In This Program

• A Welcome from the Artistic and Managing Directors
• There is Some Place Called Home: Berkeley Rep’s 2026 High School Theatre Festival
• An American Classic, Revisited
• The Dream We Build: Reimagining Arthur Miller’s Classic
• Show Program
• Artist Bios
• Print Edition
• More about Berkeley Rep

There is Some Place Called Home: Berkeley Rep’s 2026 High School Theatre Festival

By Marketing and Registrations Manager Ashley Lim

The stage is set. The lights are up. The audience is filled. For nearly 100 high school students, Berkeley Rep’s Roda Theatre stage is about to become their new home. Berkeley Rep’s annual High School Theatre Festival is just one of the many ways we’re investing in future artists and change-makers. 

The High School Theatre Festival is a unique opportunity for students to work alongside professional theatre artists to devise new works completely from scratch, and then perform them right here at Berkeley Rep. Each school selected for participation engages in a 10-12 week residency from December through March, where theatre artists visit each school to facilitate the creation of an original play based on themes or issues chosen by students at each campus.  This year’s theme? There is Some Place Called Home. 

There is Some Place Called Home centers the act of imagining and re-imagining home — beyond blood, beyond borders, beyond the places that have displaced, exiled, or othered them. This festival celebrates home as a foundation built with others, a shared becoming, and a collective making where ritual, imagination, and performance become acts of resilience, reinvention, and liberation. Beyond school communities, this event also activates core communities within Berkeley Rep’s youth programming, such as Teen Leadership Council — a cohort of local high schoolers interested in theatre and arts education advocacy, who assist in selecting the festival’s theme, as well as coordinating and hosting all events the day of the festival itself.

“The festival is a necessary experience as it gives teens permission, and space, to use their own voices,” explains Aejay Antonis Marquis Mitchell, Berkeley Rep’s Education Programs Associate who coordinates the festival each year. “Students are invited to create work rooted in what shapes their everyday lives: their dreams, hopes, fears, questions, and contradictions. Many students arrive naming a feeling of being unheard or invisible; the festival counters that by centering their stories as worthy of time, care, and collective witnessing.”

Berkeley Rep’s High School Theatre Festival is always open to the public and welcomes any and all community members interested in supporting young artists. This event is free, so if you are interested in joining us for a day of celebration, discovery, and theatre on Monday, March 9, head to berkeleyrep.org/HSTF to 
RSVP today! 

An American Classic, Revisited

JOHANNA PFAELZER: All My Sons is often talked about as a story of familial duty, moral responsibility, and the ideals of the American Dream. What’s meaningful about exploring those themes through your own identities and family history?

WANDA DE JESÚS: Moral responsibility is timeless.
We’re living in a society where we’re all looking at individualism versus community. Every young generation thinks they know more than the older generation, but if you live long enough, the young start whispering things like, “Oh, dad was right.” Younger generations start understanding the nuanced gray shades of life. This is a beautiful story about postwar: about what war does to a society and what it does to neighborhoods and communities who deal with so much loss. There are losses for everyone in this piece. Kate sees her son, Chris, who comes back from war. He’s lost men. He’s a changed man — she sees it. She knows that grief gives you wisdom. When you have somebody die in your arms, which I’ve experienced, it changes you profoundly.

DAVID MENDIZÁBAL: My father was an immigrant from Ecuador and in many ways lived the American Dream: He came here and made something for himself and for his family. So, when I first read the play, and the interrogation of both the American Dream and who it’s really for, I thought about my family. Looking at the play now in 2026, we are witnessing the myth of America. We’re seeing a government decide who gets to have the right to the American Dream. And as Wanda pointed out, the sort of individualism we are being fed contrasts with what I believe — we are all in it together, and we need each other. That’s the only way we’ll get out of things.

JIMMY SMITS: What’s exciting to me is that everything we’re talking about can exist within the framework of this classic American play, performed as written. We’re not trying to impose anything onto it because of who is sitting in front of you, but all these layered themes resonate in another way — not a different way — than audiences have maybe seen in other incarnations of the play. And that’s the test of a true classic. The idea of the American Dream, or its myth, is something every immigrant group experiences, and that’s what the American tapestry is all about. That’s why these plays resonate in such a special way.

JP: Jimmy and Wanda, how do you navigate creating independent characters on stage together? Each of you have your own artistic processes — how do you balance drawing on the benefits of your intimacy and history while also giving yourselves and each other the freedom to create something new?

JS: All I have to do is look into her eyes and there’s an added layer for any emotion you can possibly conceive of — joy, pain, grief, anger, heartache, despair — because we’ve shared life together. It resonates in a deeper kind of way. And in our own professional lives, we have to go out and do that, create families and familiarity with strangers, but this added depth is special. When I re-read the play, I couldn’t imagine opening myself up and bearing Joe’s soul without having a real partner on stage.

WD: We respect each other’s trajectory, our careers and techniques, our secrets, and our loves. And so, we know how to navigate that as professional actors, because after all, you do that with any actor. But with this play — he goes upstairs to read it, then he comes down and looks at me soulfully. He says, “You’ve got to read this.” And I go, “It’s Arthur Miller. Okay?” He says, “No, we’ve got to do this. There’s something here.” And when I read David’s vision and “Puerto Rican family,” I said, “Okay, that’s it. I’m in!” It brought up my parents’ past generations, my great-grandmother. It brought up everyone for me.

