HAMLET, Yale Repertory Theatre, 2013

MARCH 15 to APRIL 13

2012-13

SEASON

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Source: Q1 2012 Omniture; Jan. 2012 Comscore.

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Best of Ontario August 8-16, 2013 Immerse yourself in world-class theater at the Stratford and Shaw Festivals. Read the texts before seeing the plays, then join Yale alumni and friends in pre- and post- production discussions led by Professor Murray Biggs.

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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre’s production of Hamlet.

I am thrilled that you are here today to share the work of this tremendously gifted company of actors and the creative team with whom I have been collaborating for the last several months.

Hamlet is a play that lives in world culture and the popular imagination like no other. Its lasting essence is defined by its beautiful tracing of these heroically painful circumstances: to be given tasks of the utmost devotional and moral significance, and to feel that the completion of these tasks may cost one’s life and soul.

An epic subject deserves an epic vehicle. Here, Shakespeare reveals his characters’ humanity—and reflects our own—in a mirror that is personal and familial, political and historical, religious and philosophical, spiritual and artistic, light and dark.

Few plays proffer a story with such rich interpretive invitations. Of the dozen or so productions of Hamlet that I have seen in my lifetime, none has reminded me of any other. Moreover, no play in Shakespeare’s canon depends more on the eyes, ears, hearts, and minds of its audience for its action—time and time again, it is to you that characters turn to ask the most important questions of the moment.

And so your presence for this performance helps to complete our work, whether you are a long time subscriber, first time ticket buyer, or one of more than 3,000 high school students whose attendance at Hamlet is made possible, in part, by the generosity of Yale Rep’s many donors.

I know I speak for the entire company when I thank you for joining us, and I hope you will feel free to email me at james.bundy@yale.edu with your thoughts about the production and/or your experiences at Yale Rep. It’s always a pleasure to hear from you!

Sincerely,

James Bundy Artistic Director

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When community members speak about supporting the arts, we respond to their call for making the possible actual. Valuing artistic diversity within our neighborhoods helps to unite communities, creating shared experiences and inspiring excellence.

Bank of America is proud to support the Yale Repertory Theatre for their leadership in creating a successful forum for artistic expression.

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MARCH 15 TO APRIL 13, 2013

YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director

PRESENTS

By WILLIAM SHAKESPEARE Directed by JAMES BUNDY Composer Scenic Designer Costume Designer Lighting Designer Sound Designer Fight Director Vocal Coach Movement Coach Production Dramaturg Casting Director Stage Manager

Yale Repertory Theatre gratefully acknowledges Bank of America for generously supporting this production.

YALE REP IS SUPPORTED IN PART BY THE CONNECTICUT OFFICE OF THE ARTS.

SARAH PICKETT MEREDITH B. RIES JAYOUNG YOON STEPHEN STRAWBRIDGE KERI KLICK RICK SORDELET GRACE ZANDARSKI ERICA FAE DANA TANNER-KENNEDY TARA RUBIN GEOFF BORONDA

Yale Rep’s production is part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest.

SEASON MEDIA SPONSOR

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Yale University Art Gallery Visit with Friends

Gallery Talk Character Studies: Portraying Shakespeare’s Hamlet Wednesday, April 10, 12:30 pm

Expanded museum now open

Free and open to the public artgallery.yale.edu

Edwin Austen Abbey’s The Play Scene in “Hamlet” (Act III, Scene 2) (1896) on view in the American paintings and sculpture galleries

CAST IN ORDER OF APPEARANCE Barnardo Francisco Horatio Marcellus King Claudius Cornelius Voltimand Laertes Lord Polonius Prince Hamlet Queen Gertrude Ophelia Ghost Rosencrantz Guildenstern First Player Player Prologue Player King Player Queen Messenger Gravedigger Priest Osric Fortinbras Attendants, Gentlemen, Ladies, Players, Sailors, Soldiers

MICKEY THEIS CHARLIE TIRRELL AUSTIN DURANT ROBERT DAVID GRANT MARC KUDISCH JARLATH CONROY MAMOUDOU ATHIE TOMMY SCHRIDER GERRY BAMMAN PAUL GIAMATTI LISA EMERY BROOKE PARKS MARC KUDISCH ERIK LOCHTEFELD MICHAEL MANUEL PATRICK KERR REMSEN WELSH PAUL PRYCE FELICITY JONES TIMOTHY HASSLER JARLATH CONROY PATRICK KERR CHRIS BANNOW PAUL PRYCE CHRIS BANNOW, ROBERT DAVID GRANT, TIMOTHY HASSLER, FELICITY JONES, PATRICK KERR, ERIK LOCHTEFELD, MICHAEL MANUEL, MICKEY THEIS, CHARLIE TIRRELL, HARRIET WEAVER

MUSICIANS Percussion MICHAEL COMPITELLO BILL SOLOMON Double Bass BRIAN ELLINGSEN Trumpet CHRISTOPHER SCANLON Harp MAURA VALENTI

SETTING In and around Castle Elsinore, Denmark THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION. 9

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HAMLET OUR CONTEMPORARY At once tragic, romantic, cosmic, theatrical, existential, and political, Hamlet is, to borrow a figure from the play itself, “poem unlimited.” Each new production converses with the ghosts of previous productions, and though each is different, they all seek to render this 400-year-old play immediate for audiences.

A 1904 PRODUCTION IMAGE OF HAMLET REJECTING OPHELIA.

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In Shakespeare’s day, contemporary dramatic adaptations of literary source material were common, and though the Hamlet story springs from a 13th-century Danish tale, Shakespeare used the plot to create something wholly unique and wholly of his time. Shakespeare transformed the feigned madness of the medieval Prince Amleth and his avowed vengeance into a particularly Elizabethan reimagining of revenge, the religious complexities of the newly Anglican England, the theatre, and the nature

HAMLET OUR CONTEMPORARY of action. Shakespeare’s original productions featured actors wearing contemporary clothing performing against the Renaissance architecture of the Globe Theatre. Hamlet would have been dressed, not in medieval Danish garb, but in clothes instantly recognizable to members of an early 17th-century audience as their own.

A PRODUCTION ENGRAVING CIRCA 1775.

Productions over the centuries have sought to do the same, retelling the tale of Hamlet as a comment on the contemporary culture of each age.

The play has been presented as a swashbuckling revenge tragedy, an exploration of Freudian psychology, a political struggle against a corrupt state, and a wildly theatrical meditation on the art of theatre itself—just to name a few. The title role has been played in the towering periwig of the early 18th century, against a 19th-century painted drop of crumbling Gothic castles, and in 20th-century rehearsal clothes on a bare minimalist set.

AN ENGRAVING FROM THE 1709 EDITION OF SHAKESPEARE’S COMPLETE WORKS DEPICTING THE GHOST’S REAPPEARANCE IN GERTRUDE’S CHAMBER. NOTE THE CONTEMPORARY PERIWIG ON THE ACTOR PLAYING HAMLET.

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The text, too, changes from production to production in response to the period and culture in which it is being performed. Far from being a stable, monolithic entity, the text of Hamlet consists of three published versions that contain striking variances. None of Shakespeare’s plays survive in his handwriting, so over the centuries scholars have worked to determine what they believe Shakespeare wrote. These three printings of the text­—the first, or “bad” quarto (1603); the second quarto

(1604); and the folio (1623)—overlap in many ways, but some passages feature words, lines, and even entire scenes that are different or missing from the others. The famous first line of Hamlet’s first soliloquy, for example, is variously written as “O, that this too, too sullied/sallied/solid flesh would melt.” Each possibility lends a slightly different meaning to the moment. The play is rarely performed in its entirety, and most productions stage a particular cutting of the text shaped to speak most clearly to the audience of the day.

No matter the exact version of the text or the setting in which it is played, all are Shakespeare, and yet all are products of their own age. “The genius of Hamlet consists, perhaps, in the fact that the play can serve as a mirror,” wrote the critic Jan Kott in Shakespeare

Our Contemporary. “An ideal Hamlet would be one most true to Shakespeare and most modern at the same time…we can only appraise any Shakespearean production by asking how much there is of Shakespeare in it, and how much of us.”

The pleasure of encountering Hamlet comes paradoxically in this deep recognition coupled with the insistent sense that the play is fundamentally unknowable. Hamlet counsels us that within him is something that “passes show,” that we cannot “pluck out the heart of [his] mystery.” The play endures because each generation in its own way ventures into the heart of Hamlet’s mystery, a territory at once well trod and an “undiscovered country” to which we return and return.

—DANA TANNER-KENNEDY, PRODUCTION DRAMATURG

A SKETCH OF THE GHOST’S APPEARANCE TO HAMLET IN A LONDON PRODUCTION OF 1870. NOTE THE GOTHIC SETTING POPULAR IN THE 19TH CENTURY.

