Pictured in banner: Dena Martinez, Sean San José, and Brian Rivera in Cal Shakes’ American Night: The Ballad of Juan José; photo by Kevin Berne.
It is the greatest thrill of my year to share with you our upcoming season. Everything is so temporal in the theater; shows come to life, then end. Sets are built, actors rehearse, clothing gets fitted, and audiences show up to complete the beautiful equation that singularly marks our great form: theater. And then it is all gone.
But not forgotten.
I am blessed to have the most loyal audience in this country. I am sad when I say goodnight to many of you for the last time in the summer, but I know in my heart that you’re still there, and are going to return to nourish our work not just with your attendance, but also with your curiosity, intelligence, adventurous spirit, and—most importantly—your sheer love of Cal Shakes.
So next year, let the love continue, starting with Lorraine Hansberry’s American classic, A Raisin in the Sun, directed by the divine Patricia McGregor. In the second slot, we’re lucky to have Aaron Posner back (after his exuberant Midsummer Night’s Dream in 2009) to direct Shakespeare’s A Comedy of Errors in a thoroughly surprising and (I hope) delightful way. Then I am thrilled to wrestle again with the brilliant George Bernard Shaw and his most anti-romantic of comedies, Pygmalion.
We culminate our 2014 season with the return of Shana Cooper, whose Romeo & Juliet this year was nothing short of revelatory. Working side-by-side with Erika Chong Shuch (who made the amazing dances in my Tempest last year) Shana will make a wildly inventive, movement-based production of Shakespeare’s A Midsummer Night’s Dream.
We’ll continue to make the Bruns inviting to everyone, regardless of age, circumstance, or background, with great food, drink, art, and conversation, all under the magnificent stars and sun of this, our most beautiful home. And, before our Main Stage season even begins, we’ll bring Michelle Hensley’s all-female production of Twelfth Night into nontraditional performance spaces—and to Intersection for the Arts—as part of our new Shakespeare in Communities programming. As subscribers, you’ll get the first opportunity to purchase tickets to this special non-subscription event before they go on sale to the general public. Keep an eye on your inbox in the coming months for more details on that.
I look forward to sharing another season with each and every one of you.
Plays, dates, and artists are subject to change.
Photo of Jonathan Moscone by Kevin Berne.