JS: Plus, we’ve been to Berkeley before together to work. So, it’s like coming back to something familiar. And frankly, we’re at a point in our careers where being able to help realize a young person’s view about the world is our mission statement as artists: to turn around, look back, and help open the door.

JP: What does being on stage feed for you?

JS: This body is our instrument. You got to keep that instrument in tune. Both our backgrounds were on stage. I don’t cast aspersions to anybody in terms of what lanes they choose to take in their lives. Certainly, you can use an iPhone now and become very successful, but for me, I need to constantly come back to the stage and tune the instrument. The theatre allows for that.

WD: On a film or TV set, you are unearthing truths, but in the span of a minutes-long scene. Doing a play, you’re living every night in that world, digging into the story and learning how it evolves. It’s a different way of working. Theatre is not for the faint of heart. It’s for people who want to tell the truth. It’s a different kind of discipline and demand on the psyche and the soul.

JP: David, for you as a director, All My Sons comes with multiple generations of interpretation and expectation. As you walk forward into this world, what’s guiding you? What do you feel compelled to interrogate, disrupt, or illuminate 
for audiences?

DM: My hope for an audience is that they will see the play and go, that’s how the play is supposed to be, right? That it isn’t about trying to place an idea onto it but really, take the time to dig into what Miller was trying to say in 1947; and say, I think that same honest conversation about the American Dream, about moral responsibility, about familial duty, about the difference between individualism and our collective responsibility, unfortunately, remains true and feels even more potent right now. I’m
excited to dig into the truth of the play as it has always been and be wildly surprised.  

The Dream We Build: Reimagining Arthur Miller’s Classic

by Elena Sanchez, Berkeley Rep’s Peter F. Sloss Artistic Fellow

When talking about the vision for this production of All My Sons, director David Mendizábal stated that while they had reimagined the Keller family as Puerto Rican for this production, they didn’t want the project to be seen as a Latino fantasy. Rather, it’s a lens for how practical it was for a Puerto Rican family to be wrestling with the American Dream in the 1940s. Although Puerto Rico was ceded to the US during the Spanish-American War in 1898 and Puerto Ricans were later granted birthright citizenship by the Jones-Shafroth Act of 1917, Puerto Ricans experienced difficulties in their pursuit of upward mobility as a result of racial and class divides. Upon examining the history of Puerto Rican migration to the East Coast and Midwest, we learn the motivations behind Puerto Rican migration closely mirror those of Miller’s canonical characters’ in their desire to fulfill the American Dream and set up future generations for success. 

As is widely known, after World War II, the US experienced an economic and industrial boom, largely because of increased war weaponry production. To ease the US postwar domestic labor shortage and alleviate Puerto Rico’s poverty, the federal government employed Operation Bootstrap, an initiative to draw American companies to set up factories in Puerto Rico in exchange for inexpensive labor and tax reduction incentives. This transformed the Puerto Rican economy from agricultural to industrial, driving agricultural laborers to migrate to the mainland as there became more opportunities for Puerto Ricans to work in domestic and manual labor.

Though thousands of Puerto Ricans migrated to New York in the 1940s, many migrated to suburban American communities, such as those surrounding Philadelphia, which still holds the second-largest Puerto Rican population in the US. Moreover, while many Puerto Ricans came to urban US hubs, many also migrated to the Midwest, where Arthur Miller originally set All My Sons. Lorain, Ohio, known as the “International City,” became home to one of the country’s largest Puerto Rican populations after hundreds of Puerto Rican men were recruited to work in steel mills between 1947 and 1948. The National Tube Company paid the travel costs and housed them in barracks, though many encountered difficulty establishing long-term housing due to discrimination and language barriers. The Mexican community in Lorain, who had been established there since the 1920s, supported Puerto Ricans by renting properties to them. Eventually, Puerto Ricans established neighborhoods along the historic Vine Avenue, fostering community through the creation of Puerto Rican housing assist-
ance organizations. 

Thousands of Puerto Ricans also moved to Chicago in the late 1940s. Labor recruiter Castle, Barton, and Associates solicited Puerto Ricans to work in domestic labor and in foundries. Puerto Ricans established themselves in various neighborhoods, especially Humboldt Park, which was the first state-designated Puerto Rican Cultural District in the US. Like in Lorain, Puerto Ricans created cultural organizations and festivals in Chicago, including the first Puerto Rican Day Parade, which took place in 1966. 

Today, the Puerto Rican diaspora continues in the US largely because of climate migration and economic opportunities. Following the impact of Hurricanes Maria and Irma in 2017, more than 300,000 Puerto Ricans moved to the US mainland, notably Orlando, Florida and Hartford, Connecticut. Many came for temporary shelter but remained because of better economic opportunities and living conditions. Currently, more Puerto Ricans live on the US mainland than the island itself.