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SYNOPSIS ACT1

A Ghost resembling the late Hamlet, King of Denmark, haunts the ramparts of Elsinore castle. Prince Hamlet, home from school in Wittenberg, Germany, mourns his father’s death and his mother’s remarriage to the late king’s brother, Claudius, who is now King of Denmark. Young Fortinbras of Norway sends Denmark messages demanding the surrender of the lands old King Hamlet won from Fortinbras’s father, so the new King dispatches ambassadors to negotiate. Polonius, Claudius’s advisor, bids farewell to his visiting son, Laertes, and instructs his daughter Ophelia to break off her romance with Hamlet—an order she obeys. Horatio, Hamlet’s friend from Wittenberg, tells Hamlet that he has seen the Ghost, and that evening, Horatio and Hamlet wait on the parapet for the Ghost’s reappearance. The Ghost reveals to Hamlet that he was murdered by Claudius and demands that Hamlet exact revenge.

Buying time to determine the verity of the Ghost’s story, Hamlet puts on “an antic disposition”—behaving erratically and insulting his elders. Claudius receives word Fortinbras will not pursue his claim in Denmark but will attack Poland instead.

The King also invites Hamlet’s childhood friends Rosencrantz and Guildenstern to investigate the cause of Hamlet’s madness, but Hamlet eludes their inquiries. Fearing that the Ghost may be a demon tempting him to murder, Hamlet asks a troupe of traveling actors to present a play whose plot mirrors his father’s murder, in order to observe Claudius’s reaction. Ophelia, who has been enlisted in the effort to determine the cause of Hamlet’s madness, confronts him, and he roughly rejects her. At the play, Claudius seems disturbed by what he sees, and when he stalks out of the room, Hamlet declares that the Ghost’s story is confirmed. Gertrude summons Hamlet to her chamber, and he goes.

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ACT2

Hamlet discovers Claudius kneeling in the chapel, praying for absolution from his crime. Hamlet nearly kills him at prayer but reconsiders, believing that this would send Claudius’s soul to heaven. Instead the Prince hurries away to his mother.

When the Queen cries out in fright at her son’s bitter rebuke, Polonius, hidden behind a curtain to listen, calls for help.

Hamlet stabs him, thinking he is Claudius.

Claudius sends Hamlet away to England, escorted by Rosencrantz and Guildenstern, with secret orders that the Prince be killed upon his arrival there. But when their ship is attacked by pirates, Hamlet escapes and returns to Denmark. Under the weight of her love’s rejection and her father’s death, Ophelia goes mad with grief and drowns herself. Her brother, Laertes, vows revenge on Hamlet for Polonius’s murder and Ophelia’s tragic death. Determined to get rid of Hamlet once and for all, Claudius devises a plan in which Laertes will kill Hamlet with a poisoned sword in a fencing match. As a failsafe, Claudius also poisons Hamlet’s cup of wine. Upon his return, Hamlet stumbles into Ophelia’s funeral and grieves her death. In the fencing match, Laertes wounds Hamlet with the poisoned sword. Hamlet then grabs the sword away from Laertes and strikes him with it.

Gertrude accidentally drinks the poisoned wine and dies. The dying Laertes reveals the plot to Hamlet, who then kills Claudius.

As Hamlet dies, he asks Horatio to tell his side of the story and endorses Fortinbras’s election as the next King of Denmark.

Fortinbras arrives, surveys the carnage, and takes charge of the kingdom.

—DTK

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CAST MAMOUDOU ATHIE (VOLTIMAND) is a second-year MFA candidate at Yale School of Drama, where his credits include Iphigenia Among the Stars and Fox Play. New York credits include Reality Sandwiches at Dixon Place, The Wedding Reception at Columbia Stages, as well as various workshops and readings with Youngblood, La MaMa E.T.C., NYU, and Freedom Train Productions. He is a co-founder of D.I.Y. Shakespeare where his credits include As You Like It with Big Babies. Regional credits include The Zoo Story, Tripolitania, Becoming Sylvia (Williamstown Theatre Festival); and The Merchant of Venice (Shakespeare Theatre Company). At Yale Cabaret he was seen in The Yiddish King Lear, Funnyhouse of a Negro, and The Fatal Eggs. Mamoudou previously studied at the William Esper Studio.

GERRY BAMMAN* (LORD POLONIUS) Previous Yale Rep appearances include Shakespeare’s Measure for Measure directed by John Madden (1980) and the world premiere of Richard Nelson’s Rip Van Winkle, or The Works (1981). He received OBIE and Drama League awards and a Drama Desk nomination for Best Featured Actor for his performance as Richard Nixon in Nixon’s Nixon. He was a founding member of the Manhattan Project, one of the foremost experimental theatre companies of the 1970s, directed by André Gregory. His Broadway credits include Enemy of the People earlier this season (Manhattan Theatre Club), The Merchant of Venice, Uncle Vanya, Execution of Justice, Accidental Death of an Anarchist, and The Cherry Orchard. His film work includes Runaway Jury, Two Family House, Passion of Mind, Home Alone, Home Alone 2, Lorenzo’s Oil, The Secret of My Success, The Bodyguard, True Believer, Pink Cadillac, and—awaiting release—A Secret Promise and Nous York. His television credits include many appearances on Law & Order and Law & Order: SVU.

CHRIS BANNOW (OSRIC, PLAYER, SAILOR) is a secondyear MFA candidate at Yale School of Drama, where his credits include Cloud Nine, Iphigenia Among the Stars, and Petty Harbour. His regional credits include A Civil War Christmas (Huntington Theatre Company); The Elephant Man with Bradley Cooper (Williamstown Theatre Festival); Speech and Debate (Wellfleet Harbor Actors Theater); The Winter’s Tale and Three Sisters (Yale Repertory Theatre, understudy).

Film: Not Fade Away. Chris is a founding member of Special Sauce Co. and D.I.Y. Shakespeare. He grew up in New Haven, received his BFA from Boston University, and will serve as Associate Artistic Director of the 2013 Yale Summer Cabaret.

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*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.

MICHAEL COMPITELLO (PERCUSSION) is guided by his passion to create new art through collaborations with composers, performers, actors, and artists in all mediums.

Currently a visiting lecturer in percussion at Cornell University, Michael has worked with composers David Lang, John Luther Adams, Martin Bresnick, Helmut Lachenmann, Alejandro Viñao, and Marc Applebaum on premieres and performances of new works and has performed as a chamber musician and soloist in diverse locations such as the Darmstadt Summer Course, the Banff Centre, the International Festival of Arts & Ideas, the Norfolk Chamber Music Festival, and the Kurt Weill Festival. From 2009 to 2010, Michael performed and studied contemporary chamber music with the Ensemble Modern and the International Ensemble Modern Academy in Frankfurt, Germany, on a Fulbright Grant from the U.S. Department of State. In fall of 2012, he was a lecturer in percussion at UMass Amherst.

JARLATH CONROY* (CORNELIUS, GRAVEDIGGER) is making his Yale Rep debut. His Broadway credits include The Seagull; The Weir; The Iceman Cometh; On the Waterfront; Philadelphia, Here I Come!; The Visit; Ghetto; Macbeth; and Comedians. His Off-Broadway credits include The Coward, A Man of No Importance, Pigtown, A Life, Our Lady of Sligo, A Couple of Blaguards, Gardenia, the American premiere of Translations, and The Matchmaker. His regional theatre credits include The Homecoming; Da; The Steward of Christendom (Barrymore Award); Juno and the Paycock (Helen Hayes Award); Henry V (Helen Hayes Award nomination); Faith Healer; Molly Sweeney; Twelfth Night; Ah, Wilderness!; The Plough and the Stars; and A Christmas Carol. At the Royal Court: Cromwell and Hamlet. He has also directed productions of True West and Human Resources. His film and television appearances include Putzel, True Grit (2010), The Art of Getting By, Across the Universe, Kinsey, Stay, Day of the Dead, Heaven’s Gate, Law & Order: SVU, NYPD Blue, Law & Order: Criminal Intent, The Beat, Summer, and A Marriage: O’Keeffe and Stieglitz.

AUSTIN DURANT* (HORATIO) previously appeared at Yale Rep in American Night: The Ballad of Juan José, Death of a Salesman, and Passion Play. His other credits include War Horse (Lincoln Center Theater); Anna Christie (The Old Globe); A Doctor in Spite of Himself (Intiman Theatre); The Illusion, One Flew Over the Cuckoo’s Nest (Berkshire Theatre Festival); The Fantasticks (Mum Puppettheatre); Othello, Jelly’s Last Jam, Romeo and Juliet (Yale School of Drama); The Who’s Tommy and The Mystery of Irma Vep (Yale Summer Cabaret). His television credits include Person of Interest and Nurse Jackie. He received his BA from Temple University and his MFA from Yale School of Drama. Austin is a 2012 Leonore Annenberg Fellow.

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CAST BRIAN ELLINGSEN (DOUBLE BASS) Brian Ellingsen’s playing has been hailed as “shocking and evocative” by the Philadelphia Inquirer, and The New York Times has described him as “coaxing an amazing variety of sounds from his instrument.” As a soloist he has been featured at the Spoleto Festival USA and New Music Hartford. Brian is also featured as the solo musician in Lisa Peterson’s production of An Iliad, a modern adaptation of the ancient Greek epic poem The Iliad. As a chamber musician he has been a member of Ensemble ACJW and is a standing member of Le Train Bleu, The Declassified, and the Heavy Hands quartet. As an orchestral musician Brian has performed as principal of the Lucerne Festival Academy Orchestra, as well as principal of Gotham Chamber Opera and the Spoleto Festival Orchestra. Brian holds a bachelor’s degree from the Hartt School and a master’s from Yale.

