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A Note From the Artistic Director Welcome to Yale Repertory Theatre and Kiss by Guillermo Calderón! This production is the fifteenth to be staged by Resident Director Evan Yionoulis here at Yale Rep. That milestone alone is worthy of celebration, but Kiss also marks the end of Evan’s remarkable 21-year tenure at Yale, where she has taught in the School of Drama’s Acting Department since 1997. In July, she will assume the role of the Richard Rodgers Director of Juilliard’s Drama Division, an appointment that is simply wonderful news for the future of our art form. Evan made her Yale Rep debut in 1985—as the first woman to direct a play at our theatre—while she was still a student at the School of Drama. She has directed more than 60 productions nationwide, including the debuts on and off Broadway of plays by Richard Greenberg, and most recently, the majestically moving world premiere of Adrienne Kennedy’s He Brought Her Heart Back in a Box. Here at Yale, she has brought her keen intelligence, emotional depth, and vivid stagecraft to classic works by Bertolt Brecht, Mikhail Bulgakov, Caryl Churchill, Henrik Ibsen, and William Shakespeare, as well as to new plays by Henry Adam, Kirsten Greenidge, and Dick Beebe, and her own musical adaptation of Carlo Gozzi’s The King Stag, co-authored with her brother Mike Yionoulis and Catherine Sheehy. She lends all of these extraordinary gifts to this play by the distinguished Chilean theatre artist, Guillermo Calderón, whose Escuela was presented as part of Yale Rep’s annual No Boundaries performance series in 2016: Kiss is his first play written in English. Set against the backdrop of the Syrian Civil War, this is a consistently surprising and supremely entertaining work that challenges both our expectations of the theatre and our understanding of the world in which we live. Whether you are a first-time visitor to Yale Rep, or a longtime member of our audience, your attendance has made 2017–18 a joyous season, and I look forward to seeing you here again soon. A Yale Rep subscription is a convenient and affordable guarantee that you’ll experience everything we have in store for 2018– 19, including a new production of Shakespeare’s romantic comedy, Twelfth Night; the world premieres of plays by exciting new voices Charise Castro Smith and Tori Sampson; and the U.S. premiere of the latest work by Peter Brook, arguably the most influential theatre artist of the 20th century. Thank you for joining us today. As always, I look forward to hearing your thoughts about the play, or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. Sincerely, James Bundy Artistic Director 4
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APRIL 27–MAY 19, 2018 YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director PRESENTS
BY
GUILLERMO CALDERÓN EVAN YIONOULIS DIRECTED BY
AO LI
Scenic Designer
Costume Designer
COLE McCARTY
Lighting Designer
ERIN EARLE FLEMING
Sound Designer and Original Music
Projection Designer
Production Dramaturg
Technical Director
Vocal and Dialect Coach
Fight Director
Casting Director
Stage Manager
MICHAEL COSTAGLIOLA WLADIMIRO A. WOYNO R. ARIEL SIBERT AUSTIN J. BYRD BETH McGUIRE RICK SORDELET TARA RUBIN/LAURA SCHUTZEL, CSA SARAH THOMPSON
Production support is provided by Yale’s Binger Center for New Theatre. Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2017-18 season and Time Warner Foundation Inc. for its support of the Binger Center for New Theatre. Kiss was commissioned and originally produced by Schauspiel Düsseldorf/Germany, directed by Guillermo Calderón. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
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heirloom FA R M + C O A S T A L C U I S I N E
CAST in alphabetical order
Interpreter
ABUBAKR ALI
Bana HEND AYOUB Youssif JAMES CUSATI-MOYER Ahmed IAN LASSITER Hadeel SOHINA SIDHU Woman RASHA ZAMAMIRI
SETTING Damascus 2014 and/or Here and Now KISS IS PERFORMED WITHOUT AN INTERMISSION.
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“YOUR GUARD SHOULD BE RAISED”:
An interview with playwright Guillermo Calderón Born in Santiago in 1971, two years before General Augusto Pinochet seized power from the leftwing Popular Unity government, Guillermo Calderón came of age under dictatorship. After Chile returned to democracy in the 1990s, the new government failed substantively to address Pinochet’s legacy. On the years of torture and the scores of the disappeared, they were silent; many of Pinochet’s social and economic policies, written into the Chilean constitution, remained in place. It was in this context of political disillusionment and historical amnesia that Calderón, after studying acting and film in the United States, returned to Chile and founded his own theatre company, Teatro en el Blanco. Since then, his plays have toured across Europe, North America, and Latin America. Kiss is Calderón’s first play written in English, and his first to depart entirely from the subject of Chile’s political history. Speaking to director Evan Yionoulis and production dramaturg Ariel Sibert via Skype from his home in Santiago, Calderón reflected on the origins of Kiss, the meaning of melodrama, the pains and pleasures of cross-cultural translation, and what it means to make a “post-appropriation” play.
Ariel Sibert (AS): Kiss has many layers—it’s a Syrian play; written by a Chilean playwright; and, here at Yale Rep, produced by an American theatre. Can you tell us about how this play developed?
Guillermo Calderón (GC): I started working on the play at the Düsseldorfer Schauspielhaus in Germany. I asked the theatre to find an actor from Syria to work on the production, as there is a large population of Syrian immigrants and refugees in the Düsseldorf area. They introduced me to a woman, a social worker and a singer in a rock band, and I decided to develop and write the play around her. I had my own ideas about Syria and the war, but those ideas were confronted by hers.
Evan Yionoulis (EY): Although the United States has a different relationship to immigration than Germany, New Haven is home to a Syrian population which includes many immigrants. Integrated Refugee and Immigrant Services (IRIS) put us in touch with two Syrian dialect consultants, Mohamad Chaghlil and Youssra Al Mtit, who joined us on the first day of rehearsal. There was silence in the room as they described what they remembered, what Damascus was like when they lived there, and the friends and family they’ve left behind, who tell them how much has changed. 10
An interview with playwright Guillermo Calderón
AS: Do you think it’s important for companies producing Kiss to reach out to people with a direct experience of the Syrian war?
GC: Yes, I think that’s important. At the same time, this play could be a little bit irritating to people from Syria, because it doesn’t exactly reflect their culture. The play is an honest effort by a person—I’m talking about me—to understand Syria, but who is self-aware enough to know that he’s going to get it wrong. However, reflecting the culture is not the intention. The idea is to talk about the war through cultural misunderstanding
AS: Kiss was partly inspired by Syrian “soap operas” or musalsalaat. What drew you to this aspect of Syrian culture?
GC: These Syrian dramas were produced by actors and writers who were all incredibly politically minded. Actors were the most visible faces in the protest against the regime from the very beginning of the Syrian conflict, and they were pushed out of the country almost immediately.