In exploring the intersections of All My Sons with the history of Puerto Rican migration to the US mainland, I found myself seeing that the image of an American-Latino family examining the impacts of their hard-earned material success is not a rarity in 2026. In my own family, my grandma migrated from Vieques, Puerto Rico in the 1950s and worked as a nursing attendant at Los Angeles General Hospital. Her decades-long career led to renting an apartment in San Francisco and allowed her daughter, my mother, the stability to pursue higher education and eventually even afford a house with my father. My family’s narrative – like the Kellers in Mendizábal’s All My Sons – is a manifestation of Puerto Rican migration, not only in working physically demanding jobs but building a sustainable legacy. Even though legacy-building is a core part of the American Dream, it can feel taboo to talk about long-term planning, inheritance, and wealth-building, because despite the fact that generations of Latinos have long been laboring toward that very future, there are still limited examples within the Latino community. However, the pursuit of the American Dream isn’t limited to a single culture — and there is no single path to building a legacy.   

Berkeley Repertory Theatre
Johanna Pfaelzer, Artistic Director | Tom Parrish, Managing Director

presents

All My Sons

Written by Arthur Miller
Directed by David Mendizábal

Scenic Design
Anna Louizos

Costume Design
Toni-Leslie James

Lighting Design
Russell H. Champa

Sound Design
Fan Zhang

Wigs & Hair Design
Matthew Armentrout

Vocal Coach
Andrea Caban

Fight Director
 & Intimacy Consultant
Dani O'Dea

Casting
The Telsey Office
Will Cantler, CSA
Karyn Casl, CSA

Stage Manager (Through Feb 26)
Hope Villanueva *

Stage Manager (as of Feb 27)
Laura Smith *

Assistant Stage Manager
Anthony Lopez

Director of Marketing and Audience Services
Voleine Amilcar

Associate Producer — New Work
victor cervantes jr.

General Manager
Sara Danielsen

Director of Production
Audrey Hoo

Director of the School of Theatre
Anthony Jackson

Director of Finance
Sam Linden

Director of Development
Ari Lipsky

Associate Artistic Director/Director of In Dialogue
David Mendizábal

Director of Human Resources and Diversity
Modesta Tamayo

Director of Operations
Amanda Williams O’steen

All My Sons is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)

SEASON PRESENTING SPONSORS

Stephen & Susan Chamberlin
Yogen & Peggy Dalal
Bruce Golden & Michelle Mercer
Marcia Grand
Frances Hellman & Warren Breslau
Jonathan Logan & John Piane
Arjay R. and Frances F. Miller Foundation
The Strauch Kulhanjian Family
Gail & Arne Wagner

SEASON SPONSORS

The Hearst Foundations
Wayne Jordan & Quinn Delaney
Sudha Pennathur & Edward Messerly
Jack & Betty Schafer
Kelli & Steffan Tomlinson

LEAD SPONSOR

Sutter Health

SPONSORS

Steven & Linda Wolan

ASSOCIATE SPONSORS

Bill DeHart & David Kamimoto

William T. Espey & Margaret Hart Edwards
Laura Graham
Helen M. Marcus

CAST

In order of appearance

JIMMY SMITS * … Joe Keller
CASSIDY BROWN * … Dr. Jim Bayliss
BRADY MORALES-WOOLERY * … Frank Lubey
ELISSA BETH STEBBINS * … Sue Bayliss
REGINA MORONES … Lydia Lubey
ALEJANDRO HERNANDEZ * … Chris Keller
OSIEZHE GBOLIGI-JOHN GREGORY BRAMAH, DANYEL LACY … Bert
WANDA DE JESÚS * … Kate Keller
MAYAA BOATENG * … Ann Deever
BRANDON GILL * … George Deever

UNDERSTUDIES

SAMUEL ADEMOLA * … George Deever, Frank Lubey
DEREK GARZA * … Chris Keller, Dr. Jim Bayliss
ROBERT M. JIMÉNEZ * … Joe Keller
EMILY NEWSOME * … Ann Deever, Lydia Lubey
LISA RAMIREZ * … Kate Keller, Sue Bayliss

Understudies never substitute for listed performers unless a specific announcement or notice is made at the time of appearance.

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

This theatre operates under agreement with the League of Resident Theatres, Actors’ Equity Association (the union of professional actors and stage managers in the United States), the Stage Directors and Choreographers Society, and United Scenic Artists.

Opening Night: February 25, 2026
Roda Theatre

All My Sons will be played with one 15 minute intermission.

For This Production

Assistant Director … Katie Genzer (Bret C. Harte Artistic Fellow)
Fight Captain … Cassidy Brown
Assistant Scenic Designer … Craig Napoliello
Assistant Lighting Designer … Claire Chesne (Electrics Fellow)
Assistant Sound Designer … Riley Oberting (Harry Weininger Sound Fellow)
Production Assistant … Olivia Spreen (Stage Management Fellow)
Deck Crew … Michael Boomer, James McGregor, Siobhán Slater
Wardrobe Crew … Kamaile Alnas-Benson, Caz Hiro, Mika Rubinfeld (Sub), Linda Wu (Sub)
Hair and Makeup Crew … Erin Taylor
Lighting Programmer/Board Op … Kenneth Coté
Sound Crew … Conor Fortner (A1), Camille Rassweiler (A2)
Studio Teacher … Martha Harris, Stacy Heniser (Sub)
Child Supervisor … LeeAnn Dowd