LISA EMERY* (QUEEN GERTRUDE) previously appeared at Yale Rep in The Unmentionables by Bruce Norris. She most recently played Mary Tyrone in Long Day’s Journey into Night at Actors Theatre of Lousiville. Broadway credits include Relatively Speaking, The Smell of the Kill, The Women, Present Laughter, Jackie, Rumors, and Burn This. Off-Broadway credits include Lonely I’m Not, Sex Lives of Our Parents (Second Stage); A Kind of Alaska, Gabriel (Atlantic Theater Company); Mouth to Mouth, Abigail’s Party, The Prime of Miss Jean Brodie, Curtains (Ensemble OBIE Award), What the Butler Saw (The New Group); Iron (OBIE Award, Manhattan Theatre Club); Distracted (Roundabout Theatre Company); Dinner with Friends (Variety Arts); Marvin’s Room (Playwrights Horizons); and Far East (Lincoln Center Theater). She has been nominated for three Lucille Lortel Awards and three Drama Desk Awards for her work in theatre. Film and television credits include Admission, Cold Souls, The Night Listener, Roger Dodger, People I Know, Unfaithful, A Map of the World, Louie, Law & Order, Fringe, and Damages.

Ms. Emery is a Beinecke Fellow at Yale School of Drama this spring.

PAUL GIAMATTI* (PRINCE HAMLET) Previous Yale Rep credits include Shakespeare’s As You Like It and Brecht’s St. Joan of the Stockyards. On Broadway, he appeared in The Iceman Cometh, Three Sisters (Roundabout Theatre Company), and Racing Demon and Arcadia (Lincoln Center Theater). His other theatre credits include The Resistible Rise of Arturo Ui (National Actors Theatre/ Michael Schimmel Center for the Arts at Pace University) and The Blues Are Running (Manhattan Theatre Club), as well as productions at La MaMa E.T.C., Playwrights Horizons, Williamstown Theatre Festival, La Jolla Playhouse, and Annex Theatre. His film credits include Private Parts, The Truman Show, Saving Private Ryan, The Negotiator, Planet of the Apes, American Splendor, 18

Sideways, Cinderella Man, The Illusionist, The Last Station, Barney’s Version, Win Win, The Ides of March, Rock of Ages, John Dies at the End, and Cosmopolis.

Television credits include John Adams, 30 Rock, and Too Big to Fail. Mr. Giamatti is a graduate of Yale College and Yale School of Drama, where he is a Beinecke Fellow this spring.

ROBERT DAVID GRANT** (MARCELLUS, SOLDIER) is a third-year MFA candidate at Yale School of Drama, where his credits include Sunday in the Park with George; Cymbeline; Angels in America, Part Two: Perestroika; Arcadia; Julius Caesar; and Titus Andronicus. His other credits include Christie in Love, Rey Planta (Yale Cabaret); The Great Recession, The Footage, A Light Lunch (The Flea Theater); Hamlet and Henry IV, Part 1 (Shakespeare Theatre of New Jersey). Robert received his BA in English from Princeton University.

TIMOTHY HASSLER** (MESSENGER, ATTENDANT, SOLDIER) previously appeared at Yale Rep in The Winter’s Tale directed by Liz Diamond. He is a third-year MFA candidate at Yale School of Drama, where his credits include Cloud Nine; Romeo and Juliet; Cymbeline; Angels in America, Part Two: Perestroika; Arcadia; No More Sad Things; and Eligible Receivers. Other credits include As You Like It, The Tempest (Yale Summer Cabaret); Trannequin! A New Musical, reWilding, Carnival/Invisible, Ain’t Gonna Make it, and Cat Club (Yale Cabaret). Tim received a BS in theatre studies from the University of Evansville.

FELICITY JONES* (PLAYER QUEEN, LADY) previously appeared at Yale Rep in American Night: The Ballad of Juan José, The Winter’s Tale, The Master Builder, A Woman of No Importance, Lulu, and The Ladies of the Camellias. Her New York stage credits include the Broadway production of Metamorphoses, and Off-Broadway: The Captain’s Tiger (Manhattan Theatre Club), Measure for Measure (The Public Theater), and As You Like It (The Acting Company). Regional credits include The Homecoming, ’Tis Pity She’s a Whore, Lady Windemere’s Fan (CENTERSTAGE); The Diary of Anne Frank (Westport Country Playhouse); Enrico IV (American Conservatory Theater); The Odyssey (Goodman Theatre); and Cymbeline (Hartford Stage, McCarter Theatre). She is an associate with Lattawork Productions, performing her one-woman school show Me Pluribus Unum. She was an Associate *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. **APPEARS COURTESY OF ACTORS’ EQUITY ASSOCIATION.

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CAST Artist for ten years at Theatre de la Jeune Lune, where she co-wrote and performed in such works as Crusoe, Friday and the Island of Hope, The Green Bird, and Children of Paradise: Shooting a Dream (the last two also seen here at Yale Rep). Film and television credits include Julie & Julia, Wonderland, Deadline, Ed, and Law & Order.

PATRICK KERR* (FIRST PLAYER, PRIEST, SOLDIER) was last seen at Yale Rep in Rough Crossing. New York theatre credits include The Ritz (Roundabout Theatre Company), Jeffrey (Minetta Lane Theatre), The Devils (New York Theatre Workshop), and The Warrior Ant (Brooklyn Academy of Music). Los Angeles theatre credits include Steve Martin’s The Underpants (Geffen Playhouse), Dealer’s Choice (Mark Taper Forum), Light Up the Sky (Pasadena Playhouse), and A Midsummer Night’s Dream (South Coast Rep). Film and television credits include Tony Scott’s Domino, Stuart Saves His Family, Ed, CSI, The New Adventures of Old Christine, Crossing Jordan, Will and Grace, Seinfeld, Friends, ER, Just Shoot Me, The Drew Carey Show, and Law & Order. He may be best known for his recurring roles as Noel on Frasier and the Blind Guy on Curb Your Enthusiasm. He is a graduate of Yale School of Drama.

MARC KUDISCH* (KING CLAUDIUS, GHOST) is making his Yale Rep debut. His Broadway credits include 9 to 5 (Tony and Drama Desk award nominations), The Apple Tree, Chitty Chitty Bang Bang (Tony and Outer Critic Circle award nominations), Assassins (Drama Desk nomination), Thoroughly Modern Millie (Tony, Drama Desk, and Outer Critic Circle nominations), Bells Are Ringing, The Wild Party, The Scarlet Pimpernel (3.0), High Society, Beauty and the Beast, and Joseph and the Amazing Technicolor Dreamcoat. Recent Off-Broadway: Blue Flower (Second Stage Theatre); A Minister’s Wife, The Glorious Ones (Lincoln Center Theater); Girl Crazy (Encores!); A Little Night Music, The Pirates of Penzance (New York City Opera); and See What I Wanna See (The Public Theater, Drama Desk Award nomination). Recent regional theatre: Tartuffe (Westport Country Playhouse), Golden Age (The Kennedy Center), and A Little Night Music (Los Angeles Opera). Television: Gossip Girl, Smash, Blue Bloods, Sex and the City, Late Night with David Letterman, Break In (Lifetime), As the World Turns, All My Children, and Bye Bye Birdie. Mr. Kudisch is a Beinecke Fellow at Yale School of Drama this spring.

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.

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ERIK LOCHTEFELD* (ROSENCRANTZ, SOLDIER) last appeared at Yale Rep in Safe in Hell. He appeared on Broadway in Metamorphoses. Other theatre credits include Melancholy Play (13P), February House (The Public Theater and Long Wharf, Connecticut Critics Circle Award), and The Notebooks of Leonardo Da Vinci (Second Stage Theatre).

Recent regional credits include Candide (Goodman Theatre, Shakespeare Theatre Company, Huntington Theatre), Ethan Frome (Lookingglass Theatre), The Adventures of Tom Sawyer (Hartford Stage), Abe Lincoln in Illinois (Intiman Theatre), These Shining Lives (CENTERSTAGE), The Pillowman and The Glass Menagerie (Bay Area Critics Award nomination), both at Berkeley Rep, as well as work at the Eugene O’Neill Theater Center, Cincinnati Playhouse in the Park, California Shakespeare Theater, Two River Theater Company, McCarter Theatre, Mark Taper Forum, Seattle Rep, Chicago Shakespeare Theater, and Williamstown Theatre Festival, among others. Television credits include All My Children, Third Watch, and Law & Order.

