BETRAYAL written by
Harold Pinter
Marin Theatre Partners 2026/27 Craig & Kathy Moody
DIRECTOR
Carey Perloff° CAST
Robert Emma Jerry Waiter COSTUME DESIGNER
Charlie Semine* Liz Sklar* Tasso Feldman* Nic Moore LIGHTING DESIGNER
Jessie Amoroso+
SOUND DESIGNER
SET DESIGNER
Russell Champa+
Yuki Izumihara
STAGE MANAGER
INTIMACY COORDINATOR
Eliza Guthertz*
Fiona Sharkey
DIALECT COACH
Lisa Townsend
COMPOSER
Christine Adaire
PROPS DESIGNER
Jack Perla
Jenna Forder
BETRAYAL is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service www.concordtheatricals.com
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*
Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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BOARD OF DIRECTORS President Josh Rafner Vice President Penny Wright Treasurer William Maushardt Secretary Mollie Allen
Siobhan Collopy-Deisinger Kipp Delbyck Kimberly Hughes Daniel Johnson Colleen McDonald
Christian Mills Marie Satterfield Stacy Scott Nikki Wood
BIOGRAPHIES CHARLIE SEMINE* (Robert) MARIN: Debut. THEATER: Broadway: Junk; Regional (selected): Hudson Valley Shakespeare: Much Ado About Nothing. FILM/ TELEVISION: Blue Bloods, The Good Fight, The Following, Smash, A Gifted Man, Elementary, Instinct, Bull, Person of Interest, Limitless. TRAINING: Yale School of Drama LIZ SKLAR* (Emma) MARIN:
The Cherry Orchard, Waste, Mother of the Maid, Wink (World Premiere), The Wolves, Anne Boleyn, The Whale, Failure: A Love Story, Lasso Of Truth (World Premiere), Othello, Bellwether (World Premiere), The Seagull. THEATER: Regional (selected): ACT: Men on Boats, A Christmas Carol; CalShakes: Macbeth, Othello; SF Playhouse: Noises Off, Curious Incident of a Dog in the Nighttime, Trouble Cometh, Becky Shaw; Aurora Theatre: The Real Thing; ARC: Antipodes; Shotgun Players: Care of Trees; Marin Shakespeare: King John. FILM/TV: The Mentor, Imbued. UPCOMING: Berkeley Rep: LEOPOLDSTADT. AWARDS: BATCC Best Supporting Actress and Best Actress. TRAINING: MFA Acting, ACT; BA Theatre Arts, Brown University.
TASSO FELDMAN*
(Jerry) MARIN: Debut.
THEATER: Regional (selected): Asolo Rep: The Mirror Crack’d; Denver Center: The Lehman Trilogy; Rogue Theater Company: Waiting for Godot; McCarter Theater: Intimate Apparel; Oregon Shakespeare Festival: The Seagull, The Taming of the Shrew, The Heart of Robin Hood, A Midsummer Night’s Dream, The Comedy of Errors, On the Razzle; Utah Shakespeare Festival: Amadeus, Charley’s Aunt, The Two Gentlemen of Verona, The Cocoanuts, The Three Musketeers; South Coast Rep: Goldfish; Geffen Playhouse: Equivocation. FILM/TV: The Resident, Black Box, CSI:NY, The Artist, Pirandello on Broadway. TRAINING: BFA, Boston University. @tassofeldman
NICOLAS MOORE (Waiter) MARIN: Debut. THEATER: Regional (selected): Word for Word: The Eyes and The Impossible; SPARC: Hamlet, The Merry Wives of Windsor; San Francisco Shakespeare Festival: The Tempest; Ross Valley Players: Tartuffe; African American Shakespeare Company: Shakespeare Over My Shoulder. TRAINING: 2-Year Conservatory, The Meisner Technique Studio. @NicMooreOfficial
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CAREY PERLOFF (Director) ABOUT: a director, playwright, producer and educator who served as Artistic Director of American Conservatory Theater (1992-2018) and of Classic Stage Company, NYC (1988-1992). MARIN: Waste, The Cherry Orchard. THEATER: PlayMakers, Writers Theatre, Huntington Theater, Shakespeare Theater DC, Santa Cruz Shakespeare, Repertory Theater of St. Louis, Seattle Rep, Williamstown, Gate Theater, Dublin, La Jolla Playhouse, Stratford Festival. PLAYWRIGHT: Higher, Luminescence Dating, Vienna, Vienna, Vienna, Edgardo or White Fire, If God Were Blue. BOOKS: Beautiful Chaos: A Life in the Theater (City Lights Press) Pinter & Stoppard: A Director's View (Bloomsbury 2022). AWARDS: France's: Chevalier des Arts et des Lettres, Honorary Degrees from American Conservatory Theater and the University of San Francisco. TRAINING: Stanford University. careyperloff.com HAROLD PINTER (Playwright) (1930-2008) wrote 29 plays, including The Birthday Party, The Dumb Waiter, A Slight Ache, The Hothouse, The Caretaker, The Collection, The Lover, The Homecoming, Old Times, No Man’s Land, Betrayal, A Kind of Alaska, One For The Road, The New World Order, Moonlight and Ashes to Ashes. He directed 27 theatre productions, including James Joyce's Exiles, David Mamet's Oleanna, seven plays by Simon Gray (one of which was Butley in 1971, for which he directed the film adaptation) and many of his own plays, including his last, Celebration,
paired with his first, The Room, in the spring of 2000. He wrote 21 screenplays, including The Pumpkin Eater, The Servant, The Go-Between, The French Lieutenant's Woman and Sleuth. In 2005 he received the Nobel Prize for Literature. Other awards: Companion of Honour for services to Literature, the Legion D’Honneur, the European Theatre Prize, The Laurence Olivier Award, the Moliere D'Honneur for lifetime achievement, a Companion of Literature (Royal Society of Literature), 18 honorary degrees.