Scenic Fabrication by Berkeley Repertory Theatre Scenic & Paint Shops

Additional Scenery Fabricators … Austin Andrade, Cassidy Carlson, Cameron Edwards, Isaac Jacobs, Carl Martin, Troy McClendon, Drea Ronquillo, Krista Wright
Additional Scenic Artists … Kenzie Bradley, Julie Ann Brown, Wyn Di Stefano,
Katie Holmes, Allie Kranyak, E Wayman-Murdock

Props Fabrication by Berkeley Repertory Theatre Properties Shop

Additional Prop Artisans … Cassidy Carlson, Hanbyul Joo

Costumes Built by Berkeley Repertory Theatre Costume Shop

Additional Costume Technicians … Breanna Bayba (Draper), Chris Weiland (First Hand), Hannah Velichko (Stitcher), Kelly Koehn (Crafts Artisan)

Lighting Services provided by Berkeley Repertory Theatre Lighting Department

Additional Lighting Technicians … Desiree Alcocer, Emma Buechner, Brittany Cobb,
 Angelina Costa, Jack Grable, A. Chris Hartzell, Jacob Hill,
 Hannah Linaweaver, Margaret Linn, Charlie Mejia,
 Nori-Hayden Quist, Sarina Renteria, Taylor Rivers,
 C. Swan-Streepy, Matthew Sykes, Trinity Wicklund

Sound Services provided by Berkeley Repertory Theatre Sound and Video Department

Local Casting … Karina Fox
Production Manager … Kali Grau
Production Management Associate … Haley Miller
Assistant Production Manager … Alex Hamm (Production Management Fellow)
Company Manager … Ryan Duncan-Ayala
Assistant Company Manager … Katelin Shum (Company Management Fellow)

Medical Consultation for Berkeley Rep provided by
Mari Bell MPT (UCSF), Ed Blumenstock MD, Charissa Chaban DPT, Cindy J. Chang MD (UCSF), Christina Corey MD, Neil Claveria PT, Patricia I. Commer DPT, Kathy Fang MD PhD, Steven Fugaro MD, Anjali Gupta MD (Kaiser), Olivia Lang MD (Berkeley Pediatrics), Allen Ling PT, Liz Nguyen DPT, Desiree A. Unsworth DPT, Christina S. Wilmer OD, Eric Yabu DDS, and Katherine C. Yung MD

Jimmy Smits ^*

Joe Keller

Jimmy is an Emmy and Golden Globe Award–winning actor whose career spans acclaimed work in theatre, film, and television. He returns to Berkeley Rep, where he previously appeared alongside his longtime partner Wanda De Jesús in The Guys, following their collaboration in the West Coast premiere of Death and the Maiden at the Mark Taper Forum. On Broadway, his credits include Anna in the Tropics and God of Carnage. Smits’ longstanding association with New York’s Public Theater began when Joe Papp cast him in his first Equity role and continued through numerous downtown productions, performances at the Delacorte in Twelfth Night and Much Ado About Nothing, and service as a board member during George C. Wolfe’s tenure. His film credits include In the Heights, My Family/Mi Familia, Mother and Child, The Jane Austen Book Club, and the Star Wars franchise, while his landmark television work includes LA Law, NYPD Blue, The West Wing, Dexter, and Sons of Anarchy.

Cassidy Brown ^*

Dr. Jim Bayliss

Cassidy is happy to return to Berkeley Rep where he previously appeared in Imaginary Comforts and as understudy in Mother of Exiles and The Thing About Jellyfish. He has appeared at TheatreWorks in Fallen Angels, Doubt, Distracted, The 39 Steps and at San Jose Rep in Game On. Other Bay Area credits include Center Rep in The Great Leap, Ella, The Underpants, and The 39 Steps; Aurora Theatre in Bosoms and Neglect and Safe House; Marin Shakespeare Company in Don Quixote and Othello; San Jose Stage in The 39 Steps; and SF Playhouse in You Mean to Do Me Harm and The Curious Incident of the Dog in the Nighttime. Regionally he has appeared in multiple plays at both Capital Stage and Pacific Repertory Theatre.

Brady Morales-Woolery ^*

Frank Lubey

Brady is a native Bay Area actor thrilled to make his Berkeley Rep debut. He most recently appeared as Colonel Pickering in My Fair Lady at SF Playhouse. His other regional credits include The Burdens (The 222), Private Lives (ACT), People Where They Are (San Jose Stage), 1984 and Born With Teeth (Aurora Theatre Company), Private Lives (Arizona Theatre Company), Clue (Center Rep), Romeo y Juliet and Twelfth Night (Cal Shakes), The (curious case of the) Watson Intelligence (Shotgun Players), Once (42nd Street Moon), Retablos (Word for Word), Barefoot in the Park and The Kentucky Cycle (Willows Theatre Company). His feature film credits include Quitters, Pushing Dead, The Internship, and Avenue of the Giants. He holds a BA in theatre from UC Berkeley. bradymwoolery.com
pronouns: He/Him