MICHAEL MANUEL* (GUILDENSTERN, SOLDIER) is happy to return to Yale Rep, where his credits include Summer and Smoke, Edward II, and Search and Destroy. He was most recently seen in Eurydice at South Coast Rep. Michael has worked in regional theatres across the country but spends the bulk of his time in Los Angeles, where he has worked with the Mark Taper Forum, Cornerstone, A Noise Within (Dramalogue and LA Critics Circle awards), Geffen Playhouse, Upright Citizens Brigade, Interact Theatre Company (LA Weekly and Ovation awards), Pasadena Playhouse, Main Street Players, About Productions, Parson’s Nose, and Impro Theatre. Some of his television and movie credits include Without a Trace, Medium, National Treasure, Los Americans, and the upcoming feature Wins a Lot. Michael is a graduate of Yale School of Drama.

BROOKE PARKS* (OPHELIA) is a member of the acting company at Oregon Shakespeare Festival, where her credits include Helen of Troy and Andromache in Troilus and Cressida; Princess of France in Henry V; Doctor Kaya in The Very Merry Wives of Windsor, Iowa; Mariana in Measure for Measure; Marullus, Brutus Decius, and Titinius in Julius Caesar; Caroline Bingley in Pride and Prejudice; and Viola in Twelfth Night.

Her other stage credits include Helena in A Midsummer Night’s Dream, Georgette in The School for Wives, Antoinette in A Flea in Her Ear, Ermengarde in The Matchmaker (A Noise Within); Sylvia in The Two Gentlemen of Verona (Illinois Shakespeare Festival); Hilda in The Autumn Garden and Giulia in 21

CAST The Vize (Williamstown Theatre Festival). Ms. Parks is a graduate of Yale School of Drama, where she played Tamora in Titus Andronicus, Rossignol in Marat/Sade, Arkadina in The Seagull, and Mrs. Gibbs in Our Town.

PAUL PRYCE (PLAYER KING, FORTINBRAS) is a third-year MFA candidate at Yale School of Drama, where he has appeared in Iphigenia Among the Stars, Twelfth Night or What You Will, Cymbeline, Julius Caesar, Othello, Fox Play, and Angels in America, Part Two: Perestroika. He has toured the U.S. in Shakespeare’s Romeo and Juliet and has worked extensively in theatre in New York City over the last seven years. His other credits include The Game Room, Funnyhouse of a Negro, The Island (Yale Cabaret); the world premiere of Pre-Disposal by John Prescod, Pecong featuring Tony Award-winner Lillias White (National Black Theatre of Harlem); and Harry The Hunk On His Way Out (Cherry Lane Theatre). Paul is a native of Trinidad and Tobago, where some of his credits include Carnival Messiah, Jesus Christ Superstar, and MANtalk. In Trinidad and Tobago he produced and starred in the Caribbean classic Smile Orange (2011) and last summer produced Rum and Coca Cola.

CHRISTOPHER SCANLON (TRUMPET), based in New York City, is a member of the Verbier Festival Chamber Orchestra, South Florida Symphony Orchestra, Shrine Big Band in Harlem, and a founding member of the Blink Ensemble. He has performed with the Boston Symphony Orchestra, Boston Pops, Springfield Symphony, Charleston Symphony, Miami Symphony, Symphony in C; as principal with the Boston Lyric Opera, Singapore Symphony, Rhode Island Philharmonic, Vermont Symphony, Opera North, and the Philharmonic Orchestra of the Americas.

As a soloist he has performed with the Garden State Philharmonic and Spectrum Symphony of New York and recorded new music with the Boston Modern Orchestra Project and the Callithumpian Consort. As a fellow at the Tanglewood Music Center, he received the Roger Voisin Award and has also performed at Artosphere, Spoleto USA, Banff, and the Verbier Festival in Switzerland. Scanlon studied with Mark Gould, Marie Speziale, and Thomas Rolfs.

TOMMY SCHRIDER* (LAERTES) previously appeared at Yale Rep in the world premiere of Kirsten Greenidge’s Bossa Nova and Robert Woodruff’s production of Battle of Black and Dogs.

His New York credits include War Horse on Broadway; Macbeth (Theatre for a New Audience); Septimus and Clarissa (Baruch Performing Arts Center/Ripe Time); Close Ties (Ensemble Studio Theatre); Acts of Mercy, St. Crispin’s Day (Rattlestick Playwrights Theater); She Stoops to Conquer, Pigtown (Irish 22

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.

Rep); and RACE (Classic Stage Company). Regional theatre credits include productions at South Coast Rep, Berkshire Theatre Festival, Huntington Theatre Company, Westport Country Playhouse, Cincinnati Playhouse, Willamstown Theatre Festival, Philadelphia Theatre Company, Actors Theatre of Louisville, Syracuse Stage, Portland Center Stage, and TheatreWorks. International: Andrews Lane, Dublin. Film and television credits include The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom, Person of Interest, Medium, Numb3rs, Law & Order, Whoopi, and As the World Turns. He received his MFA from NYU.

BILL SOLOMON (PERCUSSION), a Hartford-area percussionist, performs with Ensemble Signal, having appeared at Tanglewood, Miller Theatre, June in Buffalo, Eastman School of Music, Guggenheim Museum, Merkin Hall, Cleveland Museum of Art, EMPAC, and (Le) Poisson Rouge with Helmut Lachenmann, Steve Reich, Irvine Arditti, Charles Wuorinen, and others. He performed the solo vibraphone part for Pierre Boulez’s Répons in collaboration with the Lucerne Festival, IRCAM, and Ensemble InterContemporain with Mr. Boulez as conductor. His ensemble and festival appearances include Hartford Symphony Orchestra, Alarm Will Sound, Talujon Percussion, Vigil Ensemble, Wet Ink Ensemble, Wordless Music Orchestra, Bang on a Can Marathon, Sebago-Long Lake Chamber Festival, Percussive Arts Society International Conference, Pixelerations, Music with a View, Tune In Festival and Philadelphia Chamber Music Society. His recordings can be found on the Mode, EUROArts, Cantaloupe, Naxos, New World, Capstone, Tzigane, and Equilibrium labels, as well as Philip Glass’s soundtrack to the documentary Project Rebirth.

MICKEY THEIS (BARNARDO, PLAYER, SAILOR, GENTLEMAN) is a second-year MFA candidate at Yale School of Drama, where his credits include Cloud Nine, Vieux Carré, Blueberry Toast, and The Bachelors. Yale Cabaret credits include Cowboy Mouth, This: An Interview Project, reWilding, Secret in the Wings, and Clutch Yr Amplified Heart Tightly and Pretend.

Mickey is a former member of Motel Motel, a band with which he toured internationally and recorded The Big Island (2010) and New Denver (2008). He holds a BA in literary studies from Eugene Lang College, The New School for Liberal Arts.

CHARLIE TIRRELL* (FRANCISCO, ATTENDANT, SOLDIER) is making his Yale Rep debut. Theatre credits include A Christmas Carol (Hartford Stage); Uncle Vanya, The Front Page (Long Wharf); Much Ado About Nothing, Sherwood (Elm Shakespeare Company); Who’s Afraid of Virginia Woolf?, Driving Miss Daisy, The Shadow Box, La Cage Aux Folles, Jekyll & Hyde, Oliver, Annie 23

CAST (Warner Stage Company); 1776 (Goodspeed Musicals); A Few Good Men, The Dresser (Thomaston Opera House); Twelve Angry Men (Torrington Civic Theatre); Johnny Guitar (Seven Angels Theatre); four productions of The Music Man as Harold Hill; as well as various staged readings for Berkshire Playwrights Lab and Aglet Theatre Company. He is a proud member of Actors’ Equity Association.

MAURA VALENTI (HARP) is currently based in New Haven. A graduate of the Yale School of Music, she also holds a Bachelor of Music with scholastic distinction from The Juilliard School, and her principal harp teachers have been Nancy Allen, June Han, and Rebecca Flannery. Maura enjoys a diverse career as an orchestral musician and as an enthusiastic member of the new music community. She has performed with the critically acclaimed new music ensembles NOVUS NY and Ensemble Moto Perpetuo, and most recently, has been heard as a member of the Connecticut-based experimental music quartet Large Objects. In December 2012, Maura co-founded Orchestra Sempiternam, an ensemble committed to using music to unite, to heal, and to work to affect meaningful change in the wake of unfathomable tragedy.

HARRIET WEAVER (LADY) is thrilled to be making her professional theatre debut. She is in her final semester at Yale College, where she has performed in thirteen undergraduate productions and majors in theater studies. Harriet trained at Circle in the Square Theatre School in the summer of 2011.

REMSEN WELSH (PLAYER PROLOGUE) is happy to return to Yale Rep, where she previously appeared in Liz Diamond’s production of The Winter’s Tale and was an understudy for Bossa Nova. Her other stage credits include The Library Project, VaudeVillain (A Broken Umbrella Theatre); A Civil War Christmas (Long Wharf Theatre, understudy; New Haven Theater Company); and The Hundred Dresses directed by Lara Morton. She also worked exclusively with Wilhelmina Models in New York and was featured in a children’s music video. She would like to thank her friends and family for all their love and support.