YUKI IZUMIHARA
(Set Designer) MARIN: Debut. THEATER: Turn of the Screw, Bulrusher, Rinaldo, American Apollo, and Dolores with Westedge Opera; projection design for The Light in the Piazza, Leopoldstadt (copro: Shakespeare Theater Co. with Huntington Theater) projection design for Areas of Relief, Inkwell at ODC, projection design for Am I Roxie? at Geffen Playhouse, SF Symphony's Lunar New Year and Gala (2022-current), Madame Butterfly at Opera Philadelphia. UPCOMING: You are Cordially Invited to the End of the World (Center REP). AWARDS: Carbonell Awards Outstanding Achievement of an Artistic Specialty. TEACHING: UCLA (2016-2021). TRAINING: MFA UCLA (2016). www. yukiizumihara.com @yukiizumihara +
JESSIE AMOROSO
(Costume Designer) MARIN: Marjorie Prime, Torch Song. THEATER: ACT: Private Lives, Testament, Underneath the Lintel (both directed by Carey Perloff), Ah, Wilderness!, Love and Information, Chester Bailey, John, Communion, Vietgone, Poor Yella Rednecks: Vietgone 2, plus numerous MFA & YC plays. Other Bay Area credits: Cal Shakes, Aurora Theatre Company, Center Rep, California Theatre Center, Julia Morgan Theater, Solano College Theater, Berkeley City Club, Marines Memorial Theater, Herbst Theater, and The Palace of Fine Arts. At Theatre Artaud/Z Space he designed Caligula featuring Nancy Carlin and Round Heeled Woman starring Sharon Gless. OTHER: Broadway Bares NYC and
SF. UPCOMING: Reykjavik 86 at Dallas Theater Center directed by Jaime Catañeda. TRAINING: CSU East Bay and Honorary Acting MFA from ACT. +
RUSSELL CHAMPA
(Lighting Designer) MARIN: The Odyssey, Pictures from Home. THEATER: Broadway: China Doll (Gerald Schoenfeld Theatre); In the Next Room, or the Vibrator Play (Lyceum Theatre/ Lincoln Center Theater); Julia Sweeney’s God Said “Ha!” (Lyceum Theatre). Regional: Measure For Measure, Much Ado About Nothing (The Old Globe, Festival Theater, San Diego), ||:Girls:||:Chance:||:Music:|| (The Vineyard Theater, NYC and ACT), All My Sons (Berkeley Rep). OTHER: Opera and Dance: The Dallas Opera, Lyric Opera of Kansas City, Odyssey Opera and Pilobolus. UPCOMING: Bad News Bears (ACT). www. russellchampa.com.
FIONA SHARKEY (Sound Designer) MARIN: Gift of Nothing. THEATER: Broadway at Music Circus: Assistant Sound Designer & Supervisor for 25+ shows; What the Constitution Means to Me (6th Street Playhouse); WARCIRCUS, Eurydice (Sonoma State); Into the Woods, It Can’t Happen Here (Santa Rosa Junior College). TRAINING: B.S. - CSU Sacramento. JACK PERLA (Composer)
ABOUT: The Oakland composer and pianist remains active composing, performing, and recording opera, jazz, chamber and symphonic music. MARIN: Debut. THEATER: The Paul Dresher Ensemble, TwoSense, MATA, The Oakland Symphony, and The San Francisco Symphony. FILM/TV: Xfinity; Unsolved Mysteries. OTHER: Los Angeles Opera, Opera Theatre of St. Louis, Houston Grand Opera, and Seattle Opera. UPCOMING: An American Dream, premiere opera recording for Pentatone Records. AWARDS: Thelonious Monk Institute Jazz Composer Award and John Lennon Songwriters Award. TEACHING: UCLA, Santa Clara University, Young Musicians Program at UC Berkeley. TRAINING: D.M.A.
in composition from Yale School of Music, where he studied with Jacob Druckman, Martin Bresnick, and Lukas Foss; M.M. from Manhattan School of Music. jackperla.com.