Elissa Beth Stebbins ^*

Sue Bayliss

Elissa is a Bay Area-based actor, teaching artist, producer, and maker. Their recent acting credits include Little Women, Miss Bennet: Christmas at Pemberley, Mrs. Christie, and Nan and the Lower Body (TheatreWorks); The Return (Golden Thread); Colonialism is Terrible, but Pho is Delicious (Aurora Theatre Company); Becky Nurse of Salem (Berkeley Rep); Kings, Kiss, The Village Bike and Caught (Shotgun Players); Revolt. She Said. Revolt Again. and You For Me For You (Crowded Fire Theatre), among others. Elissa is a co-founder and collective member of Analog Theatre, where they produce and devise physical theatre. Pronouns: They/She

Regina Morones 

Lydia Lubey

Regina is a native Bay Area actor and arts educator from Oakland, and a company member of Oakland Theater Project. She was mostly recently seen as Ophelia in Hamlet at Oakland Theater Project. Other stage credits include Best Available (Shotgun Players), Measure for Measure (ACT Out tour), Gary: A Sequel to Titus Andronicus (OTP), Yerma (Shotgun Players), The Winter's Tale (Cal Shakes), As You Like It (SF Shakes), and Retablos (Word for Word). Regina holds a BA in theatre arts and an MFA in acting from the University of Iowa. reginamorones.com. PRONOUNS: she/her/ella

Alejandro Hernandez^*

Chris Keller

Alejandro is a NYC-based actor thrilled to make his Berkeley Rep debut. His stage work includes Mojada (Yale Rep), Bodegueros (Public Theater/LAByrinth Theater Company), The National Pastime (Syracuse Stage), Between Riverside and Crazy (Pittsburgh Public Theater), Wondrous Strange (Humana Festival), and Peter and the Starcatcher (Actors Theatre of Louisville). On screen, he's appeared in The Horror of Dolores Roach, Sneaky Pete, New Amsterdam, Partner Track, Monster, Gotham, and American Dreamer. He received a BFA in theatre at Montclair State University and was an acting apprentice at Actors Theatre of Louisville. He dedicates each performance to his father.

Osiezhe Gboligi-
John Gregory Bramah

Bert

Osiezhe is an 11-year-old multidisciplinary artist making his Berkeley Rep debut. He has performed alongside Grammy-nominated artists Jaimeo Brown and James Henry. At seven, his visual exhibition, From the Eyes of a Child, at Mc Art & Culture Gallery drew comparison to Basquiat. He is the youngest “It’s a R.A.P" (Raising Awareness and Prevention) Ambassador. He performed his rap “DDV” at the Center for Domestic Peace fundraiser in Marin County and was a featured spiritual rapper at DA Lori Frugoli’s National Crime Victims Rights Week. Recent stage credits include Cassius in Faith You Can See at Empress Theater. @iam_osiezhe

Danyel Lacy

Bert

Danyel is a 9-year-old performer thrilled to be making his Berkeley Rep debut, and he is beyond excited to be stepping onto such a renowned stage. Danyel was recently seen in James Lick Middle School’s production of Shrek Jr., where he played Young Shrek and Baby Bear. He also appeared in ACT Young Conservatory’s production of Rudolph Jr. as Fireball. When he’s not on stage, Danyel enjoys staying active and playing soccer, football, and baseball.

Wanda De Jesús ^*

Kate Keller

Wanda is a native New Yorker whose career spans acclaimed work in theatre, film, and television. A graduate of Fiorello H. LaGuardia High School for the Performing Arts, she earned her BFA from Leonard Davis Center for the Performing Arts at CCNY. She began her professional theatre career at Circle Repertory Theater and the New York Shakespeare Festival/Public Theater. Dedicated workshop performances led to her Broadway debut opposite Robert De Niro in Cuba and His Teddy Bear. She earned critical acclaim for the West Coast premiere of Death and the Maiden at the Mark Taper Forum. She appeared with Jimmy Smits in The Guys at Berkeley Rep. Her stage work also includes Summer and Smoke with Christopher Reeve at the Ahmanson Theatre and collaborations with directors George C. Wolfe and Oscar Eustis. Her film and television credits include The Insider, Blood Work, Flawless, Illegal Tender, Fatal Attraction, Gentefied, Sons of Anarchy, NYPD Blue, and the Peabody Award–winning Almost a Woman, for which she received an Imagen Award.


MaYaa Boateng ^*

Ann Deever

MaYaa is a New York City-based actress thrilled to make her Berkeley Rep debut. She starred in and originated her role in the Pulitzer Prize-winning production, Fairview by Jackie Sibblies Drury (SoHo Rep & TFANA), as well as her roles in Merry Wives adapted by Jocelyn Bioh (Delacorte). Her other NYC theatre credits include Fabulation… (Signature), Julius Caesar (Delacorte), and Exception to the Rule (Roundabout). Film and TV credits include Orange is the New Black (Netflix), City on a Hill (Showtime), High Maintenance (HBO), Chicago PD (NBC), The Blacklist (NBC), FBI (CBS), and Reunion (Short, Bronzelens Best Actress Award-winner). MFA, NYU Graduate Acting.