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CREATIVE TEAM GEOFF BORONDA* (STAGE MANAGER) is a proud member of Actors’ Equity Association and a third-year MFA candidate at Yale School of Drama, where his credits include Fox Play, Much Ado About Nothing, Eurydice, Blacktop Sky, and Angels in America, Part Two: Perestroika. His other theatre credits include Dear Elizabeth, A Doctor in Spite of Himself (assistant stage manager, Yale Repertory Theatre); Beautiful Star; The Blonde, the Brunette, and the Vengeful Redhead (Triad Stage); Rent and Altar Boyz (Papermill Theatre). He received his BFA in technical production from the University of North Carolina at Greensboro.

JAMES BUNDY (DIRECTOR) Please see page 30 for his bio.

ERICA FAE (MOVEMENT COACH) is an actor and theatre/filmmaker whose recent play, Take What Is Yours, was developed in residencies and/or readings at New Georges, IRT, New York Theatre Workshop, and the New Ohio Theatre. It premiered at 59E59 Theaters and is currently touring. Other original work for the theatre has been performed at Dance Theater Workshop, The Culture Project, HERE (where she was a resident HARP artist), and the Edinburgh Fringe Festival. As filmmaker, Fae’s Christine 1403 won Best Short at Salento, and her performance in it was awarded Best Actress at the BAC Film Festival/Brooklyn Museum. Numerous additional film credits include Synecdoche, New York; The Savages; Little Children; and Please Give. She teaches Grotowski-based physical training at Yale School of Drama and The New School and will be teaching a Master Class for the SITI Company this April. She is also co-founder of anecdota with Jill A. Samuels, making theatre and film inspired by visually poetic storytelling mined from historic and physical research.

KERI KLICK (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Sunday in the Park with George, Petty Harbour, The Seagull, Uncle Vanya, Jib, and Twelfth Night or What You Will. At Yale Rep, she was the sound engineer and assistant sound designer for Three Sisters. Yale Cabaret credits include Trannequin! A New Musical and Rey Planta, among others. Keri was the sound designer and composer for The Dwight/Edgewood Project in 2011 and 2012. Originally from Queens, New York, Keri is a graduate of SUNY Purchase, where she earned a BM in studio production and a BA in performing arts management.

Her undergraduate credits include Suor Angelica, Gianni Schicchi, Confession, and The Rocky Horror Purchase Show (P.A.C.). She is the artistic director of a non-profit organization called The Global Sound Project, which seeks to promote the study of ethnomusicology and to bridge cultural gaps through the sharing of everyday sounds. The Global Sound Project was the recipient of a 2011 Impact Award. theglobalsoundproject.org

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.

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CREATIVE TEAM SARAH PICKETT (COMPOSER) previously served as composer and sound designer for Yale Rep’s production of Edward Albee’s A Delicate Balance and also designed the sound for Death of a Salesman and Richard II. Her other theatre credits in sound design and/or composition include Zero Hour, Pericles (Yale School of Drama); Max Out Loud, The Bacchae (Yale Cabaret); Much Ado About Nothing (Oregon Shakespeare Festival); All’s Well That Ends Well, Twelfth Night, The Cure at Troy, Of Mice and Men, Shakespeare’s Will (American Players Theatre); The Life and Adventures of Nicholas Nickleby, All My Sons, The Importance of Being Earnest (PlayMakers Repertory Company); The Winter’s Tale (Asolo Repertory Theatre); Gypsy (Drury Lane Oakbrook); We Are Proud to Present... (Victory Gardens); Aliens with Extraordinary Skills (Women’s Project); Macbeth, Measure for Measure, Othello (Theatre for a New Audience); No Child… (Capital Repertory Theatre and Hangar Theatre); The Santaland Diaries, Red (Portland Center Stage); To Kill a Mockingbird (Dallas Theater Center); and Italian American Reconciliation (Long Wharf Theatre).

She received her BFA from Syracuse University, her MA from Cornell University, and her MFA from Yale School of Drama. She is a faculty member teaching sound design and music composition at the Carnegie Mellon University School of Drama.

MEREDITH B. RIES (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama. Her credits include Cymbeline, Titus Andronicus (Yale School of Drama); Cowboy Mouth, The Fatal Eggs (lighting design), Brainsongs, Underneath the Lintel, Hong Kong Dinosaur, Dorian Gray (Yale Cabaret); The Animals (production design, National Headquarters Films); bobrauschenbergamerica (Chicago Fusion Theatre); The Dome (Prospect Theater Company); and Better Angels (Polybe + Seats).

Props credits include Bloody Bloody Andrew Jackson, The Merchant of Venice (The Public Theater); An Oresteia (Classic Stage Company); Animals out of Paper and Len Asleep in Vinyl (Second Stage Theatre Uptown). Meredith has also worked with Lincoln Center Theater, Elevator Repair Service, and Target Margin Theater. She is a graduate of the University of Chicago. You can find more of her work at meredithries.com

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Broadway: The Heiress; Scandalous: The Life and Trials of Aimee Semple McPherson; Ghost; One Man, Two Guvnors (U.S. casting); Jesus Christ Superstar (U.S. casting), Hugh Jackman: Back on Broadway; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Country Girl; Rock ’n’ Roll; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; My Fair Lady; The Pirate Queen; Les Misérables; The History Boys; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Oklahoma!; Contact. Off-Broadway: Love, Loss, and What I Wore, Second Stage Theatre. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe, Westport Country Playhouse. Film: Lucky Stiff, The Producers.

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RICK SORDELET (FIGHT DIRECTOR) Broadway: over fifty productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida.

More than fifty productions all over the world, including Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and La Scala in Milan. Stunt coordinator for the films The Game Plan starring Dwayne “The Rock” Johnson, Dan in Real Life starring Steve Carell and Juliette Binoche, and Hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding Light.

Rick sits on the board of the Shakespeare Theatre of New Jersey and is a company member of Drama Dept. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse; and he is the author of the play Buried Treasure. Rick is a proud recipient of the Edith Oliver Award for Sustained Excellence from the Lucille Lortel Foundation. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.

STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) Mr. Strawbridge’s work has been seen on Broadway, Off-Broadway, and at most leading regional theatres and opera houses across the country. Internationally he has designed the lighting for major premieres in Bergen, Copenhagen, The Hague, Hong Kong, Linz, Lisbon, Munich, Naples, São Paulo, Stockholm, and Vienna. Recent work includes January Joiner and Satchmo at the Waldorf for Long Wharf Theatre; Azimuth for Pilobolus Dance Theatre; Madame Butterfly for Los Angeles Opera; Strange Interlude for The Shakespeare Theatre Company, Washington, DC; Athol Fugard’s The Train Driver and Blood Knot, both directed by the author at the Signature Theatre in New York; and Krapp’s Last Tape with Brian Dennehy at Long Wharf. He has been recognized with numerous awards and nominations including the American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Helen Hayes, Henry Hewes Design, and Lucille Lortel. He is co-chair of the design department at Yale School of Drama and resident lighting designer for Yale Repertory Theatre.

DANA TANNER-KENNEDY (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where her credits include Sunday in the Park with George and Fen. She recently served as Dramaturg and Associate Artistic Director for the 2012 Summer Cabaret, and she is a managing editor of Theater magazine. Other dramaturgy credits include Urge for Going (The Public Theater); Tartuffe, Suddenly Last Summer, Dinner with Friends (Westport Country Playhouse); Psychos Never Dream (Kitchen Dog Theater, Dallas); Romeo and Juliet and Othello (Shakespeare Dallas). She spent five seasons in the education department at Dallas Theater Center, serving as Associate Director for two, and interned in the literary offices of Atlantic Theater Company and The Public Theater in New York.

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CREATIVE TEAM JAYOUNG YOON (COSTUME DESIGNER) is from South Korea. She is a third-year MFA candidate at Yale School of Drama, where she designed the costumes for Doctor Faustus Lights the Lights and Titus Andronicus. Yale Cabaret: Cowboy Mouth. Her other work in the U.S. includes Beneath the Skin (Hybrid Theatre Ensemble), The Ophelia Project (Taliesin West, Frank Lloyd Wright Foundation), The Crave (Prism Theatre), and Anon(ymous) (Galvin Playhouse). Her work was featured in the 2011 Prague Quadrennial Scenofest Student exhibit and in the Young Designers’ Forum at USITT 2010. She has worked in various play, opera, and dance productions as an assistant costume designer through The Juilliard School Professional Intern Program.

She holds a BFA in costume design from Arizona State University.

GRACE ZANDARSKI (VOCAL COACH) has been a member of the Voice and Speech faculty at Yale School of Drama since 2002. Her vocal coaching credits include Mike Nichols’s recent production of Death of a Salesman on Broadway; The Comedy of Errors, The Master Builder, Romeo and Juliet, Three Sisters, and The Winter’s Tale at Yale Rep; as well as productions at the Signature Theatre Company, The Public Theater, New Victory Theatre, McCarter Theatre, and BAM. Grace also serves on the faculty of Fordham University. She has taught master classes for the Lincoln Center Director’s Lab and The Public Theater’s Shakespeare Lab. She was named Associate Teacher of Fitzmaurice Voicework in 1998. In addition, she continues to work as an actor and director. Acting credits include the McCarter Theatre, Wilma Theater, Oregon Shakespeare Festival, and American Conservatory Theater. Education: MFA, American Conservatory Theater; BA, Princeton University.