LISA TOWNSEND (Intimacy
Coordinator) ABOUT: Lisa is a choreographer, intimacy director, theater maker and movement educator based in the Bay Area. MARIN: Sally & Tom, The White Chip. THEATER: Bay Area: Cowell Theater, Z-Space, American Conservatory Theater, ODC Theater, CounterPulse. OTHER: Joyce SoHo, Zellerbach Hall, Los Angeles Theater Center. Early Shaker Spirituals with The Wooster Group. Intimacy Coordinator for the feature film Atonement (Cannes, TIFF 2026). AWARDS: YBCAway, Creative Capital Fellowship; Residencies with ODC Theater, CounterPulse ARC, CHIME Across Borders, The Garage. TRAINING: UOP BA, CalArts MFA, IDC Professionals Certification. UPCOMING: The Crucible, Dance Moms (Marin Theatre).
JENNA FORDER (Props
Designer) ABOUT: Jenna Forder is an Oakland artist, designer and maker, creating sets, props and occasionally mythical creatures for theaters around the Bay Area. MARIN: The Cherry Orchard. THEATER: ACT: Nobody Loves You, Co-Founders; Berkeley Playhouse: Seussical, Annie; Ray of Light Theatre: Next to Normal, 9 to 5, Urinetown; New Conservative Theater Center: Ruthless, Ride the Cyclone, Simple Mexican Pleasures, Hot Wing King, Gods & Monsters; Shotgun Players: The Motion, Continuity; Hillbarn Theater: Always Patsy Cline, What the Constitution Means to Me. UPCOMING: New Conservatory Theater Center: Little Shop of Horrors, The Kidman Carol; Berkeley Playhouse: Come From Away; Center Rep: Batboy. jennaforder.com @jennaforder_art
Pasadena Playhouse, Shakespeare & Co. TEACHING: Former Head of Voice at ACT, DePaul University, Roosevelt University, University of Wisconsin-Milwaukee, National Theatre School of Canada, Shanghai Theatre Academy. TRAINING: Designated Linklater Voice Teacher, MFA - University of Washington. christineadaire.com
ELISA GUTHERTZ* (Stage Manager) ABOUT:
Elisa has been a stage manager in the San Francisco Bay Area for over 30 years. MARIN: Pictures From Home, Failure: A Love Story, and Georgiana & Kitty: Christmas at Pemberley. THEATER: Center Rep: The Glass Menagerie, BRT: Reservoir, Uncle Vanya (also Shakespeare Theatre Company); Data at Arena Stage; Bulrusher at McCarter Theatre Center and BRT; Big Data at ACT; Sanctuary City at BRT and Arena Stage; A Thousand Splendid Suns at ACT, The Old Globe, and Theatre Calgary; Big Love at Long Wharf Theatre, BRT, Goodman Theatre, and Brooklyn Academy of Music; and The Good Body at ACT and the Booth Theater on Broadway.
MADDIE HARDIMAN (Assistant Stage
Manager) MARIN: Debut. THEATER: Broadway at Music Circus (selected): Jesus Christ Superstar, Hair, In the Heights, West Side Story, Hello Dolly, among others. Capital Stage: Eureka Day, Fade, Georgiana and Kitty: A Christmas at Pemberley. Sacramento Theatre Company: Heathers, Dorothea Puente Tells All, Sound of Music, The Curious Incident of The Dog in the Night-Time. OTHER: Sacramento Philharmonic and Opera: Don Giovanni. UPCOMING: A Christmas Carol at Broadway at Music Circus.