Brandon Gill ^*

George Deever

Brandon is excited to make his Berkeley Rep debut. He is a proud New Yorker and a graduate of the Juilliard School. Recent credits include Topdog/Underdog at Pasadena Playhouse, where he is part of the acting faculty, and Hamlet (NY Delacorte Theater). Brandon has originated roles in Broadway’s 5x Tony Award-winning A Christmas Carol, Bella (Playwrights Horizons, Lortel nominee), The Last Goodbye (Old Globe), world premieres of Brandon Jacob Jenkins’ Neighbors (NY Public Theater) & Too Heavy For Your Pocket (Roundabout). He has narrated several NY Times best selling authors including Black Panther: Dreams of Wakanda. Brandon currently recurs on Chicago PD. Other TV and film credits include NCIS: New Orleans, Radium Girls, Marvels: The Punisher, Madam Secretary, Blue Bloods, and Law & Order: SVU.

Samuel Ademola ^*

u/s George Deever, Frank Lubey

Samuel is a Nigerian-born actor, screenwriter, standup comedian, and poet. Recent NorCal stage credits include Marin Shakespeare Company (The Antipodes) and SF Playhouse (Fat Ham). He is currently streaming on HBO Max (Freaky Tales), Peacock (Nash Bridges), and Apple TV (First Date). He is featured in the upcoming theatrical horror drama Blood Wine (2027).

Derek Garza ^*

u/s Chris Keller, Dr. Jim Bayliss

Derek is a DC-based, OBIE Award-winning Native American/Latino actor. His stage credits include Geva Theatre (Pure Native), The Kennedy Center (The Other Children of the Sun), PAC-NYC (Between Two Knees), Baltimore Center Stage (Swindlers, Our Town), Arena Stage (Mother Road), and Oregon Shakespeare Festival (Othello, Romeo & Juliet, As You Like It, Between Two Knees). Other theatres include Native Earth, ART, Yale Rep, ISF, Mosaic Theatre, Seattle Rep, TimeLine Theatre, Victory Gardens, Chicago Dramatist, Video Cabaret, and Steppenwolf. His film and TV credits include ABC's Betrayal; NBC's Chicago Fire, Jimortal (Pilot), PowerBook II: Ghost, Canal Street, and Untold Valor. derekgarza.com. Pronouns: He/Him

Robert M. Jiménez ^*

u/s Joe Keller

Robert is thrilled to join the cast of All My Sons at Berkeley Rep. He most recently appeared in Public Theater's Much Ado About Nothing (Mobile Unit tour). He originated the role of Martinez in the Tony Award-winning Broadway play, Take Me Out, as well as the role of Eddie in The Block (Working Theater). Among his most challenging and rewarding roles was playing a neurodivergent adult in The Field Trip (Cherry Lane). His screen credits include Martyr of Gowanus, Presence, Trick, The Blacklist, Law & Order, and FBI: Most Wanted. His voice-over credits include National Geographic, Discovery, Modelo, Dora the Explorer, Go Diego Go!, and Red Dead Redemption. Pronouns: he/him/el

Emily Newsome ^*

u/s Ann Deever, Lydia Lubey

Emily is an actor and teaching artist based in San Francisco. Previous credits include Sally and Tom (Luce/Sally) at Marin Theatre, San Francisco Shakespeare Festival’s The Two Gentlemen of Verona (Sylvia/Outlaw), Froggy (Voice of Froggy) at Center Repertory Company, Fallen Angels (Jane Banbury) at Aurora Theatre Company, and American Conservatory Theater’s A Christmas Carol (Belle/Mary). Emily holds a BFA in acting from UC Santa Barbara, and is a proud co-founder of Berkeley Shakespeare Company.

Lisa Ramirez ^*

u/s Kate Keller, Sue Bayliss

Lisa's regional credits include Hamlet, Ironbound, Angels in America, Who’s Afraid of Virginia Woolf, The Crucible, The Wasteland, A Streetcar Named Desire, TO THE BONE, EXIT CUCKOO (nanny in motherland) (Oakland Theater Project); Nan and the Lower Body (TheatreWorks); Cashed Out, Water by the Spoonful (SF Playhouse); Angels in America (Berkeley Rep). Her NYC credits include ADDRESSLESS (Rattlestick Theater); The Watering Hole (Signature Theatre); Good Grief (Vineyard Theatre); Tell Hector I Miss Him (Atlantic Theater); Pas de Deux (lost my shoe), The Idea of Me, TO THE BONE (Cherry Lane); Art of Memory (3-Legged Dog); EXIT CUCKOO (nanny in motherland) (Working Theater).

Arthur Miller

Playwright

Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan. His plays include The Man Who Had All the Luck, All My Sons, Death of a Salesman, The Crucible, A View from the Bridge, A Memory of Two Mondays, After the Fall, Incident at Vichy, The Price, The Creation of the World and Other Business, The Archbishop’s Ceiling, The American Clock, and Playing for Time. Later plays include The Ride Down Mt. Morgan, The Last Yankee, Broken Glass, Mr. Peters’ Connections, Resurrection Blues, and Finishing the Picture.