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“I have had a dream, past the wit of man to say what dream it was...”

Act IV, Scene i

New Haven, Connecticut

A Midsummer Night’s Dream BRISTOL OLD VIC / HANDSPRING PUPPET COMPANY From the Tony Award-winning creators of WAR HORSE on Broadway comes a magical new adaptation of Shakespeare’s inexhaustible comedy. Book now for what will be one of the most popular shows of the Festival season!

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Midsummer Night’s Dream rehearsal photo by Simon Annand/Bristol Old Vic

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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his eleventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first ten seasons, Yale Rep has produced more than thirty world, American, and regional premieres, six of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than forty artists to write new work and provided lowcost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to Yale Rep, he has directed productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.

VICTORIA NOLAN (MANAGING DIRECTOR) is in her 20th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.

JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her eighth year at Yale Rep and is also Director of the New Play Programs of Yale’s Binger Center for New Theatre, an artistdriven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new 30

plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia.

She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council.

Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.

BRONISLAW SAMMLER (PRODUCTION SUPERVISOR) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.

JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 14 years old, and Katie, age 12.

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YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

ARTISTIC

Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor

Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Alex Grennan, Joanna Romberg, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard-Wallingford, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura

Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Associate Artists Rachel Smith, Associate Director of Marketing 52nd Street Project, Kama Ginkas, Mark Lamos, Brittany Behrens, Associate Director of Marketing MTYZ Theatre/Moscow New Generations Theatre, Sarah Stevens-Morling, Online Communications and Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Advertising Manager Marguerite Elliott, Publications Manager Artistic Administration Emika Abe, Marketing Assistant Amy Boratko, Literary Manager Kathleen Martin, Online Communications Assistant Ruth M. Feldman, Director of Education and Fraver, Graphic Designer Accessibility Services Joan Marcus, Production Photographer Kay Perdue Meadows, Artistic Associate Janna J. Ellis, Associate Director of Audience Services Walter Byongsok Chon, Artistic Coordinator and Tessitura Specialist Benjamin Fainstein, Ilinca Tamara Todorot, Laura Kirk, Assistant Audience Services Director Literary Associates Shane Quinn, Audience Services Assistant Tara Rubin, C.S.A.; Merri Sugarman, C.S.A.; Tracy Baldini, Subscriptions Coordinator Eric Woodall, C.S.A.; Dale Brown, C.S.A.; Evan Beck, Amanda Bermudez, Brandon Boyer, Lindsay Levine; Kaitlin Shaw; Reynaldi Lolong, Katie Metcalf, Andrew Stephanie Yankwitt, Casting Moore, Sophie Nethercut, Emily Sanna, Peter Lindsay King, Teresa Mensz, Tobin Nelhaus, Schattauer, Box Office Assistants Library Services Josie Brown, Senior Administrative Assistant to the Operations Artistic Director and Associate Artistic Director Diane Galt, Director of Facility Operations Laurie Coppola, Senior Administrative Assistant for Ian Dunn, Operations Associate the Directing, Dramaturgy and Dramatic Criticism, Paul Catalano, Arts and Drama Zone Superintendent Playwriting, and Stage Management Departments Krista J. MacLellan, 217 Park and 212 York Mary Volk, Senior Administrative Assistant for the Superintendent Design, Sound Design, and Projection Departments VonDeen Ricks, Senior Custodian Marcia Riley, Facility Steward ADMINISTRATION Lucille Bochert, Norma Crimley, Donell D’Gioia, Jennifer Lagundino, Katie Liberman, Associate Ty Frost, Patrick Martin, Mark Roy, Custodians Managing Directors Lico Whitfield, Associate Director of Special Programs Theater Safety and Occupational Health Eric Gershman, Alyssa Simmons, Assistant William J. Reynolds, Director of Theater Safety Managing Directors and Occupational Health Louisa Balch, Sarah Williams, Management Assistants Jacob Thompson, Security Officer Emalie Mayo, Senior Administrative Assistant Ed Jooss, Audience Safety Officer to the Managing Director Fred Geier, Patrick Grant, Customer Service and Lauren Wainwright, Company Manager Safety Officers Anh Lee, Sarah Williams, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Reynaldi Lolong, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Laura J. Eckelman, Development Associates Molly Hennighausen, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing & Communications

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PRODUCTION

Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien, Senior Administrative Assistant to the Production, Theater Safety and Occupational Health Departments

Scenery Colin Buckhurst, Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Shop Carpenter Emily Erdman, Wyatt Heatherington Tilka, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Keri Kriston, Scenic Artist Stephanie Huck, Assistant Scenic Artist Nathan Jasunas, Clare McCormick, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Linda Young, Senior Head Electrician Brian Quiricone, Head Electrician Sound Mike Backhaus, Sound Supervisor Paul Bozzi, Staff Sound Engineer Sanghyun Ahn, Pornchanok Kanchanabanca, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Christopher Russo, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer

ADDITIONAL STAFF FOR HAMLET

Maggie Burrows, Assistant Director Chika Shimizu, Assistant Scenic Designer Montana Levi Blanco, Assistant Costume Designer Gertjan Houben, Assistant Lighting Designer Lee O’Reilly, Assistant Sound Designer and Engineer

Will Rucker, Production Assistant Hannah Sullivan, Assistant Stage Manager Kaitlyn Anderson, Associate Production Supervisor Matthew Groeneveld, Technical Director Sang-hun Joung, James Lanius, Katherine Newman, Assistant Technical Directors Andy Knauff, Assistant Properties Master Tommy Rose, Master Electrician Scott Keith, Shop Carpenter Melissa Erdman, Rachel Smallwood, Properties Artists Louisa Balch, House Manager Emika Abe, Grier Coleman, Andrew Freeburg, Soule Golden, Ted Griffith, Katie Horney, Sarah Krasnow, Katherine McGerr, Jennifer Schmidt, Reid Thompson, Deren Twente, Karen Walcott, Solomon Weisbard, Run Crew UNDERSTUDIES Yayha Abdul-Mateen, Horatio Celeste Arias, Lady Mamoudou Athie, Fortinbras/Player King Chris Bannow, Prince Hamlet Aaron Bartz, Laertes Ato Blankson-Wood, Barnardo/Osric/Player/Sailor/ Gentleman/Soldier Jabari Brisport, Cornelius/Francisco/Soldier/Messenger Aayush Chandan, Rosencrantz/Soldier Prema Cruz, Player Queen/Lady Cornelius Davidson, Guildenstern/Soldier Timothy Hassler, Marcellus/Voltimand/First Player/ Priest/Soldier Felicity Jones, Queen Gertrude Patrick Kerr, Gravedigger Michael Manuel, Ghost/King Claudius Marissa Neitling, Ophelia Charlie Tirrell, Lord Polonius

SPECIAL THANKS Long Wharf Theatre properties shop

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Hamlet March 15 to April 13, 2013 University Theatre, 222 York Street

YALEREP.ORG 33

BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory.

Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. Among the Center’s programs, a key component is its Production Enhancement Fund, which provides financial support for productions at other theatres of works commissioned by and/or first produced at Yale Rep. The Center also facilitates residencies of playwrights and composers at Yale School of Drama. Permanently endowed by a gift from the Robina Foundation, and supported by additional funding from the Andrew W. Mellon Foundation and individual donors, the Center is named in honor of James H. Binger (1916–2004), the noted businessman, theatre impresario, and philanthropist who created the Robina Foundation.

To date, the Center has supported the work of more than forty commissioned artists as well as the world premieres and subsequent productions of twelve new American plays and musicals—including David Adjmi’s Marie Antoinette, Dear Elizabeth by Sarah Ruhl, and Bill Camp and Robert Woodruff’s new adaptation of In a Year with 13 Moons by Rainer Werner Fassbinder, all of which will premiere at Yale Rep this season.

Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Center to receive its world premiere at Yale Rep. In 2010, Notes had its West Coast premiere at La Jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center. The Center also supported the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale Rep-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; and the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep and its May 2012 production at Pittsburgh’s City Theatre.

For more information, please visit www.yalerep.org/center.

COMMISSIONED ARTISTS David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff 34

Yale Rep productions supported by the BINGER CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Clifton Duncan, Angela Lewis, de’Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Maria Dizzia and Gilbert Owuor in Belleville, 2011; Teale Sperling and Marin Ireland in Marie Antoinette, 2012. All photos by Joan Marcus, except Marie Antoinette by T. Charles Erickson.

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FOR YOUR INFORMATION

ACCESSIBILITY SERVICES

HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or rm.feldman@yale.edu.

BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.

Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation and the Carol L. Sirot Foundation.

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.

RESTROOMS Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.

EMERGENCY CALLS Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary.

The emergency-only telephone number at Yale Rep is 203.764.4014.

GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1572.

SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.

THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED. 36

AUDIO DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

OPEN CAPTIONING (OC) You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken.

Open Captioning and Audio Described performances are on Saturdays at 2PM.* AD pre-show description begins at 1:45PM.