CHRISTINE ADAIRE
(Dialect Coach) MARIN: Waste, Dunsinane. THEATER: National Tour: Mary Poppins. Regional: ACT, Guthrie, Goodman, Chicago Shakespeare, Old Globe, Oregon Shakespeare, Steppenwolf,
Liz Sklar as Emma Photo by: Vita Hewitt
MARIN THEATRE STAFF Executive Artistic Director �����������������������������������������������������������������������������������������������������Lance Gardner Artistic Producer �������������������������������������������������������������������������������������������������������������� Laura Odeh Steele General Manager ����������������������������������������������������������������������������������������������������������������Nichole Gantshar. Development Director ������������������������������������������������������������������������������������������������������������������� Kara Leslie Education & Public Programs Director ������������������������������������������������������������������������������������Jackie Katz. Brand & Communications Producer �����������������������������������������������������������������������������������������Zack Vieira Technical Director ������������������������������������������������������������������������������������������������������������������������������ Jeff Klein Production Manager & Sound Engineer �����������������������������������������������������������������������������Fiona Sharkey Interim Development Manager ������������������������������������������������������������������������������������ Laura J. Giacomini Development & Administrative Assistant ���������������������������������������������������������������������Cynthia Whitman Lighting & Video Supervisor ������������������������������������������������������������������������������������������������������������� Marshall Costume Shop Manager ���������������������������������������������������������������������������������������������������������� Daria Perkova ATD/Props Lead ���������������������������������������������������������������������������������������������������������������������������Liam Rudisill. Box Office Manager �������������������������������������������������������������������������������������������������������������Stephanie Strick Patron Services Manager ��������������������������������������������������������������������������������������������������������Carolyn Doyle Front of House Leads ���������������������������������������������������������������������������������Richard Davis, Victoria Davis, Shelby Saumier, Cynthia Whitman Front of House Associates �������������������������������������������������Jo Jewell, Jamie Kiger, Arianna Orleans, Sunny Orleans, Serena Palmer, Jade Thomas
SHOW STAFF Wardrobe Supervisor ����������������������������������������������������������������������������������������������������������������������Emily Mills Dresser................................................................................................................. Bianca Hernandez-Knight Stitcher....................................................................................................................... Liesl Seitz Buchbinder Lighting Programmer & Board Operator �������������������������������������������������������������������������������Alijah Carter Scenic Charge Artist �������������������������������������������������������������������������������������������������� Stephanie Jucker Jr. Associate Lighting Designer............................................................................................... Charlie A. Mejia Electricians ������������������������������������������������������������������������������Shy Baniani, Alijah Carter, Noah Hewitt, Margaret Linn, June Whitehorse, Brent Wirth
SPECIAL THANKS
LOBBY ARTISTS
Berkeley Rep’s Sound/Video Department, Janet Foster, Ellen Novack, Grady Soapes
Ramona Stoianova, Aaron Mark, Douglas Sandberg
MARKETING & PUBLIC RELATIONS Carla Befera & Co.
DONOR ACKNOWLEDGEMENTS MARIN THEATRE DONORS Marin Theatre acknowledges the generous support of the following individuals, foundations, and corporations whose contributions from July 1, 2025 - October 6, 2026 made our extraordinary theatre productions and education programs possible. To join our community of contributors, receive Producer's Circle information, or if you have questions about your gift, please contact development@marintheatre.org. $100,000+ Christopher B. & Jeannie Meg Smith • Vickie Soulier $25,000 to $99,999 Anonymous (1) • Terry Berkemeier & Lori Lerner • Gerald Cahill & Kathleen King • Ray & Dagmar Dolby Fund of the Marin Community Foundation • Craig & Kathy Moody • Fred & Kathleen Taylor $10,000 to $24,999 Anonymous (1) • Franklin Amster & Andree Jansheski • Suzanne Cross • Thomas W. Edwards & Rebecca Parlette-Edwards • Kimberly Hughes & Steven Moazed • Danielle