David Mendizábal

Director

David is a Helen Hayes Award-winning director, designer, and the Associate Artistic Director/Director of In Dialogue at Berkeley Repertory Theatre. They serve as one of the Producing Artistic Leaders of the Obie Award-winning The Movement Theatre Company and are a founding collective member of the Obie Award-winning Sol Project. Select directing credits include Mexodus (Audible Theater/Berkeley Rep/Baltimore Center Stage/Mosaic — also Costume Designer), Don’t Eat the Mangos (Huntington Theatre/Magic Theatre), Mother Road (Berkeley Rep), the bandaged place (Roundabout Underground/NYSAF), Sanctuary City (Berkeley Rep/Arena Stage), On the Grounds of Belonging (Long Wharf), and Tell Hector I Miss Him (Atlantic Theater). David directed and designed the costumes for the world premiere of Notes on Killing Seven Oversight, Management, and Economic Stability Board Members (Soho Rep). They are the recipient of a Princess Grace Award Honoraria. Alumnus of the Soho Rep Project Number One Residency, Ars Nova Vision Residency, Drama League Directors Project, LAByrinth Intensive Ensemble, Lincoln Center Theater Directors Lab, artEquity, and TCG Leadership U. David is an alum of New York University’s Tisch School of the Arts at Playwrights Horizons Theater School. IG: @its_daveed | davidmendizabal.com. pronouns: they/he

Anna Louizos

Scenic Design

Anna is a three-time Tony Award-nominee who has designed extensively for Broadway and regional theatre. Broadway credits include In the Heights, School of Rock (sets and costumes), Avenue Q, The Mystery of Edwin Drood, Honeymoon in Vegas, Rodgers + Hammerstein’s Cinderella, Irving Berlin’s White Christmas and Holiday Inn, Dames at Sea, It Shoulda Been You, High Fidelity, and Curtain. Regional theatre work includes productions at The Goodman Theatre, Alliance Theatre, La Jolla Playhouse, and The Old Globe, among many others. International and touring work includes the recent West Side Story world tour and the national tour of Peter Pan.

Toni-Leslie James

Costume Design

Ms. James has designed 31 Broadway productions including Gypsy, Mother Play, Flying Over Sunset, Bernhardt/Hamlet, Come From Away, Jitney, Amazing Grace, Lucky Guy, The Scottsboro Boys, Finian's Rainbow, Ma Rainey's Black Bottom, King Hedley II, The Wild Party, Marie Christine, Footloose, The Tempest, Twilight: Los Angeles, 1992, Angels in America: Millennium Approaches & Perestroika, Chronicle of a Death Foretold, and Jelly’s Last Jam. Selected awards and nominations include four Tony Award nominations, the 2019 Drama Desk Award, the Hewes Design Lifetime Achievement Award, the Irene Sharaff Young Masters Award, and the Obie Award for Sustained Costume Design Excellence.

Russell H. Champa

Lighting Design

Russell’s previous projects at Berkeley Rep include The Hills of California, Wintertime, Becky Nurse of Salem, Dear Elizabeth, The Pillowman, and Eurydice. Upcoming projects include Girls Chance Music at ACT and Pictures From Home at Marin Theatre. His work on Broadway includes China Doll (Gerald Schoenfeld Theatre), In the Next Room, or the vibrator play (Lyceum Theatre/Lincoln Center Theater), and Julia Sweeney’s God Said “Ha!” (Lyceum). New York credits include Playwrights Horizons, Theatre for a New Audience, The Public, Second Stage Theater, Manhattan Theatre Club, and New York Stage and Film. Regional credits include Old Globe, Steppenwolf, The Wilma, Trinity Rep, and Mark Taper Forum. Opera and dance credits include The Dallas Opera, Lyric Opera of Kansas City, Odyssey Opera, and Pilobolus. Thanks J+J! PEACE. russellchampa.com

Fan Zhang

Sound Design

Fan's recent NYC credits include Good Bones (Public Theater), Jordans (Public Theater), Trophy Boys (MCC), At the Wedding (Lincoln Center), The Far Country (Atlantic Theater), This Land Was Made (Vineyard Theatre), Snow in Midsummer (Classic Stage), Paris (Atlantic Theater), Our Dear Dead Drug Lord (Second Stage), Pumpgirl (Irish Rep), Suicide Forest (Ma-Yi & ART), and more. Regional credits include Berkeley Rep, Arena Stage, Shakespeare Theatre, Steppenwolf, Milwaukee Rep, Capital Rep, American Repertory, Long Wharf, Pittsburgh City Theatre, Portland Center Stage, Studio Theatre DC, Yale Rep, Huntington, and Old Globe. Local 829; TSDCA. Faculty at Purdue University. MFA, Yale School of Drama. Recipient of Drama Desk, Lucille Lortel, Henry Hewes, and Audelco Awards. fanzhangsound.com

Matthew Armentrout

Wigs and Hair Design

Matthew's Broadway credits include Redwood, A Wonderful World, The Mother Play, Paradise Square (Drama Desk nominee), Birthday Candles, Flying Over Sunset, Bernhardt/Hamlet, and The Sound Inside. His off-Broadway work includes Kyoto (LCT), Ava: The Secret Conversations, The Last Bimbo of the Apocalypse (The New Group), Merrily We Roll Along (Roundabout), and Othello (NYSF). Regional credits include Midnight in the Garden of Good and Evile (Goodman), Gatsby (ART), A Transparent Musical (Center Theatre Group), Ava: The Secret Conversations (Geffen). TV credits include The Marvelous Mrs. Maisel (Emmy nominee).

