KISS MY AZTEC runs May 28 - July 14. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For the KISS MY AZTEC! Program, we begin by reading The Origin Story. We'll then read an essay entitle Riffing on Aztec Ritual by Madeleine Rostami. KISS MY AZTEC! runs May 28 through July 14. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In our "In Conversation" part of Repisodes, we talk to members of the creative team to learn more about their process and the world of the play. Here, we speak with THE GOOD BOOK creators Lisa Peterson and Denis O'Hare about tracking the creation and propagation of the Bible with theatrical flair. THE GOOD BOOK runs now through June 9. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For THE GOOD BOOK Program, we begin by reading The Origin Story. We then read an essay called In Constant Evolution: The Bible in Translation by Sarah Rose Leonard. THE GOOD BOOK runs now through June 9. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In our "In Conversation" part of Repisodes, we talk to members of the creative team to learn more about their process and the world of the play. Here, in a special bonus episode, HOME creator Geoff Sobelle speaks about what inspired him to build this epic imaginative piece. HOME runs now through April 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

In our "In Conversation" part of Repisodes, we talk to members of the creative team to learn more about their process and the world of the play. Here, HOME director Lee Sunday Evans talks about her collaboration with creator Geoff Sobelle and how she orchestrates the rhythms of chaos onstage. HOME runs now through April 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For the HOME Program, we begin by reading The Origin Story. We then read a note by dramaturg Stefanie Sobelle, an essay called A Brief History of Mostly Wordless Theatre by Sarah Rose Leonard, and we end with Geoff Sobelle's Artist Statement. HOME runs now through April 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to Peter Yonka.

"Metamorphoses" actors Alex Moggridge and Suzy Weller and Berkeley Rep staff members take that strangely popular love language quiz! Why is quality time a recurring love language with these theatre people? Where does love show up in the play? What's your love language? Metamorphoses runs now through March 24 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. For the Metamorphoses program, we will read the Origin Story and and an essay entitled Transformation Onstage: A brief history of water in theatre. Metamorphoses runs now through March 24. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

In our "In Conversation" part of Repisodes, we talk to members of the creative team to learn more about their process and the world of the play. An abridged version of the conversation is included in print as part of the show's written program. Here, Tony award-winning artist Mary Zimmerman, the director and adaptor behind Metamorphoses, talks about her creative process and the unique difficulties of adapting a classic text for modern audiences. Metamorphoses runs now through March 24 and tickets are available at berkeleyrep.org. Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the third Repisode of The Core for Berkeley Rep's 50th Anniversary Season. In The Core, we talk to members of the community to see where the onstage and offstage worlds of our season intersect. In this Repisode, we talked to members of Paradise Square's dance team: legendary choreographer Bill T. Jones and Irish dancers Jason Oremus and Garrett Coleman, who are responsible for the Irish dance in the show. Together we talked about the intricacies of telling story through dance and the ways in which Irish and African dance styles and cultural histories mesh together in the world of Paradise Square. Paradise Square is running now through February 27. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Intro music credit to James Dinneen.