O’Hare & Federico Barbagli • Owen Marie Fund • Carey Perloff & Anthony Giles • Robert J. & Paula B. Reynolds • Susan & Joel Sklar • Lisa R. Taylor $5,000 to $9,999 Mollie Allen • Greg Brogger • Janet Brown • Lynne Carmichael • David Catania & Diana Gay-Catania • Ron Clyman & Francoise Mauray • Morgan & Dr. Russell Cosby Howson • Gatian Cunningham • Wendy Feng & Michael Wall • Sakurako & William Fisher • William Grice • Kevin Hagerty & Candace del Portillo • Tracy & Brian Haughton • Kissinger Family Foundation • Donna Leslie • Fred Levin • Scott MacLeod & Linda Kislingbury • Melanie Maier • Tina McArthur & Richard Rubenstein • Barbara Morrison • Connie O’Classen • Janice Prochaska • Josh Rafner • Barbara & Eric Roberts • Kathy Roberts • Jill & Thomas Sampson • Marie Satterfield & Eliel Johnson • Jean Strunsky • Penny Wright • Kay Yun $1,000 to $4,999 Drs. Paul & Geraldine Alpert • Marietta Bartoletti • JoAnn & Jack Bertges • Carl Bielefeldt • Mark Brogger & Caim Petrie • Kerry Campbell • Dan Cohn & Lynn Brinton • Sarah Cole • Siobhan Collopy-Deisinger • Mark & Arlene Comora • Kipp Delbyck • Drs. Susan Randel Denny & Kevin Denny • Kerstin Dittmar • Judith & Philip Erdberg • Richard A. & Theresa Ellis • Seth & Alison Ferguson • Danny Field & Gary Robinson • Freedman Boylan Family Foundation • Jennifer Forbeck • David H. Gelfand & Ellen Daniell • Susan & Dennis Gilardi • Joan Glassheim • Gerry Goldsholle • Karen Gottlieb • Michelle & Normand Groleau • Lisa & Scott Halsted • Jerry Herman & Bev Tanner • Rebekah & Larry Helzel • Jim & Joan Kirsner • Harriet Kostic • Philip Kurjan Fund • Lucille Lathan • Kathleen & John Leones • J. Livingston • Colleen McDonald & Michael Theriault • David Mcleod • Kathy Meyer • Christian Mills • Clay Nesbitt & Chet Wilson • Kathryn Olson • Charles & Linda Philipps • Dr. Rod Ponath • Matthew Purdon & Liz Sklar • Gordon Radley • Heidi Reutiman • Larissa Roesch • Lee Sankowich • Kurt Schindler • Alice Shelton • Pooja Sherchan • Michelle Shonk • Diana & Richard Shore • Dan & Jen Shott • Marsha Silberstein • Joe & Diane Stemach • Lois Stevens • Bill Strawbridge & Meg Wallhagen • Lawrence Talbot • Robert Talkington • Bob & Diane Wagner • Barry Williams • Sue Yung Li $500 to $999 Anonymous (2) • Joan Beavin • Linden Berry • Josh Brier & Grace Alexander • Elizabeth Calaway • Robert P. Camm • The Leo J. & Celia Carlin Fund • Anne Clark & Benjamin Dewees • Jen Conway • Jack Cortis • Melissa Crowell • Steven DeHart & Sheldon Donig • Molly Dick • Bruce Dorfman • Stephanie A. Douglass Charitable Fund • Celeste Ford •
Bruce Fullerton & Antonia Markoff • David Gast • Ms. Margot Golding • Gale Gottlieb • Gini & Gordon Griffin • Rosie Hallett • Terry & Larry Hill • Mark & Roberta Hoffman • Mame Hunt • Angelo Javaras • Daniel Johnson & James Darling • Fritz & Karen Kieckhefer • Andrew Lazarus • Gretchen Leavitt • Jennifer S. Lindsay • Brittany Lockwood • Paulette Lueke • Robert McDowell • Barbara Meislin • Melanie O’Hare • Randy & Mimi Orr • Barbro Osher • John Osterweis • Mayra Perez • Marianne & Steve Porter • Bob & Donys Powell • Jessica Powell • Paula Pretlow • Laurence Pulgram & Kathleen Murray • Helen Rigby • Kimberley Schow • Valerie Stoll Schwimmer • Carol & Rand Selig • Terry Seligman • Thom Sesma • Alex Simand • Perry & Susie Simon • John Simpson • Cheryl Sorokin • Boone & Lori Spooner • Tara J. Sullivan • Elizabeth Suzuki • BD Wong • Susan York $100 to $499 Anonymous (16) • Joe Amato • Gail & Joe Angiulo • Lois Ashley • Lee Aubry • Marti Baroody • Robert & Barbara Baum • Mr. Leslie Benet • Andria Benner • Robert & Wendy Bergman • Daniel & Betsy Bikle • Elizabeth Bird • Kay Blonz • Gail Bloom • James Bogin • John Boyajy • David Boyll • Richard & Dorothy Breiner • John & Deborah Buehler • Bonnie Burt • Nell Cady-Kruse • Patrick Cahill • Val Caniparoli • Sally A. Carlson • Thomas J Carpender • Steven & Karin Chase • Chessen Family Fund • Diane & Bill Clarke • Priya Clemens • Nathan Cobert • Tamar Cohn • Dayton & Sheri Coles • Josh Costello • Laura Cox • Christina B. Crow • Holly Cuggino • Sue & Joe Daly • Larry & Margaret Davis • Ralph & Debra Deadwyler • David Doan • Fred & Marianne Doar • Alexis & Eric Duermeyer • John Eichhorst & Jennifer Blackman • Joseph Faimali & Donita Decker • Leland & Susan Faust • Pam Feagles • William & Virginia Felch • Lori Feldman • Jenna Forder • Gregory Fortescue • Jon Fougner • Robert Fox • Kathleen Gaines & Ray Welch • Anna Gale • Barbara Galyen • Renee Gardner • Carey Gister • Carin Garland & Paul Goldsmith • Steve Gensler • Beryl & Dohn Glitz • Valerie Gnadt • Amy & Howard Goldman • Tamara Goldsmith & Randy Zucker • Don & Maryann Graulich • John S. Gravell • Linsey Grinder • Glen Harada • Anne Harper • Peggy & Marc Hayman • Gillian A Hayward • Daniel Heath • Annette Heller • Brian & Jocelyn Herndon • Jane Hiatt • Cathryn Hilliard • Janet Hines • Adrienne Hirt & Jeffrey Rodman • Arlene Hoffman • Daggett & Sara Howard • Bart & Auban Jackson • Janet Johns • William & Sally Johnson • Susan Keener • Sandra Keith & Bob Shephard • David Kimball & Anne Taylor • Clare Krebsbach • Ken Krich & Nancy Leahong • Gee Gee Lang • Monica & Peter Lange • Barbara Laraia & Christopher Pilcher • Emily Lepner • David Lesnini • Laura Limber • Suz & Michael Lipman • Eliza Lochner • Christopher Longaker • Cheryl Longinotti & Vicki Newton • Charisse Loriaux • Heather Lutz • Cheryl Cahill Lyons & Laurence Lyons • Lynn MacDonald • Ronni Maclaren • Ann MacLeod • Mark Maigatter & Heidi Hofer • Jeana Malick • Olga Mandrussow • Lynn Mason • Shafer Mazow • Clare McCamy • Claire McDonald • Suzanne Mellen • Dr. Kurt Menning & Keiko McKibben • Gale Mondry • Susan Morris • Margaret Moster • Chris & Bonnie Mumford • Ruth & Steve Nash • Jessica Newman • Molly Noble • Patrice O’Dwyer • Vivian Olsen • Karyn O’Mohundro • Thomas Owen • James Parsons • Sally Pasternack • Kelsey Payne • Sara Pearson • Susan & Jon Peck • Lynn Perry • Michael Phillis • Stephen Piatek & Meg Rosegay • Wendy Polivka & Evan Painter • Jill Powell • Alison A. Quoyeser • Kalpana Reddy • Megan Reitan • Joel & Barbara Renbaum • Bill & Barbara Rich • Eileen Richey • Karen Robbins • Jodi Roberts • Curtis & Xania Robinson • Helen Rogers • Ellen Rothman & Ed Koplowitz • Meline & Jirayr Roubinian • John Ruskin • Mr. & Mrs. William Ryan • Judith & Mark Sachs • Mara Saulitis • Alan & Wendy Schaevitz • Danny Scheie • Laura & Michael Scott • David A. Shapiro, MD & Sharon L. Wheatley • Ann Shaw • Bill & Carolyn Shaw • Douglas & Carole Sheft • Trond Skramstad • Deborah Spanier & Ronald Fishman • Deborah Sorondo • Timothy Standing • Drs. Shayna & Elliot Stein • Gretchen & Grover Stone • Bill Streett • Carol Svetcov • Candace Swimmer & Philip Rosenthal • Jomar Tagatac • Sally Thornton • Danielle Tiedt • Gabrielle Tierney • Beatrice Tocher • Emily Tolos • Evelyn Topper • Joaquín Torres • Bruce Tremayne & Mary Diltz • Arlene Waksberg • Meredith Watts • Carl Weichel • Jan & Bill Whitmer • Christy Wise • Tamara Wolfson • Lane Yee • Ron Young & Family • Darlene Zandanel
THE LEGACY GIVING SOCIETY OF MARIN THEATRE To join the esteemed list below and make a legacy gift to Marin Theatre, please contact Executive Artistic Director Lance Gardner at lance@marintheatre.org. With gift planning, you can provide long-lasting support for a vibrant theatre community while reducing the taxation burden on your loved ones. Linden & Carl Berry‡ • Jack Bissinger‡ • Dave & Bobbie Chapman • John & Shelley Chesley • Sheldon Donig & Steve DeHart • Fred Drexler‡ • Thomas W. Edwards & Rebecca Parlette-Edwards • Joseph & Antonia Friedman • Brian & Tracy Haughton • Sandra Hess • James Lilienthal‡ • Shirley Loube‡ • Melanie Maier • Gladys Perez-Mendez‡ • Ivan & Lochiel Poutiatine‡ • Leigh & Ivy Robinson‡ • Gage Schubert‡ • Beverly Tanner • Fred & Kathleen Taylor • Nancy Thomson‡ • Phil Woodward & Connie Majoy TRIBUTE GIFTS Anonymous in honor of Fred & Kathleen Taylor Linden Berry in honor of Kipp Delbyck JoAnn & Jack Bertges in honor of Marie Satterfield, Board Member of Marin Theatre & a Tireless Advocate for the Theatre Community Gerald Cahill & Kathleen King in honor of Phillip Woodward, Former Chairman of the Board Gerald Cahill & Kathleen King in honor of Ivan Poutiatine - Honoring 60 Years of Great Theatre John J. Cortis & Susan S. Cortis in honor of Carey Perloff Deb & Debra in honor of Michael Phyllis Em, Len, Stel in honor of Baby Leslie Leland & Susan Faust in honor of Suzanne Cross Sakurako & William Fisher in honor of Carey Perloff GS DAF in honor of Carey Perloff Tracy & Brian Haughton Charitable Fund in honor of Lance Gardner Arlene F Hoffman, DPM, PhD in honor of Lance Gardner Drs. Ben & A. Jess Shenson Fund directed by Fred Levin in honor of Carey Perloff Mara Saulitis in honor of the Marin Theatre Staff The Nicole Shampaine Charitable Fund in honor of Francoise & Marshall Rothstein Pooja Sherchan in honor of Krishna Chhetri Michelle Shonk in honor of Carey Perloff Mirnahill Foundation in honor of Carey Perloff Deborah Sorondo in honor of Ivan Poutiatine Barry Lawson Williams in honor of Carey Perloff Christy Wise & Bob Axelrod in honor of Carey Perloff MEMORIAL GIFTS Noel Butler via Silicon Valley Community Foundation in memory of Phil Kurjan Amy & Howard Goldman & Gayle Retske in memory of Joyce Tayer Gillian A. Hayward in memory of Ralph Hayward J. Livingston in memory of Helen Nickerson Barbara J. Meislin in memory of Vivienn Fosman Jessica Powell in memory of Jack Powell CORPORATIONS • FOUNDATIONS • GOVERNMENT MARIN THEATRE PARTNERS | $50,000+ Clay Foundation-West • The Shubert Foundation $15,000 to $49,999 California Arts Council • Fullerton Family Foundation • Kimball Foundation • Stacy Scott Fine Cateringº