Telsey Office

Will Cantler, CSA

Karyn Casl, CSA

Casting

With offices in both New York and Los Angeles, The Telsey Office casts for theatre, film, television, and commercials. The Telsey Office is dedicated to creating safe, equitable, and anti-racist spaces through collaboration, artistry, heart, accountability, and advocacy. thetelseyoffice.com

Hope Villanueva ^*

Stage Manager

Hope is thrilled to return to Berkeley Rep after last year’s run of Mexodus (off-Broadway, Berkeley Rep, Baltimore Center Stage). Other credits include A Room in the Castle (Folger, Cincinnati Shakespeare); The Fires (SoHo Rep); Rock of Ages Hollywood at The Bourbon Room, Blues for an Alabama Sky (Barrington Stage); King of the Yees (DC’s Signature Theatre); A Nice Indian Boy, (Olney Theatre Center); WILD (ART, feat. Idina Menzel); Private (Mosaic Theatre); Hand to God, Choir Boy (Studio Theatre). She was also the PSM for national tours of Rock of Ages, My Fair Lady, and Ringling Bros. and Barnum & Bailey’s Bellobration.

Laura Smith ^*

Stage Manager

Laura's New York credits include The Thanksgiving Play (Broadway), Atlantic Theater Company (Infinite Life, Shhhh, The Great Leap, Tell Hector I Miss Him), Manhattan Theatre Club (Morning Sun, Bella Bella), Signature Theatre (Hot Wing King, The Antipodes), Playwrights Horizons (Downstate, Noura), Second Stage Theater (Dying City), Public Theater (The Low Road), Theatre for a New Audience (Remember This), Play Company (Intractable Woman), and Julliard (Appropriate). Her regional work includes Resident Production Stage Manager at Shakespeare Theatre Company (Merry Wives, Frankenstein, Kunene and the King, Leopoldstadt, Comedy of Errors, The Matchbox Magic Flute, The Lehman Trilogy, Salome).

Anthony Lopez

Assistant Stage Manager

Anthony is thrilled to be returning to Berkeley Rep. Anthony was most recently the assistant stage manager on Mother of Exiles, the sub stage manager for The Reservoir, and a stage management production assistant on The Thing About Jellyfish. Anthony started at Berkeley Rep as the Stage Management Fellow in 2023/24 season. Other Bay Area stage management credits include Ride the Cyclone (NCTC, 2024), Carrie: The Musical, Hadestown: Teen Edition (Young Conservatory at ACT), and many shows with the Education & Community Programs department at ACT.

Johanna Pfaelzer

Artistic Director

Johanna joined Berkeley Rep in 2019 as its fourth artistic director following 12 years as the artistic director of New York Stage and Film (NYSAF), a New York City-based organization dedicated to the development of new works for theatre, film, and television. Notable works developed under Johanna’s leadership at NYSAF include Hamilton by Lin-Manuel Miranda, The Humans by Stephen Karam, Hadestown by Anaïs Mitchell, The Wolves by Sarah DeLappe, The Invisible Hand by Ayad Akhtar, A 24-Decade History of Popular Music by Taylor Mac, The Homecoming Queen by Ngozi Anyanwu, The Great Leap by Lauren Yee, John Patrick Shanley’s Doubt, The Fortress of Solitude by Michael Friedman and Itamar Moses, The Jacksonian by Beth Henley, and Green Day’s American Idiot. In addition, Johanna has developed the work of many notable artists including Jocelyn Bioh, Zach Helm, Halley Feiffer, Billy Porter, Lucy Thurber, Duncan Sheik, V (formerly Eve Ensler), Steven Sater, Jaclyn Backhaus, Patricia Wettig, and Marcus Gardley. Since arriving at Berkeley Rep, Johanna has produced multiple world premieres as well as projects that have gone on to notable future productions including Swept Away, Galileo, Mexodus, and Cult of Love. She was formerly a producing director of Zena Group and served for five years as the associate artistic director of American Conservatory Theater. Johanna is a graduate of Wesleyan University and the Actors Theatre of Louisville apprentice program and has taught in the MFA theatre program at Columbia University School of the Arts. She lives in Berkeley with her husband Russell Champa and their son Jasper.

Tom Parrish

Managing Director

Tom has served as a theatre leader and arts administrator for over 20 years, with experience in organizations ranging from multivenue performing arts centers to major Tony Award-winning theatre companies. Prior to Berkeley Rep, he served as executive director of Trinity Repertory Company, Geva Theatre Center, and Merrimack Repertory Theatre and as associate managing director/general manager of San Diego Repertory Theatre. His work has been recognized with a NAACP Theatre Award for Best Producer and “Forty Under 40” recognition in Providence, Rochester, the Merrimack Valley, and San Diego. He received his MBA/MA in arts administration from Southern Methodist University; BA in theatre arts and economics from Case Western Reserve University; attended the Commercial Theater Institute, National Theater Institute, and Harvard Business School’s Strategic Perspectives in Nonprofit Management; and is certified in leading diversity, equity, and inclusion by Northwestern University. He and his husband live in Berkeley.

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