Welcome to the third Repisode of our Audio Program. For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. Here we read the Origin Story and two essays, one that provides a history of The Five Points neighborhood and one that gives more information about the life and music of songwriter Stephen Foster. Paradise Square is now playing December 27-February 17. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the fourth Repisode of our "In Conversation" series for Berkeley Rep's 50th Anniversary Season. In this part of the series, we talk to members of the creative team to learn more about their process and the world of the play. An abridged version of the conversation is included in print as part of the show's written program. Here, we talked with virtuoso solo performer Nilaja Sun about creating PIKE ST, now running November 17–December 16, 2018. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the third Repisode of our "In Conversation" series for Berkeley Rep's 50th Anniversary Season. In this part of the series, we talk to members of the creative team to learn more about their process and the world of the play. An abridged version of the conversation is included in print as part of the show's written program. Here, we talked to playwright Marcus Gardley and director Moisés Kaufman about their new musical Paradise Square. Paradise Square runs December 27–February 17. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the second Repisode of The Core for Berkeley Rep's 50th Anniversary Season. In The Core, we talk to members of the community to see where the onstage and offstage worlds of our season intersect. In this Repisode, we talked to Dr. Brandi Wilkins Catanese, a professor of Theatre at UC Berkeley, and Dr. Simone Browne, a sociology professor at University of Texas at Austin. SPOILER ALERT: Only listen to this Repisode after you have seen Fairview. Our conversation includes reactions to key moments within the play, positioning Fairview within the canon of American theatre and breaking down themes and ideas that are sprinkled throughout Jackie Sibblies Drury's innovative new play. Fairview is running now through November 4. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the second Repisode of our "In Conversation" series for Berkeley Rep's 50th Anniversary Season. In this part of the series, we talk to members of the creative team to learn more about their process and the world of the play. An abridged version of the conversation is included in print as part of the show's written program. Here, we talked to playwright Jackie Sibblies Drury and director Sarah Benson about the inspiration behind Fairview. As a heads up, this play is so hard to talk about without giving something away, so we recommend that folks come see the show before listening to this Repisode. Fairview runs October 4-November 4. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the second Repisode of our Audio Program. For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. Here we read the Origin Story and an essay that places Fairview within a cohort of structurally innovative plays. Fairview is now playing October 4-November 4. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the first Repisode of The Core for Berkeley Rep's 50th Anniversary Season. In The Core, we talk to members of the community to see where the onstage and offstage worlds intersect. In this Repisode, we talked to Professor Alexandra Solomon at Northwestern and Professor Melissa Murray at NYU, investigating what marriage looked like at the time of Ibsen's A Doll's House, how cultural norms have shifted around marriage, and what the future of the institution might look like. A Doll's House, Part 2 is running now through October 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the first Repisode of our "In Conversation" series for Berkeley Rep's 50th Anniversary Season. In this part of the series, we talk to members of the creative team to learn more about their process and the world of the play. An abridged version of the conversation is included in print as part of the show's written program. Here, we talked to playwright Lucas Hnath and director Les Waters about their collaborative relationship and the work behind Berkeley Rep's production of A Doll's House, Part 2. A Doll's House, Part 2, by Lucas Hnath is running now through October 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Welcome to the first Repisode of our Audio Program. For the Audio Program, we’ll be reading out loud the dramaturgy material from the show’s program in an effort to make the information around our shows accessible to all audiences, in multiple formats. Here we read the Origin Story and an essay about the history of Ibsen's A Doll's House. A Doll’s House, Part 2 runs September 6-October 21. Tickets are available at berkeleyrep.org! Follow Berkeley Rep on SoundCloud to keep up with the whole series. You can also listen on Apple Podcasts and Stitcher. Music credit to James Dinneen.

Three descendants of immigrants who were detained at Angel Island Immigration Station reflect on reclaiming the buried history of Chinese Exclusion. Guests: Felicia Lowe is an independent television producer, director, and writer. Her films include "Chinese Couplets", "Chinatown: The Hidden Cities of San Francisco", and "China: Land of My Father". Several clips from her documentary on Angel Island Immigration Station "Carved in Silence" were used in this podcast episode.(http://www.lowedownproductions.com/) Judy Yung is professor emerita of American Studies at UC Santa Cruz. Her pioneering histories of Angel Island Immigration Station include "Angel Island: Immigrant Gateway to America", co-authored with Erika Lee, and "Island: Poetry and History of Chinese Immigrants on Angel Island", co-edited with Him Mark Lai and Genny Lim. Katherine Toy is the chair of the board of directors of the Angel Island Immigration Station Foundation(https://www.aiisf.org/). She also served as the first Executive Director of the AIISF where she championed the restoration and interpretation of the site. Get tickets to 'Angels in America' at berkeleyrep.org

A live panel on AIDS activism in the 1980s and 1990s and its influence on activism today. Panelists: - Matt Coles is a professor of law at UC Hastings. - Ken Jones is a gay rights activist and Vietnam veteran. - Matt Sharp is the director of treatment and education at Project Inform in San Francisco. - Mike Shriver is the chair of the board of director at the National AIDS Memorial Grove. The panel was led by Kate Kendell, Executive Director of the National Center for Lesbian Rights. The panel was recorded at Berkeley Rep on June 4, 2018. Get tickets to "Angels in America" at berkeleyrep.org