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The well-known soap opera actors in Syria are, for the most part, also theatre actors; it was a theatre community who responded and took the lead in speaking out. These soap operas became my entry point into Syrian culture. When I was a young actor, I worked on a few soap operas. Syrian soap operas connected to my personal experience and to a melodramatic sensibility that I recognized—something, I think, Chile shares.
EY: What do you mean by melodrama?
GC: Melodrama, to me, means heightened emotions and convoluted plots; it means a belief in the purity of love, in the inherent good inside everyone—and in the reality of evil. There are soap operas all over the world, but I could relate to Syrian soap operas because they were similar to the ones produced in Chile—aesthetically and narratively. In Chile, soap operas are extremely conservative while theatre is always a place for the radical, and it’s almost impossible to do theatre without being politically active.
AS: Why did you choose to set Kiss in 2014 Damascus? As the play receives new productions, the war continues. How has the context of Kiss changed over the years?
GC: Since I wrote the play, the coverage of the Syrian war has been taken over by the fear of ISIS. It also appears that the regime has won, partly by allying itself with other countries: with Russia and Vladimir Putin; with Turkey, who is engaging the Kurds in northern Syria. It’s a depressing state of affairs. At around the time that I wrote Kiss, in 2013, news emerged of chemical weapons attacks around the city of Damascus, in the suburb of Ghouta. Evoking a chemical weapons attack is very effective, whether in a play or in political rhetoric. People react to it in a visceral way. Of course—it’s completely illegal and extremely cruel. As Barack Obama said in 2012, the use of chemical weapons is the one thing that crosses the red line of what is acceptable in war. But that idea is in itself unacceptable. If we focus on this one, visceral act of warfare, we tend to forget that it’s
the whole war that’s the scandal—not just the one act that crosses the line.
AS: Kiss is your first play in English.
How did the experience of reading and hearing your work in translation influence the writing?
GC: I write in English as a second language, and of course, I don’t write perfectly. But, while writing Kiss I thought, maybe I can get away with that by creating my own quirky, weird style, which sounds like English without being English—not real English, but something that feels like English translated from Arabic. I threw a lot of little Easter eggs into the play, words and phrases which would remind a reader and an audience of the awkwardness of the text and the impossibility of translating certain ideas. Characters in Kiss say, “I love you like a horse,” or, “I want to kiss your leather jacket.” You might think it’s weird, but you get it—it’s an expression of extreme sexuality, of lust, attraction, and love. You might laugh. At the same time, you wonder, “Is this a saying in Syria?” The language is a
Director Evan Yionoulis and production dramaturg Ariel Sibert speaking with playwright Guillermo Calderón via Skype. 12
An interview with playwright Guillermo Calderón
way of pushing back a little bit against the melodrama of the text and against the humor. When you start to laugh, you also question yourself: “Should I be laughing about this? It could be a cultural reference. Maybe I shouldn’t be laughing about the awkwardness or cheesiness of another culture.” I think that tension is rich. It emphasizes the idea that something’s been lost.
AS: Recently, American theatre artists have been raising questions surrounding identity and representation—Who should be allowed to represent what experiences? In this context, in productions across the country, Kiss—a play about Syria by a Chilean writer—has been particularly successful. Why do you think that is?
GC: Kiss is meant to raise exactly
that question. How can we talk about other experiences and cultures without silencing or exploiting one another? People should ask, “Why we should we perform this play about Syria, if it’s not written by a Syrian?” One reason is that, at the core of this play, there is the story of a Syrian person. Always. The play was developed around that character and the voice of a real Syrian living in Germany. At the same time, the play pushes a button. Kiss evokes the problem of appropriation. It stages it. So, as you’re watching—from the very beginning—your critical guard should be raised.
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LOST IN T
Syrian “Soap Ope Ramadan is prime time for musalsalaat (singular, musalsal), dramatic miniseries produced and broadcast throughout the Arab world. Before the war, Syrians, no matter their religion or sect, gathered around their television sets—in homes and cafés—to watch. Even after 2011, as a brutal act of repression by the security forces of Bashar al-Assad’s military government escalated into a national uprising, a civil conflict, an armed rebellion, a refugee crisis, and an international proxy war (the terminology varies depending on where you stand), television brought Syrians together. From the 1990s until the beginning of this decade, Syria, and the city of Damascus in particular, was a center for the production of musalsalaat, and hit series reached millions of viewers worldwide. The word musalsal is often translated as “soap opera,” a nod to the format’s episodic structure, complex plots, intense emotions, craven villains, doomed romances, and devoted fans. But much gets lost in this translation. Musalsalaat include satirical sketch shows, domestic dramas, historical thrillers, and epics of the ancient past. This commercial industry, often backed by international conglomerates or foreign producers and subject to local government censorship, nevertheless employed many of Syria’s foremost artists, intellectuals, actors, writers, and journalists.
RANSLATION:
e ras” and the Politics of Television In the years leading up to and immediately following the Syrian uprising, musalsalaat commented on social values, in storylines that tackled issues from women’s rights and homosexuality to unemployment, political corruption, Islamic radicalism, and European xenophobia. They even managed to critique the Syrian political establishment, circumnavigating government censors. Syrian actors and writers were also among the first to speak out publicly against Bashar al-Assad’s brutal repression of dissent. As protest spread and military retaliation intensified, the industry and viewers split along political lines. Blacklists of pro- and anti-regime actors and productions circulated online. In July 2011, over one hundred television writers, actors, and directors organized a protest against the regime, hoping to take to the streets of Damascus just after morning prayer. The police were waiting for them. Many of them, including actress May Skaf and playwright Yam Mashhadi, were detained on sight. By 2013, dozens of actors, writers, and directors had fled Syria. Many were imprisoned. At least eight actors have been killed. Those who left or disappeared had their homes destroyed and their families placed under threat of retaliation.
Today, many Syrian artists continue to write, produce, and perform in musalsalaat in Egypt and Lebanon. Others self-produce on YouTube, using the Internet to disseminate corrective narratives to the state-controlled news media, while the Syrian cultural ministry sponsors musalsalaat that depict the Syrian army as a liberation force and rebels as foreign Jihadists. Profound and subtle, sometimes conflicting and sometimes unreliable, musalsalaat offer glimpses into a reality much more complex than the images and ideas circulated in Western media. As we rehearsed this play, reports of chlorine gas attacks on rebel-held Douma, a suburb of Damascus, filtered into headlines. In retaliation, the United States, Britain, and France launched a coordinated missile strike against three of Bashar al-Assad’s chemical weapons facilities. President Trump has issued tweets threatening further US military action in Syria, antagonizing both Assad and his ally, Russian president Vladimir Putin. At the same time, Trump’s stated immigration policies conflate Syrian refugees with ISIS terrorists. The challenge—for playwrights and journalists, academics and artists, whether producing a play, reporting the news, or writing a program note—is to try to reveal what is lost in translation.