Hamlet* In a Year with 13 Moons

Apr 6 Apr 13 May 11 May 18

*Hamlet OC and AD performances begin at 1:30PM with the pre-show description at 1:15PM.

c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.

YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 17,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.

Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Deborah S. Berman; Bob and Priscilla Dannies; Bruce Graham; the George A. and Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq. Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart.

LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; WILL POWER! CLASSROOM WORKSHOP; PAINTING SCENERY FOR THE DWIGHT/EDGEWOOD PROJECT, 2012.

SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom

Hull’s Art Supply and Framing New Haven Register The Study at Yale Take the Cake GHP Printing and Mailing

Union League Cafe Willoughby’s Coffee and Tea The Wine Thief The Yale Bookstore Yellowbook

These lists include current pledges, gifts, and grants received from January 1, 2012‚ through March 1, 2013.

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MAKE A GIFT!

When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/donate.

THANK YOU TO THE GENEROUS CONTRIBUTORS TO YALE SCHOOL OF DRAMA AND YALE REPERTORY THEATRE: LEADERSHIP SOCIETY ($50,000 and above) Anonymous (2) John B. Beinecke Nicholas Ciriello Lynne and Roger Bolton Sterling and Clare Brinkley State of Connecticut, Office of the Arts Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Neil Mazzella Andrew W. Mellon Foundation William S. Monaghan Don Nelson Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Kara Unterberg Esme Usdan Reggie Van Lee

GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder Educational Foundation of America Heidi Ettinger Estate of Richard G. Mason* National Endowment for the Arts National Endowment for the Arts/Arts Midwest, Shakespeare for a New Generation

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James Munson Jeremy Smith Edward Trach

BENEFACTORS ($10,000–$24,999) Americana Arts Foundation Anonymous Bisno Productions Sonja Berggren and Patrick Seaver The Cornelius Schecter Family Fund Scott Delman Ruth and Steve Hendel Catherine MacNeil Hollinger Sarah Long Lucille Lortel Foundation Donald B. Lowy Stacey Mindich Productions Carol Ostrow Michael and Riki Sheehan Ted and Mary Jo Shen Carol L. Sirot Foundation Trust for Mutual Understanding Carol M. Waaser

PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Merritt Forrest Baer Foster Bam Mary L. Bundy Jim Burrows The Noël Coward Foundation Michael Desantis and Patrick Baugh Michael Diamond Terry Fitzpatrick Beth Galston F. Lane Heard III Linda Gulder Huett

Ellen Iseman Ben Ledbetter and Deborah Freedman Peter Nelson NewAlliance Foundation Theater Communications Group Robert Pohly and Julie Turaj Philip J. Smith Susan Stroman

DIRECTOR’S CIRCLE ($1,000–$4,999) Anna Fitch Ardenghi Trust, Bank of America, N.A., Trustee Paula Armbruster Mr. and Mrs. B. Ashfield John Badham Alexander Bagnall Robert L. Barth Jody Locker Berger Deborah S. Berman Jeffrey A. Bleckner Edward Blunt Walter Bobbie Michael Broh Raymond Carver James Bundy CECArts Link Joan D. Channick Enrico Colantoni Sue Ann Gilfillan and Tony Converse Peggy Cowles The Frederick A. DeLuca Foundation Michael S. David Sasha Emerson Glen R. Fasman Marc Flanagan Lawrence and Megan Foley Marcus Dean Fuller Melanie Ginter and John Lapides Fred Gorelick and Cheryl MacLachlan James W. Gousseff Albert R. Gurney Judith Hansen Richard Harrison

Carol Thompson Hemingway James Ingalls James Earl Jewell Rolin Jones Jane Kaczmarek The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation George N. Lindsay, Jr Linda Lorimer and Charley Ellis William Ludel Drs. Robert and Wendy Lyons Romaine A. Macomb Jenny Mannis and Henry Wishcamper Jane Marcher Foundation Thomas Masse and Dr. James Perlotto Maximum Entertainment Productions Maeve McGuire Dawn G. Miller The Garret and Mary Moran Family Foundation Neil Mulligan Arthur and Merle Nacht Victoria Nolan and Clark Crolius Richard Ostreicher Mr. and Mrs. Albert Pailet F. Richard Pappas Dw Phineas Perkins George and Kathy Priest Hal Prince Lance Reddick Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick Rachel Smith Kristin Sosnowsky Kenneth J. Stein Shepard and Marlene Stone Lee Stump Arlene Szczarba

John Henry Thomas Tobin Theatre Arts Fund Courtney Vance Barry and Fran Weissler Terrence Witter Steve Zuckerman

PARTNERS ($500–$999) Actors’ Equity Foundation The Bruce Altman Family Mary Ellen and Thomas Atkins Christopher Barreca Alice B. and James T. Brown Joy G. Carlin Cosmo Catalano, Jr. Patricia Clarkson Paul Cleary CT Humanities Ernestine and Ronald Cwik Bob and Priscilla Dannies Ramon L. Delgado The Cory & Bob Donnalley

Charitable Foundation Roberta Enoch and Steven Canner Paul Cleary Richard Sutton Davis Peter Entin Dr. and Mrs. Frederic Finkelstein Rob Greenberg Elizabeth M. Greene William B. Halbert Karsten Harries and Elizabeth Langhorne Katherine W. Haskins Jane C. Head Jeffrey Hermann Donald Holder John Robert Hood Helen Kauder and Barry Nalebuff Donald and Candice Kohn Mildred Kuner Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann John McAndrew Johanna D. McAuliffe George Miller and Virginia Fallon Daniel Mufson Janice Muirhead *deceased

James Naughton Arthur Oliner Maulik Pancholy Amy Povich Dr. Michael Rigsby Peter S. Roberts Liev Schreiber Sandra Shaner Jack Thomas and Bruce Payne Thomas Thurston Cheever and Sally Tyler Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis

INVESTORS ($250–$499) Anonymous Susan and Bruce Ackerman Richard Ambacher Clayton Mayo Austin James Bakkom Robert Baldwin Michael Barker and Heidi Leigh Hanson John Lee Beatty Richard Bianchi* Lewis Black Deborah Bloch Irving and Jackie Blum Susan Brady and Mark Loeffler Tom Broecker Donald Brown Claudia Brown Jonathan Busky Sheldon Bustow Anne and Guido Calabresi Ian Calderon Anna Cascio Aurélia and Ben Cohen Robert Cotnoir Stephen Coy John W. Cunningham Charles Dillingham Merle Gordon Dowling Pat Egan Marc Eisenberg Arthur Fergenson Joel Fontaine Walter M. Frankenberger III David Freeman Joseph Gantman Robert Gerwien Joseph Wayne Gordon David M. Grant Anne K. Gregerson

Norma and Richard Grossi Regina Guggenheim Sarah Hancock D. Keith Hargreaves Douglas Harvey Barbara Hauptman Sara Hedgepath Michael Haymes and Logan Green Nicole and Larry Heath Amy Herzog June and George Higgins James Guerry Hood Mary and Arthur Hunt Raymond P. Inkel Joanna and Lee Jacobus Cynthia Kaback Asaad Kelada Barnet K. Kellman Fredrica Klemm David Kriebs Bernard Kukoff Frances Kumin Suttirat Larlarb Kenneth Lewis Suzanne Cryer Luke Nancy F. Lyon Robert and Nancy Lyons Elizabeth Margid Peter Marshall Wendy McCabe Deborah McGraw George Miller and Virginia Fallon David Nancarrow William and Barbara Nordhaus Laura Patterson Louise Perkins and Jeff Glans Stephan Pollack Michael Potts Meghan Pressman Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Sarah Rafferty Faye and Ashgar Rastegar Barbara and David Reif Bill and Sharon Reynolds Daniel and Irene Mrose Rissi Steve Robman Constanza Romero Russ Rosensweig Fernande E. Ross Jean and Ron Rozett Suzanne Sato Cindy and Mark Schoenfeld Mark and Cindy Slane

Matthew Specter Mary C. Stark Sandra T. Stein and Harvey Kliman Jennifer Tipton Anne Trites Suzanne Tucker David J. Ward William and Phyllis Warfel Dana Westberg Judith and Guy Yale

FRIENDS ($100–$249) Anonymous Emily Aber and Robert Wechsler Ade Ademola Michael Albano Sarah Jean Albertson Narda Alcorn Susan Anderson Leif Ancker Bob and Jane Archibald Mary B. Arnstein Andrew Asensio Victor and Laura Atshul Angelina Avallone The Bahr, Levy and Rifas Families Sandra and Kirk Baird Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Robert Barr William Batsford Nancy and Richard Beals Thomas Beckett Barbara and Jack Beecher James Bender Melvin Bernhardt Saundra and Donald Bialos Martin Blanco Anders Bolang Paul Bordeau John Cummings Boyd Mark Boyer Amy Brewer and David Sacco Julie Anne Brown Oscar Lee Brownstein William J. Buck Gerard and Ann Burrow Robert and Linda Burt Kate Burton Susan Byck Michael Cadden Susan Cahan and Jürgen Bank Donald Cairns