$10,000 to $14,999 Koret Foundation • Marin Community Foundation $5,000 to $9,999 Case by Case • County of Marin • Kenneth Rainin Foundation • Hafner Vineyardº • Muttville • RHE Charitable Foundation • Venturous Theater Fund of the Tides Foundation $1,000 to $4,999 Apple Inc. • b. wise Vineyards • Binkley Foundation • CharterUP • CVS Health • Harbor Point Charitable Foundation • Keepsake Studiosº • Ridge Vineyardsº • Stone Edge Farm Estate Vineyards & Wineryº • The Bindon Foundation • Tomorrow Cellarsº • Tow Foundation $500 to $999 American Conservatory Theaterº • Berkeley Repº • Bungalow 44º • Casa de Moodyº • Lark Theaterº • MacArthur Place Inn & Spaº • Marin Shakespeare Companyº • Meadowcroft Winesº • Mill Valley Film Festivalº • Mutts Comicsº • Oregon Shakespeare Festivalº • Playaº • Papapietro Perryº • Ralston White Retreatº • RationALE Brewingº • Russian River Brewing Companyº • San Francisco Playhouseº • The Burren Houseº • Transcendence Theatreº • Valley Bar & Bottleº º In-Kind Donation
Thank You to our 2026/27 Marin Theatre Season Partners
Craig & Kathy Moody and Betrayal Producers Janice M. Prochaska, Heidi Reutiman, and Anonymous (not shown)
PINTERLAND
Executive Artistic Director Lance Gardner recently spoke with Betrayal’s director Carey Perloff about her relationship with Harold Pinter.
Lance: Over the course of the pandemic, you took on writing a book about directing the plays of Harold Pinter and Tom Stoppard, two people you have worked with personally. Tell me about the impulse for your book and why these two writers. Carey: When I unpacked my boxes from ACT, I found many, many faxes and handwritten notes from Stoppard and letters from Pinter. I’d worked with both of them in rehearsal, at crucial times in my career. So I thought, “Maybe I should do something with all of this.” I started to think about why it was that those two writers had been the sort of touchstones of my creative life. They’re very different. Pinter is a minimalist; he wrote rigorous, sexy, very spare, short plays. Stoppard is a maximalist with a huge imagination; for him, there was never enough room. L: Why these two writers? C: The book started, oddly, with my realization of how important it was that they were both postwar Central European Jewish playwrights, which is unusual in the British landscape. In England after the war, the theater scene was mostly “Oxbridge.” Neither Pinter nor Stoppard ever went to university. Two of the most educated, brilliant, literary writers of the 20th century stopped school at seventeen. They were both completely self-taught. They were theater guys, meaning they didn’t write plays to be literature per se. What they loved was the process of making plays. They loved being in a room with a group of actors and not knowing, and finding out, and discovering, and being forensic, and going for the essential act, the crucial action, like a sporting event. And they both loved cricket. All of that interested me, and I thought, “I wonder if I could write a book that linked these two writers together through my own experience collaborating with them in the rehearsal room.” I started with a chapter about their Jewish legacy, asking myself, why did it matter? Pinter’s early plays, like The Homecoming and The Birthday Party, are more explicitly Jewish. But even in Betrayal, interestingly, there are things in it that felt familiar to me, and I thought, “Oh, those early impulses are always in there, in Pinter. The dialectic, our love of argument.” Both Stoppard and Pinter had a sort of Talmudic love of knowledge, love of learning, love of teasing something out. They intuitively felt the need to carry their family history with them. Jews are almost always in diaspora, and the past is always in danger of being erased. Those things were very palpable to both Pinter and Stoppard. In Pinter, this is coupled with a prevailing sense of violence. Both writers grew up in a violent time in postwar London; Pinter writes movingly about finding his way down a dark alley to avoid getting attacked by antisemitic thugs. There’s a lot of that hidden menace in his plays. But for both writers, one of the most central themes is about memory. How do you remember your past when you come from a people for whom everything has been wiped out? Stoppard addresses this directly in his final play, Leopoldstadt. Pinter was always obsessed with the slippery nature of memory. He understood that memory is not always voluntary. You can’t try to remember something; its details are forgotten, buried. But then something triggers it, like the madeleine dipped in tea in Proust (Pinter’s favorite novelist), and suddenly your whole childhood comes flooding back. So there’s a lot of involuntary memory in Betrayal, which is really heartbreaking. Jerry and Emma travel through a long, passionate affair, and then it’s: Do you remember? Did it happen? Did we love each other? And for Robert and Jerry: Were we best friends? What does that even mean? Because, crucially, Betrayal is also a play about two men and their intense friendship. Everyone’s memory of the same events ends up being different, which is painful when you desire to fix the past in (continues on next page)