—AS
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Cast ABUBAKR ALI (INTERPRETER) is a second-year MFA candidate at Yale School of Drama, where he has been seen in The Last Days of Judas Iscariot, Passion, Perfectly Timed Photos Taken Before a Disaster, Pentecost, and The Hour of Great Mercy. His credits include Xander Xyst, Dragon: 1 (Yale Cabaret); Macbeth, The Threepenny Opera, Julius Caesar, Six Characters in Search of an Author, A Christmas Carol (A Noise Within); The Rock of Abandon (Lillian Theater); Handjobs The Musical! (Kraine Theater); Macbeth, The Two Gentlemen of Verona (The Classical Studio, NYU); as well as work with East West Players, Company of Angels, and Fierce Backbone. Film and television credits include Dig (USA Network), Irish Goodbye (Ade M’Cormack), Spike TV, The Rachel Maddow Show. Training: BFA, NYU’s Tisch School of the Arts; Atlantic Theatre Company; Classical Studio. abubakrali.com Instagram/Twitter @ TheAbubakrAli
HEND AYOUB* (BANA) is thrilled to be making her Yale Rep debut. Her credits include Broadway’s Bengal Tiger at the Baghdad Zoo with Robin Williams, as well as its previous run at Los Angeles’s Mark Taper Forum; Veils (world premiere, Portland Stage; Barrington Stage). Television credits include Homeland, The Looming Tower, Madam Secretary, Damages, Royal Pains, Feed the Beast, Comedy Central’s The Watch List, and a recent recurring role on Transparent. She co-starred in the Emmy Awardwinning film Death of a President and the award-winning film Private.
JAMES CUSATI-MOYER* (YOUSSIF) Broadway: Six Degrees of Separation, directed by Trip Cullman. OffBroadway: Nijinskyin the world premiere of Fire and Air by Terrence McNally, directed by John Doyle (Classic Stage Company); The Devil in The Soldier’s Tale featuring Michael Cerveris, directed by Liz Diamond (Carnegie Hall). Regional: Romeo in Romeo and Juliet, directed by Mark Lamos (Westport Country Playhouse); Portland Stage Company; Williamstown Theatre Festival. Television: Unbreakable Kimmy Schmidt, The Path, Red Oaks, Blue Bloods, Time After Time. Training: MFA, Yale School of Drama.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 15
IAN LASSITER* (AHMED) Broadway: Junk, War Horse (Lincoln Center Theater); The Cherry Orchard (Roundabout Theatre Company). Off-Broadway: Ring Twice for Miranda (New York City Center); Pericles, An Octoroon (Theatre for a New Audience); Antony and Cleopatra (Public Theater, Royal Shakespeare Company); Natasha, Pierre & the Great Comet of 1812 (Kazino); Mission Drift (Connelly Theater; National Theatre, London). Regional: Hamlet, Richard II (Old Globe); Oliver! (Arena Stage); The Comedy of Errors (Shakespeare & Co.), An Iliad: Guerrillas at Troy (Continuum Company, Florence, Italy); Henry V (Two River Theater). Ian is a proud member of the devised theatre group TEAM (theteamplays.org) and proudly reps Fordham University for his BA in theatre and NYU graduate program for his MFA. ianlassiter.com
SOHINA SIDHU (HADEEL) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Much Ado About Nothing, Death of Yazdgerd, and Escape from Happiness. She conceived and directed The Red Tent at Yale Cabaret and appeared in The Trojan Women at Yale Summer Cabaret. Other credits include The Seagull (Schapiro Theatre), Caenis (Pace Gallery NYC), and SEVEN—a documentary play (Bovard Auditorium, USC), among others. Television credits include Outsourced. Sohina holds degrees in acting from University of Southern California School of Drama and in film from USC’s School of Cinematic Arts.
RASHA ZAMAMIRI* (WOMAN) is ecstatic to be making her Yale Rep debut with such an incredible cast and crew. Rasha is an Arab-American actor, singer, and voiceover artist who was last seen in Eko and MGM’s interactive series that watches you, #Wargames. She is most recognized as the Hijabi Woman in Coca-Cola’s “America Is Beautiful” commercial, which aired during the Super Bowl and the Olympics, and carries the distinction of being the first Arab woman shown in a veil in a prime time national commercial campaign. Past theatre credits include The Who & The What (Gulfshore Playhouse), We Live in Cairo (Eugene O’Neill Theater Center), The Wife (Berkeley Rep, Ground Floor), Transit (Chautauqua Theater Company), The Hour of Feeling (Actors Theatre of Louisville, Humana Festival), Aftermath (New York Theatre Workshop and world tour), Living in Exile (La Mama E.T.C.). Television and film: The Looming Tower, Instinct, Sayid, Blindspot, Blue Bloods, The Blacklist, and ESPN/History’s The Vikings —Another Seer. Proud member of AEA and SAG-AFTRA.
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Creative Team AUSTIN J. BYRD (TECHNICAL DIRECTOR) is a second-year MFA candidate at Yale School of Drama. Previous Yale Rep credits include Seven Guitars (master electrician), Mary Jane (assistant technical director), and Native Son (associate production manager). Previously, Austin was based in Washington, D.C., where he worked as a technical director, production manager, and designer for The Welders, Round House Theatre, Woolly Mammoth Theatre, Theater J, The Studio Theatre, Signature Theatre, and Arena Stage. Austin holds a BA in theatre production and design from American University.
GUILLERMO CALDERÓN (PLAYWRIGHT), born in Santiago, Chile, is a screenwriter, playwright, and theatre director based in the U.S. His plays include Neva, Diciembre, Clase, Villa, Speech, Quake, Escuela, Kiss, Mateluna, and Goldrausch. Calderón’s productions have toured extensively through South America, North America, and Europe. He has been commissioned to write and direct by the Düsseldorfer Schauspielhaus, Theater Basel, HAU Hebbel am Ufer, the Royal Court Theatre, Center Theatre Group, and The Public Theater, where he also directed Neva. His co-written screenplay Violeta Went to Heaven won the World Cinema Jury Prize for Drama at the 2012 Sundance Film Festival. He cowrote The Club, directed by Pablo Larrain, which won the Silver Bear at the Berlin International Film Festival 2015 and was nominated for a Golden Globe Award. The script won the silver plaque at the Chicago International Film Festival. He wrote the script for Neruda, directed by Pablo Larraín, presented at the Quinzaine des Réalisateurs (The Director’s Fortnight) during the Cannes Film Festival 2016. His recently directed his play Villa in New York City at The Play Company, and his new play, B, was produced at the Royal Court Theatre last September.