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Contributors to Yale School of Drama and Yale Repertory Theatre Kathryn A. Calnan Lisa Carling Nicholas Carriere William E. Caruth Sami Joan Casler Marcelo Castro Patricia Cavanaugh Dr. and Mrs. W.K. Chandler Jim Chervenak Suellen G. Childs Cynthia Clair Christian Clemenson Lani Click Katherine D. Cline Robert S. Cohen Mr. and Mrs. Thomas Colville Patricia J. Collins Forrest Compton Audrey Conrad David Conte Jack and Helen Cooper Greg Copeland Aaron Copp George Corrin, Jr. Robert Cotnoir Dana S. Croll Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley Jane Ann Crum William Cuddy Sean Cullen Marycharlotte Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Robert Dealy Nigel W. Daw Mr. and Mrs. Clifford E. DeBaptiste Mr. and Mrs. Paul DeCoster Melissa de La Cruz Elizabeth DeLuca Julia L. Devlin Liz Diamond Jose A. Diaz Leslie Dickert Peter and Connie Dickinson Melinda DiVicino Alexander Dodge Peter Donat JoAnne E. Droller, R.N. Jeanne Drury

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Diane Dumigan Carolyn Dundes John A. Duran East Coast Management & Consulting Robert Einenkel Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Dirk Epperson David Epstein Howard and Jackie Ertel Dustin Eshenroder Christine Estabrook Ellen and Frank Estes Dan and Elizabeth Esty Euphoria Salon Jerry N. Evans Douglass Everhart John D. Ezell Patricia Fahey Christopher and Brenda Faretta Michael Fain Kristan Falkowski Christopher Feeley Barbara and Richard Feldman Ruth M. Feldman Earle Finch David Florin and Robin Thomashauer Lewis Folden Anthony Forman Nanci Fortgang Keith Fowler Meredith Freeman Richard Fuhrman Michael T. Fulton and Catherine Hernandez Barbara and Gerald Gaab Jim and Eunice Galligan Joseph J. Garry and David Frazier Karin Geballe Steven Gefroh Stuart and Beverly Gerber Patricia Gilchrist Robert Glen Marian Godfrey Lindy Lee Gold Betty and Joshua Goldberg Robert Goldsby Naomi Grabel

Kris and Marc Granetz Katharine Grant Raymond Grasso Bigelow Green Joe Grifasi Elizabeth Greenspan Margaret Grey and Michael Lauterbach Michael Gross John Guare Jessica and Corin Gutteridge Phyllis Hammel Alexander Hammond Ann T. Hanley Jerome R. Hanley Scott Hansen Charlene Harrington Betty and Walter Harris Ihor and Roma Hayda Brian Haynsworth Heather Henderson Jennifer Hershey-Benen Rachel Hewitt Dennis and Joan Hickey Matthew and Lee Hieb Christopher Higgins Hill Regional Career High School Ira Hoffman Elizabeth Holloway Nicholas Hormann David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Peter H. Hunt Timothy and Diane Hunt John Huntington John and Patricia Ireland Lisa Iverson Andrew Jackness Candace Jackson Kirk Jackson John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Jim and Cynthia Jamieson Jeffrey’s, a restaurant Allison Hall Johnson Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Carol Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian

Bruce Katzman Edward A. Kaye Richard Kaye Jay Keene Arthur J. Kelley, Jr. Abby Kenigsberg Roger Kenvin Alan Kibbe Colette Kilroy Peter Young Hoon Kim Carol Soucek King Shirley Kirschner Raymond Klausen David and Charlotte Koskoff Brenda and Justin Kreuzer Joan Kron William Kux Howard and Shirley Lamar Marie Landry and Peter Aronson James Larkin David Jeremy Larson Sylvia Lavietes James and Cynthia Lawler Wing Lee Charles E. Letts III Bradford Lewis Irene Lewis Malia Lewis Drew Lichtenberg Alan Lichtenstein Jerry Limoncelli Chuck and Helana Litty Benjamin Lloyd Bruce Lockwood Tony Lolong Derek Lucci Paul David Lukather Thomas Lynch Andi Lyons Janell M. MacArthur Timothy Mackabee Elizabeth M. MacKay Lizbeth Mackay Jonathan Macey Wendy MacLeod Alan Mokler MacVey Linda Maerz and David Wilson Peter Andrew Malbuisson Jocelyn Malkin Orla and Mithat Mardin Jonathan Marks Timothy and Leslie Marsh

Maria Mason and William Sybalsky Carole A. Masters Craig Mathers James and Margaret Mathis Beverly May Rita and Michael McDonough Brian McEleney Thomas McGowan Frederick McGuire Robert McKinna and Trudy Swenson Mr. and Mrs. James Meisner Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mihalik Carol Mikesell Jonathan Miller Lesley Miller Sandra Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Marjorie Craig Mitchell Jennifer Moeller Richard R. Mone Elizabeth H. Moore Tom Moore George Morfogen Grafton V. Mouen Gayther Myers, Jr. Rachel Myers James Naughton Tina C. Navarro Meg Neville Regina and Thomas Neville Ruth Hunt Newman Ronald Dean Nolen Grace O’Brien Dwight R. Odle Fran and Ed O’Neill Sara Ormond Kendric T. Packer Ginny Parker Dr. and Mrs. Michael Parry

Dr. Ismene Petrakis William Peters Roberta Pilette David Pomeran Nancy B. Porter Michael B. Posnick Gladys Powers Robert Provenza Jeffry Provost Alvin S. Prusoff and Dr. Deborah DeRose James Quinn Ronald Recasner James and Cynthia Reik Mary B. Reynolds Peter S. Roberts Brian Robinson Lori Robishaw Priscilla and Deever Rockwell Doug Rogers Howard Rogut Joanna Romberg Andrew Rubenoff Dr. Ortwin Rusch Raymond Rutan Edward and Alice Saad Steven Saklad Clarence Salzer Robert Sandberg Robert Sandine and Irene Kitzman Frank Sarmiento Peggy Sasso William and Annita Sawyer Joel Schechter Anne Schenck Kenneth Schlesinger Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Judith A. Schomer Drs. Carol and Sandy Schreiber Georg Schreiber Jennifer Schwartz Alexander Scribner Forrest E. Sears Paul Selfa Subrata K. Sen

Vicki Shaghoian Sandra Shaner Morris Sheehan Paul R. Shortt Mark Shufro Lisa-Marie Shuster Carol M. Sica Lorraine Siggins and Braxton McKee Michael Vaughn Sims E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Amanda Spooner Regina Starolis Louise Stein Neal Ann Stephens John Stevens Jaroslaw Strzemien Mark Sullivan Katherine Sugg Thomas Sullivan Sy Sussman Jane V. Suttell David Loy Sword Ellen Tsangaris Muriel Test Eleanor Q. Tignor Eric Ting David F. Toser Albert Toth Russell L. Treyz Richard B. Trousdell Deborah Trout Marge Vallee Joan Van Ark Carrie Van Hallgren Russell Vandenbroucke Hyla and Barry Vine Arthur Vitello Eva Vizy Fred Voelpel Elaine and Patrick Wackerly Mark Anthony Wade Andrea S. Walker Charles and Patricia Walkup Erik Walstad Barbara Wareck and Charles Perrow

Joan Waricha Judith Barcroft Washam Steven I. Waxler Gil Wechsler Robert Wechsler Margaret Weidlein Rosa Weissman Vera Wells Susan Wheeler Peter White Richard Whittington Lisa A. Wilde Robert Wildman Marshall Williams David Willson The Winokur Family Foundation Alexandra Witchel Carl Wittenberg Stephen Wolff Yun C. Wu David York Arthur and Ann Yost Donald and Clarissa Youngberg Patricia and John Zandy Catherine Zuber

EMPLOYER MATCHING GIFTS Aetna Foundation Component Engineers, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation The Shelley and Donald Rubin Foundation SBC Communications, Inc. United Technologies Corporation

This list includes current pledges, gifts, and grants received from January 1, 2012, through March 1, 2013. For more information about making a donation to Yale Repertory Theatre, please contact Susan Clark at 203.432.1559 or susan.clark@yale.edu.

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drama.yale.edu/carlotta JAMES BUNDY, DEAN VICTORIA NOLAN, DEPUTY DEAN JEANIE O’HARE, CHAIR OF PLAYWRITING

203.432.1234 ysd.shows@yale.edu

ISEMAN THEATER, 1156 CHAPEL STREET PHOTOS BY T. CHARLES ERICKSON, 2013.

APRIL 26 TO MAY 18 WORLD PREMIERE ADAPTATION

When the object of his affection off-handedly commented, “too bad you’re not a girl,” Erwin disappeared to Casablanca and returned as Elvira.

Now, adrift and alone, Elvira revisits the people and places of the past, desperately searching for the identity and love she’s never known.

The world premiere of In a Year with 13 Moons—a new adaptation of Rainer Werner Fassbinder’s melodramatic, darkly comic, and unsettling New German Cinema masterpiece—is staged by Robert Woodruff, “the country’s most adventurous director” (Time Out New York), and features Bill Camp, “one of the bravest, smartest, and most physically intense actors in New York” (The New York Times).

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