For a production last year in Calgary, a gender switch illuminated the Shakespeare play’s conflicts in fresh and troubling ways.
Gentle but passionate, as handy with farce as with tragedy, the late director brought together the Bay Area’s disparate theatrical tribes like no one else.
Her renegade first season at the earthquake-ravaged A.C.T. sparked outrage—and a surprise denouement.
When San Francisco’s venerable but ailing flagship theatre hired a 32-year-old neophyte to lead it, they didn’t know what they were in for. Neither did she.