MICHAEL COSTAGLIOLA (SOUND DESIGNER AND ORIGINAL MUSIC) is a third-year MFA candidate at Yale School of Drama, where his credits include Death of Yazdgerd, Everything That Never Happened, The Hour of Great Mercy, Bluebeard’s Wife, and Bulgaria! Revolt! (composition and arrangement). Other credits include Styx Songs, Xander Xyst, Dragon: 1 (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); and The Moors (Yale Repertory Theatre, assistant sound designer). He studied music at Brown University, where he received the Weston Award for Music Composition. He is a teaching artist in sound design for the Roundabout Theatre Company and is the resident composer for the AntiGravity Theatre Project. His work has been heard in New York at La MaMa E.T.C., Manhattan Theatre Club, Dixon Place, Incubator Arts Project, the PRELUDE Festival, and the Brick Theater, as well as at various theatres in Providence, Philadelphia, Boston, and across Europe and India.
ERIN EARLE FLEMING (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Sweat, If Pretty Hurts Ugly Must Be a Muhfucka, ’Tis Pity She’s a Whore, Blood Wedding, and Macbeth. Other credits include Xander Xyst, Dragon: 1 (ArsNova ANT Fest and Yale Cabaret); The Feels...(KMS), Re:Union, MoonSong, Current Location, Kaspar (Yale Cabaret); Les Enfants Terribles (Butler Opera Center); Bus Stop, Love and Information (Mary 17
Moody Northern Theatre); Pinocchio, ScienceTricks (ZACH Theatre); Bloody Bloody Andrew Jackson (Doctuh Mistuh); and The Attic Space (Palindrome Theatre). Additionally, Erin worked as the assistant production manager at Ballet Austin. She holds a BA from St. Edward’s University.
AO LI (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama from Shanghai, China. At the School, his credits include ’Tis Pity She’s a Whore and Titus Andronicus; also The Apple Tree, Xander Xyst: Dragon 1, and Styx Songs at Yale Cabaret. His other designs include Cao Zhi (Academy Theater), Everything in the Garden (Duanjun Theater), Blind (Shanghai International Arts Festival), among others. He holds a BFA in stage design from Shanghai Theatre Academy. His artwork has also received three solo exhibitions.
COLE McCARTY (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Romeo and Juliet, If Pretty Hurts Ugly Must Be a Muhfucka, and Blood Wedding. Other recent credits include Re:Union, This American Wife, Ni Mi Madre (Yale Cabaret); Antony + Cleopatra and The Trojan Women (Yale Summer Cabaret). A native Texan, his design credits include Loving v. Virginia, Lydie Breeze, The War Boys (Williamstown Theatre Festival); Reckless (Theatre Three); and the short film Rolling on the Floor Laughing (Official Selection Sundance Film Festival). He has assisted designers such as Catherine Zuber, Emilio Sosa, and Gabriel Berry on various Broadway, Off-Broadway, and major regional productions. He holds a BFA in theatre design and technology from University of Evansville.
BETH McGUIRE (VOCAL AND DIALECT COACH) Broadway: Eclipsed; A Streetcar Named Desire; Chaplin; I’ll Eat You Last. New York: He Brought Her Heart Back in a Box (Theatre for a New Audience); Eclipsed, In Darfur (The Public Theater); The Overwhelming (Roundabout Theatre); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theater Club); People be Heard (Playwrights Horizons); Her Portmanteau (Black Theatre of Harlem); The Imaginary Invalid (La Mama E.T.C.); as well as multiple productions at Working Theater. Regional: Over 35 productions at McCarter Theatre, Yale Rep, Hartford Stage, Shakespeare Theatre of New Jersey. Film: Black Panther (Marvel and Walt Disney Studios). Beth is Director of Speech and Dialects at Yale School of Drama and is the author of African Accents: A Workbook for Actors (2016).
WLADIMIRO A. WOYNO R. (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Everything That Never Happened, If Pretty Hurts Ugly Must Be a Muhfucka, Bulgaria! Revolt!, and The Merchant of Venice. Other credits include Re:Union, This American Wife (Yale Cabaret); The Last Voyage of Donald Crowhurst (Ghost River Theatre, Canada); Parade (Nederlands Dans Theater, Netherlands); Ziriguidum (Decidedly Jazz Danceworks, Canada); and Sometime Between Now and When the Sun Goes Supernova (Theatre Junction, Canada). He was also the associate projection 18
Creative Team designer on GHOST—O Musical (4ACT, Brazil) and The Stampede Grandstand Show (Calgary Stampede, Canada). He holds a BFA in theatre design and production from the University of British Columbia. wawr.ca
TARA RUBIN (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Falsettos; A Bronx Tale; Dear Evan Hansen; Cats; Disaster!; School of Rock; Doctor Zhivago; It Shoulda Been You; Gigi; Bullets Over Broadway; Aladdin; Les Misérables, Mothers and Sons; Big Fish; The Heiress; How to Succeed in Business Without Really Trying; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; Young Frankenstein; The Little Mermaid; Mary Poppins; Spamalot; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. Off-Broadway: Here Lies Love; Old Jews Telling Jokes; Love, Loss, and What I Wore. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse.
ARIEL SIBERT (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where her credits include Death of Yazdgerd and Titus Andronicus. Her other credits include The Trojan Women, Lear (Yale Summer Cabaret); Roberto Zucco, Revolt. She Said. Revolt Again., Slouch, The Slow Sound of Snow, This American Wife, and Kaspar (Yale Cabaret). Her writing has appeared in Text and Presentation, Theater magazine, and American Theatre. She has been the Literary Management and Dramaturgy Intern at Actors Theatre of Louisville, where she was the Dramaturg for the Apprentice Company’s 2014–15 Season. She graduated with honors with a BA in art history from Princeton University.
RICK SORDELET (FIGHT DIRECTOR) and his son, Christian Kelly-Sordelet, are the creators of Sordelet Inc., a stage combat company. Among their credits are 72 Broadway productions, including The Lion King and Beauty and the Beast, and more than 60 first-class productions on five continents in hundreds of cities around the world. Rick and Christian have been fight directors for dozens of regional theatres around the U.S. Their shows range from Sam Shepard to William Shakespeare. They have four National Tours running across America and Beauty and the Beast internationally. Both Rick and Christian are stunt coordinators for television and film with over 1000 episodes of daytime television and numerous feature films. Rick teaches stage combat for Yale School of Drama and with Christian at HB Studio in NYC. sordeletink.com
SARAH THOMPSON* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her stage management credits include ’Tis Pity She’s a Whore, The Merchant of Venice, Bluebeard’s Wife, Tiny, and assistant stage manager for Amy and the Orphans and Fucking A. Additional credits include Mary Jane (ASM, Yale Repertory Theatre); Xander Xyst, Dragon: 1; This Sweet Affliction;
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*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
Styx Songs; And Tell Sad Stories of the Death of Queens; Dutch Masters; Thunder Above, Deeps Below (Yale Cabaret); Evita (Olney Theatre Center); and The Comedy of Errors; As You Like It; The Taming of the Shrew (Chesapeake Shakespeare Company), among others.