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a certain way. The characters are like lost people in a picture album. Right before Betrayal, Pinter wrote No Man’s Land, in which there’s an incredibly beautiful moment exploring how you honor the dead. When you open a photo album, the ghosts of the dead swirl into the room. L: This is your first time directing this play. What is it like to approach a play like this, having thought about Pinter so much, having written a book about it? Is it different to tackle something that has been around for your entire career but that you haven’t touched? C: When Pinter’s friend Henry Woolf worked on a Pinter play, he always said, “Welcome to Pinterland.” Because Pinterland has its own rules of play. It’s not like any other world you’ve ever walked into. In the book, I try to explain some of the “rules of play” in a Pinter play, because the experience isn’t like anything else. As you learn more about Pinterland, there are delicious things about it that are very different. It’s not naturalism. It’s like learning a foreign language. Once you’ve studied a foreign language, then you know what the rules of play are in that language. So then when you meet somebody who speaks that language, you think, “Oh, that’s how I talk to you!” For me, it’s been incredibly fun. This play is very different from the earlier plays in some ways, but the rules are there in how it operates. Pinter thought every scene was like a sports match. You step on the deck, and the drama starts. It’s active, it’s dangerous. It’s always predator and prey. It’s very sexy. It’s always relational, and the relations change all the time. It doesn’t help you to bring a long biography in because he’ll say, “How do you know? We don’t remember what happened to us in our past. How do you know that that’s what really happened? That’s what you think happened.” In rehearsal, Pinter was forensic about exactly what was happening “in this moment,” what is being pursued, what are the “facts,” as he called them. The relationships are always a triangle in Betrayal, so you’ll see two against three all the time, but the triangle is constantly shifting. That’s what’s fun. You have to really stay on your toes. L: Just digging into this idea of his language, the thing that people might have heard about and that gets mentioned often is the “Pinter pause.” Harold Pinter is very specific in his use of pauses and silences and punctuation. Can you talk a little bit about the importance of the space between the words in Harold Pinter plays? C: The first time I ever called Pinter on the phone, I was really nervous. This is what I heard (in a very deep, resonant voice): “I’m not in.” And then, after the longest pause imaginable, “Leave a message.” I was so taken aback I hung up, because I wasn’t expecting any more after that pause! I kept thinking, “Do I talk now? Oh, is it over?” He had just stopped until he was ready to go on. In his use of the pause, Pinter captures what really happens between two people as they calibrate how their language is landing on the other person and whether to go on. It makes you think: “Who’s covering something? Who’s telling a lie? Does the other person know?” The pause is the time it takes the audience to look from character to character to figure out what’s happening. The audience needs that time. There’s a gap because we have to think. A silence, on the other hand, is like when the whole bottom drops out, where something gets said that is shocking or appalling or upsetting or surprising, and you just can’t go on. So you stop until you can go on. Pinter once said that there are two kinds of silence. There’s a silence of no words. There’s also a silence of a torrent of words. When you get scared, or somebody insults you, or humiliates you, sometimes you just start talking and talking to cover up your nakedness. That’s another kind of silence: the need to cover up the void. The main thing we have to remember, and we talked about this the first day of rehearsal, is these characters are not American. We Americans usually believe that language is confession. To the British, particularly to a writer like Pinter, language is a smokescreen, a dance to hide vulnerability, a game being played to win, or to seduce, or to upend the status quo. That’s why it’s so much fun to rehearse Pinter. The games never end.