The fact is that having the brand shift during the pandemic, with the theatre largely laying fallow, the staff decimated, and the leadership in flux, was not the greatest idea.

The brand system I inherited was fantastic, but wrong for us.

Bringing the Rep back to life

Joining the company as it emerged from the pandemic meant a couple of things: I was able to rebuild Berkeley Rep's visual messaging around a core of vibrancy that would take the brand forward (while honoring its structure), and I was able to help build a completely new marketing team that would let the theatre grow and prosper again.

I revamped the brand colors to be a more comprehensive system for hierarchical purposes — adding gradations in tone and new complements that brought warmth into the design.

I began creating brand-centered key art that was arresting, appealing, and bursting with vibrancy. I recreated the signage and art in the two-theatre complex that made it both functional and welcoming, and created lobby displays, didactics, programs and photo ops that drew people into the world of the plays.

On top of all that, our print programs returned after years of being digital-only, which meant producing a full magazine — with a feature well of 6-10 pages , plus a very robust service section — seven times a year with very little support.

THE AUDIENCE EXPERIENCE

Ultimately, the theatrical experience is about its audience, and I wanted them to think of Berkeley Rep as a destination they were excited to come to.

The artists that Berkeley Rep attracts produce work that is recognized for its greatness on a national and international level. And it continues to be a challenge to balance serving the needs of their work (representing their vision of the play), serving the needs of our audience (making collateral, signage, and spaces inviting and compelling), and continuing to evolve the brand to strengthen the theatre as it grows.