EVAN YIONOULIS (DIRECTOR) is a Resident Director at Yale Rep where her productions include The Master Builder, Richard II, The King Stag, Galileo, Heaven, Black Snow, The People Next Door, Stones in His Pockets, Bossa Nova, Owners, and Cymbeline. New York credits include, most recently, the critically acclaimed world premiere of Adrienne Kennedy’s He Brought Her Heart Back in a Box at Theatre for a New Audience where she also directed Kennedy’s Ohio State Murders (Lucille Lortel Award, Best Revival) and Howard Brenton’s Sore Throats. She directed Richard Greenberg’s The Violet Hour (Broadway), Everett Beekin (Lincoln Center Theater), and Three Days of Rain (Manhattan Theatre Club, OBIE Award for Direction). Other credits include productions at theatres such as the Mark Taper Forum, South Coast Rep, Huntington Theatre Company, New York Shakespeare Festival, Vineyard Theatre, Second Stage, Dallas Theater Center, Actors Theatre of Louisville, and Denver Center. She is a Princess Grace Foundation Awards recipient and a Professor in the Practice of Acting and Directing at Yale School of Drama. She serves on the executive board of the Stage Directors and Choreographers Society as secretary.
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Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 16th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 15 seasons, Yale Rep has produced more than 30 world, American, and regional premieres,nine 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 also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, 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 served from 2007–13 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 25th 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 Center Stage, 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 WallaceReader’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.
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JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her 13th year as the Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre. Since its founding in 2008, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 27 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and Co-Director of the Pacific Playwrights Festival. Prior to that, she was a production dramaturg at American Repertory Theater and adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works; a panelist for the National Endowment for the Arts and the California Arts Council; and a consultant for the Fuller Road Artist Residency. She is a founding member of the theatre and television company, New Neighborhood. Ms. Kiger completed her professional training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama.
SHAMINDA AMARAKOON (DIRECTOR OF PRODUCTION) was recently appointed Chair of the Technical Design and Production Department for Yale School of Drama. Previously, he was the production manager at Second Stage Theatre, coordinating the execution of all design elements and consulting on the renovation of their new Broadway house, the Helen Hayes Theatre. Prior to joining Second Stage, he worked for various Broadway, Off-Broadway, and national tours through Tech Production Services and Lincoln Center Theater. He has also worked as a carpenter, technical director, project manager, and in production management at Yale Repertory Theatre, Merry-Go-Round Playhouse (Auburn, New York), Shakespeare Theatre Company (Washington, D.C.), Center Theater Group (Los Angeles), and Show Motion (Milford, CT). Regional credits include: Jersey Boys (National and Asian tours), Rock of Ages (Las Vegas), Seminar (Los Angeles). Off-Broadway credits include Notes from the Field (starring Anna Deavere Smith, Second Stage); Dada Woof Papa Hot, Preludes (Lincoln Center Theater). Broadway credits include The Heiress, Ann, Lucky Guy (starring Tom Hanks), Rocky, and The King and I; and YouTube Brandcast 2014 at Madison Square Garden. BA, Alfred University; MFA, Yale School of Drama.
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Yale Repertory Theatre JONATHAN A. REED (PRODUCTION MANAGER) has been the Production Manager for Yale School of Drama and Yale Repertory Theatre since 2013. Also a member of the Technical Design and Production faculty, teaching courses in management, planning, and technology, Mr. Reed serves on the Yale Summer Cabaret advisory board and as a Faculty Affiliate at the Center for Collaborative Arts and Media. Prior to Yale, he worked as the Technical Director for the Cornell College Department of Theatre and Communication Studies and the Arrow Rock Lyceum Theatre. Mr. Reed has also served as a freelance lighting and sound designer for companies including the Riverside Theatre, Orchesis Dance Company, Open Stage Theatre, and Pennsylvania Centre Stage. He is married to soprano Sarah Comfort Reed, and they have two children, Emma and Henry. BFA, Pennsylvania State University; MFA, Yale School of Drama.
JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) has been at Yale Rep since 2004. He has stage managed productions of An Enemy of the People; Scenes from Court Life, or the whipping boy and his prince; Arcadia; A Streetcar Named Desire; American Night: The Ballad of Juan JosÊ; Three Sisters; The Master Builder; Passion Play; Eurydice; and the world premiere of The Clean House. 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 A Christmas Carol The Musical 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, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the proud parents of two girls, Ellie and Katie.
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TENT REVIVAL
BY MAJKIN HOLMQUIST DIRECTED BY RORY PELSUE
THE GIRL IS CHAINED
BY GENNE MURPHY DIRECTED BY SHADI GHAHERI
MARTY AND THE HANDS THAT COULD
BY JOSH WILDER DIRECTED BY LUCIE DAWKINS
drama.yale.edu/carlotta
203.432.1234 ysd.shows@yale.edu I S E M A N T H E AT E R, 1 1 5 6 C H A P E L ST R E E T, N E W H AV E N , CT LEFT TO RIGHT: MAJKIN HOLMQUIST, GENNE MURPHY, AND JOSH WILDER. PHOTO BY JOAN MARCUS, 2017.
JAMES BUNDY, DEAN VICTORIA NOLAN, DEPUTY DEAN TARELL ALVIN McCRANEY, CHAIR OF PLAYWRITING
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Kiss Staff
Yale Repertory Theatre Staff
Jecamiah M. Ybañez, Assistant Director Elsa GibsonBraden, Assistant Scenic Designer Yunzhu Zeng, Assistant Costume Designer Matt Davis, Assistant Lighting Designer Martin V. Montaner, Assistant Sound Designer and Engineer Hassan Awwad, Translator Youssra Al Mtit, Dialect Consultant and Additional Translation Gaida Hinnawi, Singing Coach Abigail Gandy, Assistant Stage Manager
James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director and Director of New Play Programs
PRODUCTION Alex Worthington, Associate Production Manager Benjamin Jones, William Neuman, Mike VanAartsan, Assistant Technical Directors Kirk Keen, Assistant Properties Master Hao-En Hu, Master Electrician Jeongah Heo, Projection Engineer Logan Baker, Julia Bates, Evan Hill, Laurie Ortega-Murphy, Kat Yen, Run Crew ADMINISTRATION Lucia Bacqué, House Manager UNDERSTUDIES Abubakr Ali, Ahmed Victoria Nassif*, Interpreter, Woman, Bana Anula Navlekar, Hadeel Dario Ladani Sanchez, Youssif *Member of Actors’ Equity Association, the union of professional actors and stage managers.
SPECIAL THANKS Mustafa Adil, Mohamad Chaghlil; Long Wharf Theatre Properties Department; Mohamad Hafez; Kathy Hood; Richard Feldman; Ann O’Brien, Zeenie Malik, and Integrated Refugee and Immigrant Services (IRIS); Elizabeth Urban
The Stage Manager employed in this production is a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. 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.
Kiss April 27–May 19, 2018 Yale Repertory Theatre, 1120 Chapel Street 25
ARTISTIC Resident Artists Tarell Alvin McCraney, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, 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 Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Felicia Rudolph, Casting Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services PRODUCTION Production Management Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Scenery Neil Mulligan (on leave), Matt Welander, Technical Directors Lily Twining, Interim Technical Director Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Hyejin Son, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Molly Gambardella, Interim Properties Stock Manager Amanda Creech, Madeleine Winward, Assistants to the Properties Master Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Logan Baker, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Daniela Fresard, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Ruoxi Jia, Assistant to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor
Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer David Willmore, Light Board Programmer ADMINISTRATION General Management Kelvin Dinkins, Jr., General Manager Adam J. Frank, Ruoran (Kathy) Li, Melissa Rose, Associate Managing Directors Armando Huipe, Leandro A. Zaneti, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Carl Holvick, Management Assistant Caitlin Crombleholme, Company Manager Dani Barlow, Markie Gray, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Institutional Giving Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects Al Heartley, Associate Director of Development and Alumni Affairs Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications Jean Gresham, Development Associate Caitlin Volz, Development Assistant Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Teressa Reese, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ann Corris, Business Operations Portfolio Analyst Ashlie Russell, Business Office Assistant Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Malenky Welsh, Marketing and Communications Assistant 26
Yale Repertory Theatre Staff Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Kenneth Murray, Interim Audience Services Assistant Mikaela Boone, Sara Cho, Gabrielle Colangelo, Samantha Else, Jordan Graf, Christian Milian, Amir Rezvani, Elijah Weaver, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Sabrina Clevenger, Cara Correll, Kristina Cuello, Paige Cunningham, Aryssa Damron, Daniel Diaz-Vita, Hannah Herzog, Taylor Hoffman, Alexandra Leone, Shawn Luciani, Bonnie Moeller, Anna Piwowar, Hannah Sachs, Monica Traniello, Cody Whetstone, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography
Operations Nadir Balan, Interim Director of Facility Operations Devin Matlock, Interim Operations Associate Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, James Hansberry, Rodney Heard, Kathy Langston, Patrick Martin, Andy Martino, Shanna Ramos, Mark Roy, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Ben Silvert, Database Application Consultant Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers
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WINNER!
2014 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE
These Paper Bullets! by Rolin Jones, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014; Geffen Playhouse, west coast premiere, 2015; Atlantic Theater Company, New York premiere, 2015.
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 10 Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 27 new American plays and musicals at Yale Rep and theatres across the country.
Photos by Joan Marcus and Carol Rosegg.
“A SHARP DRAMA ABOUT
FORGIVENESS, GENEROSITY, AND FAMILY.” TIME OUT NEW YORK
29War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016.
WINNER!
TWO 2017 TONY AWARDS Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; Broadway premiere, April 2017.
“THE BEST NEW PLAY SO FAR THIS YEAR!”
“FIERCELY FUNNY!” THE NEW YORK TIMES
WALL STREET JOURNAL
Mary Jane by Amy Herzog; Yale Rep, world premiere, 2017; New York Theatre Workshop, New York premiere, 2017.
Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.
“FEMINISM, UN-WHITEWASHED. BEAUTIFUL, FUNNY, AND CHILLING.” NEW HAVEN INDEPENDENT
30 Imogen Says Nothing by Aditi Brennan Kapil; Yale Rep, world premiere, 2017.
Yale School of Drama Board of Advisors John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Pun Bandhu Sonja Berggren Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles
Patricia Clarkson Edgar M. Cullman III Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger David Marshall Grant David Alan Grier
Ruth Hendel Cathy MacNeil Hollinger Sally Horchow Ellen Iseman David Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht Jennifer Harrison Newman
Lupita Nyong’o Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY Marty and Perry Granoff ($50,000 and above) Mabel Burchard Fischer Nina Adams and Moreson Kaplan Anonymous (2) Dr. Richard Beacham John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Lois Chiles and Richard Gilder Nicholas Ciriello Edgerton Foundation Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation Jerome L. Greene Foundation Lane Heard and Margaret Bauer William and Sarah Hyman David Johnson Geoffrey Ashton Johnson Rocco Landesman Jennifer Lindstrom The Frederick Loewe Foundation Neil Mazzella Tom Moore James Munson Alan Poul Robina Foundation Tracy Chutorian Semler The Ted and Mary Jo Shen Charitable Gift Fund The Shubert Foundation Jeremy Smith Stephen Timbers Time Warner Foundation Nesrin and Andrew Tisdale Edward Trach Esme Usdan
GUARANTORS ($25,000–$49,999)
Burry Fredrik Foundation Connecticut Department of Economic and Community Development 31
*deceased
Grant Foundation The Laurents/Hatcher Foundation Newman’s Own Foundation Robina Foundation in memory of Peter Karoff Eugene Shewmaker Virginia B. Toulmin Foundation
BENEFACTORS ($10,000–$24,999)
Louis Alexander Americana Arts Foundation Bank of America Foundation Clare and Sterling Brinkley Mary L. Bundy Jim Burrows Connecticut Humanities The Noël Coward Foundation Michael Diamond Heidi Ettinger Lily Fan Quina Fonseca Donald Granger Ruth and Steve Hendel Hasbro, Inc. Cathy MacNeil Hollinger J.M. Kaplan Fund Ben Ledbetter and Deborah Freedman Sarah Long Lucille Lortel Foundation Angela and Donald Lowy* Tien-Tsung Ma Arthur and Merle Nacht National Endowment for the Arts Lupita Nyong’o Liev Schreiber Talia Shire Schwartzman The Seedlings Foundation Carol L. Sirot Trust for Mutual Understanding Donald Ware
PATRONS ($5,000–$9,999)
Marc Flanagan Anthony Forman Fred Gorelick and Cheryl Anna Fitch Ardenghi Trust, Bank of America, MacLachlan Catherine Hazlehurst Trustee da Cruz John Badham Alan Hendrickson Foster Bam JANA Foundation Pun Bandhu Rolin Jones Susan Berresford Rik Kaye Carmine Boccuzzi and Annie LaCourt Bernard Lumpkin The Ethel & Abe Lapides Brett Dalton The Frederick A. DeLuca Foundation George A. and Grace Foundation Long Foundation,Bank Terry Fitzpatrick of America, N.A., Barbara and Richard Co-Trustee Franke Jonathan S. Miller Albert R. Gurney* Victoria Nolan and Jane Head Clark Crolius Sally Horchow Richard Ostreicher Linda Gulder Huett Thomas G. Masse and Ellen Iseman James M. Perlotto, MD Aja Naomi King Kenneth J. Stein Eugene Leitermann Alec and Aimee Scribner Charles E. Letts III Ron Van Lieu Irene Sophia Lucio United Illuminating & Roz and Jerry Meyer Southern Connecticut Marissa Neitling Gas NewAlliance Foundation Carol Ostrow DIRECTOR’S CIRCLE James Phills, Jr. Bryce Pinkham ($1,000–$2,499) Pam and Jeff Rank Victor and Laura Altshul Russ Rosensweig Amy Aquino and Nancy Sasser Drew McCoy Michael and Riki Sheehan Paula Armbruster Philip J. Smith Alexander Bagnall Sophie von Haselberg Jody Locker Berger Mark Weaver Molly Bernard Mark Brokaw PRODUCER’S CIRCLE James T. Brown Thomas Bruce ($2,500–$4,999) Kate Burton Deborah Applegate Tom Bussey and Bruce Tulgan Alexandra Cadena John Lee Beatty Ian Calderon Mark Blankenship Cosmo Catalano, Jr. Donald and Mary Brown CEC Artslink James Bundy and Patricia Clarkson Anne Tofflemire Peggy Cowles Ben Cameron Stephen Coy Joan Channick and Ruth Catherine and Elwood Hein Schmitt Davis William Connor Ramon Delgado Michael S. David Jon Farley
Martin Desjardins Alexander Dodge Christopher Durang Terry Dwyer Patricia Egan and Peter Hegeman Kyoung-Jun Eo Glen R. Fasman Anthony Forman Eric Gershman and Katie Liberman Marian Godfrey Richard Gold and Patricia Bennett Naomi Grabel Rob Greenberg Judith Hanson Jeremy O. Harris David Hawkanson Patrick Herold Stephen J. Hoffman Alys Holden Donald Holder Carol Thompson Hemingway James Guerry Hood Christopher Hourcle Shane Hudson Jaeeun Joo James Earl Jewell Ann Judd and Bennett Pudlin Jane Kaczmarek Gregory Kandel Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Jay B. Keene Dr. Gary and Hedda Kopf Edward Lapine Max Leventhal and Susan Booth George Lindsay, Jr. William Ludel Emily Mann Brian Mann Robert Marx Susan Medak and Greg Murphy Samual Michael Richard Mone David E. Moore George Morfogen Neil Mulligan Jim and Eileen Mydosh Jason Najjoum Chris Noth Arthur Oliner F. Richard Pappas Daniel Perez Dw Phineas Perkins Amy Povich Kathy and George Priest Carol A. Prugh Brittany and Will Rall Lance Reddick Jon and Sarah Reed Bill and Sharon Reynolds Ross Richards Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Arlene Szczarba Anne Seiwerath Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Adam Stockhausen
Shepard and Marlene Stone Abby Roth and R. Lee Stump David and Julie Sword John Thomas III Benjamin Thoron and Patricia Saraniero Jennifer Tipton Sarah Treem Joan van Ark Sylvia Van Sinderen and James Sinclair Carol M. Waaser Lauren Wainwright Steven Waxler Evan Yionoulis Don and Clarissa Youngberg Robert Zoland Steve Zuckerman
David Howson Carolyn Hsu-Balcer Mary and Arthur Hunt Peter Hunt Ann Johnson and Mark Stevens Martha and Michael Jurczak Abby Kenigsberg Harvey Kliman and Sandra Stein David Kriebs Drew Kufta Mildred Kuner Robert Goldsby Melanie Ginter and John Lapides Jim Larkin Suttirat Larlarb Maryanne Lavan Kenneth Lewis Malia Lewis The Loo Family PARTNERS Chi-Lung Lui ($500–$999) Actors’ Equity Charles H. Long Linda Lorimer and Foundation Charles Ellis Donna Alexander In memory of Anna Nancy Maasbach Timothy Mackabee Altman Mr. and Mrs. B.N. Ashfield Jenny Mannis and Henry Wishcamper Mary Ellen and Thomas John McAndrew Atkins Peter and Wendy Emily P. Bakemeier and McCabe Alain G. Moureaux Andrew McClintock Michael Baumgarten Deborah S. and Bruce Dawn G. Miller Daniel Mufson M. Berman Gayther Myers, Jr. Ashley Bishop Mariko Nakasone Jeff Bleckner Regina and Thomas Erich Bolton Neville Michael Boyle Anne and Guido Calabresi William and Barbara Nordhaus Joy Carlin Laura Patterson Lawrence Casey James Perakis Sarah Bartlo Chapin Louise Perkins and Myung Hee Cho Jeff Glans Dr. Paul D. Cleary Point Harbor Fund of Bill Connington Daniel Cooperman and the Maine Community Foundation Mariel Harris Bob and Priscilla Dannies Stephen Pollock Faye and Asghar Rastegar Richard Sutton Davis David and Barbara Reif Robert Dealy The Cory & Bob Donnalley Anne Renner Constanza Romero Charitable Foundation Melissa Rose Polly Draper Kimberly Rosenstock Eric Elice Suzanne Sato Sasha Emerson Sandra Shaner Bernard Engel Rachel Shuey Roberta Enoch and James Steerman Steven Canner Rosalie Stemer and Peter Entin Susan and Fred Stuart Feldman Nausica Stergiou Finkelstein Marsha Beach Stewart Randy Fullerton Erich Stratmann Leiko Fuseya Tom Sullivan James Gardner Betty and Joshua Matthew Suttor Don Titus Goldberg Anne Trites and David Marshall Grant Kent McKay Anne Gregerson Emmy Tu Eduardo Groisman John Turturro and Barry and Maggie Grove Katherine Borowitz Regina Guggenheim Courtney B. Vance Lorence Gutterman Paul Walsh William B. Halbert Kristan and NathanWells Karsten Harries and Carolyn Seely Wiener Elizabeth Langhorne Harry Weintraub Doug Harvey Steven Wolff Christopher Higgins Lila Wolff-Wilkinson Michael and Gabrielle David York Hirschfeld
INVESTORS ($250–$499)
Liz Alsina Shaminda Amarakoon Arnold Aronson Mamoudou Athie Clayton Austin James Bakkom Christopher Barreca Richard and Alice Baxter Todd Berling Patricia Bennett and Rich Gold Michael Bianco Georg’Ann Bona Susan Brady and Mark Loeffler Tom Broecker Claudia Brown William Buck Robert Buckholz April Busch Jonathan Busky Richard Bynum Michael Cadden Lawrence Casey Barbara Jean and Nicholas Cimmino Nicholas Christiani Darren Clark Lani Click Melissa Cochran Robert S. Cohen Patricia Collins Bill Connington Audrey Conrad John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Aziz Dehkan and Barbara Moss Dennis Dorn Kem and Phoebe Edwards Fine Family Joel Fontaine David Freeman Dr. and Mrs. James Galligan Joseph Gantman Deeksha Gaur Stephen Godchaux Rob Greenberg Joseph Hamlin Scott Hansen Douglas Harvey Barbara Hauptman Ethan Heard Nicole and Larry Heath Ann Hellerman Jennifer Hershey Phillip Howse Peter Hunt David Henry Hwang Karena Ingersoll Raymond Inkel Joanna and Lee A. Jacobus Ann Johnson Sanghun Joung Pam Jordan Elizabeth Kaiden Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Kieran Kelly Ashley York Kennedy Alan Kibbe Lindsay King Matthew Krashan
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Contributors to Yale School of Drama and Yale Repertory Theatre David Kriebs Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin Wing Lee James Lile Mary Rose Lloyd Suzanne Cryer Luke Nancy Lyon Andy Lyons Dr. and Mrs. Robert W. Lyons Linda Maerz and David Wilson Adam Man Marvin March Elizabeth Margid Peter Marshall Deborah McGraw Annie Middleton Thomas Middleton George Miller and Virginia Fallon Aaron Moss Janice Muirhead David Muse David Nancarrow James Naughton Andrea Nellis Jane Nowosadko George and Marjorie O’Brien Janet Oetinger Maulik Pancholy Michael Parrella Bruce Payne and Jack Thomas James Perakis Lisa Rigsby Peterson Geoffrey Pierson Jeffrey Powell and Adalgisa Caccone Meghan Pressman Jeffry Provost Alec and Drika Purves Sarah Rafferty Fred Ramage Daniel and Irene Mrose Rissi Steve Robman Peter Roberts Gene Rogers Howard Rogut Fernande E. Ross Jean and Ron Rozett Helen Sacks Steven Saklad Robert Sandberg Dana Sanders Robin Sauerteig Dr. Mark Schoenfeld Morris and Annelies Sheehan William and Elizabeth Sledge Dr. and Mrs. Dennis D. Spencer Mary C. Stark Regina Starolis Jeremy Stein Stephen Strawbridge Bernard Sundstedt Jillian Taylor Richard B. Trousdell Marge Vallee Michael Van Dyke Elaine Wackerly 33
*deceased
Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Marshall Williams Walton Wilson Amanda Wallace Woods Guy and Judith Yale Arthur and Ann Yost
FRIENDS ($100–$249)
Anonymous Emika Abe Paola Allais Acree Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel and Ian Alderman Lorraine Alfano Richard Ambacher Dale Amlund Zach Appelman Stephen and Judy August Angelina Avallone Michael Backhaus Sandra and Kirk Baird Dylan Baker Dr. Francis Baran Russell Barbour Robert Barr William and Donna Batsford Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Alex Bergeron Martin Blanco Anders Bolang Erik Bolling Josh Borenstein Marcus and Kellie Bosenberg John Boyd* Michael Boyle Shawn Boyle Leslie Brauman Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Michael Broh Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown Oscar Brownstein Stephen Bundy Richard Butler Susan Wheeler Byck Susan Cahan David Calica Kathryn A. Calnan Robert Campbell Juliana Canfield H. Lloyd Carbaugh Elisa and Jonathan Cardone Lisa Carling Raymond Carver
Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden Hsiao-Ya Chen James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Gary and Becky Cline Katherine D. Cline Aurélia and Ben Cohen Robert Cohen Judith Colton and Wayne Meeks Forrest Compton Scott Conn Kristin Connolly Aaron Copp Jennifer Corman Rachel and Matt Cornish Robert Cotnoir Caitlin Crombleholme Douglas and Roseline Crowley Sean Cullen Scott Cummings Phillip L. Cundiff Sr. William Curran Donato Joseph D’Albis Brian Dambacher Sue and Gus Davis Nigel W. Daw Katherine Day Peter De Breteville Mr. and Mrs. Paul DeCoster Sheldon Deckelbaum Sarah and Ted DeLong Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Jennifer Endicott Emley David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Richard and Barbara Feldman Erin Felgar Mr. and Mrs. Kenneth Fellows Eugene Fidell and Linda Greenhouse Paul and Susan Birke Fiedler Andria Fiegel Anne Flammang
Madlyn and Richard Flavell Keith Fowler Adam Frank Walter M. Frankenberger III Donald Fried Richard Fuhrman Christopher Fuller David Gainey Barbara and Gerald Gaab Josh Galperin David and Joan Geetter Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Caitie Hannon Lawrence and Roberta Harris Doug Harvey Brian Hastert James Hazen Al Heartley Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Chuck Hughes Derek Hunt Peter H. Hunt John Huntington Sooyoung Hwang John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Donald E. Jones, Jr. Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Asaad Kelada
Roger Kenvin Carol Soucek King Susan Kirschner-Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Andrea Chi-Yen Kung Mitchell Kurtz William Kux Ojin Kwon Howard and ShirleyLamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Fred Lindauer Rita Lipson Bona Lee Wing Lee Irene Lewis Sam Linden Rita Lipson Arthur Lueking Everett Lunning Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Peter Malbuisson Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Frederick Marker Patrick Markle Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Margaret and Robert McCaw Matthew McCollum Patrick and Linda McCrelles Robert McDonald Christopher McFarland Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow
James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones Gather Myers Rachel Myers Rhoda F. Myers Mariko Nakasone Tina C. Navarro Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle Sara Ohly Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Joan Pape Jeffrey Park Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Michael Posnick Gladys Powers Robert Provenza William Purves Carolyn Rochester Ramsey and William Ramsey Da’Vine Joy Randolph Theodore Robb Laila Robins Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein
Dean and Maryanne Rupp Janet Ruppert Ortwin Rusch Raymond Rutan John Barry Ryan David Sacco Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Steven Schmidt Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Kathleen McElfresh Scott Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Sally Shen Paul R. Shortt Lorraine D. Siggins Alyssa Simmons William Skipper Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Tien-Yin Sun Erik Sunderman Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Kathleen Taylor Jane Savitt Tennen J. Terrazzano Aaron Tessler Muriel Test Kat Tharp Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser
Albert Toth David and Lisa Totman Russell L. Treyz Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Dr. Stein Vermund Adina and Michael Verson-McQuilken Eva Vizy Fred Voelpel Mark Anthony Wade Kate and Andrew Wallace Erik Walstad Barbara Wareck and Charles Perrow Chris Weida John Weikart Rosa Weissman Matt and Mary Welander Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Lisa A. Wilde Robert Wildman Sarah Williams David Willson Gregory and Carrie Winkler Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Rachel and Stephen Wizner Andrew Wolf Gretchen Wright Lori-Ann Wynter John and Pat Zandy Shoshana Zax Sylvia Zhang Albert Zuckerman
EMPLOYER MATCHING GIFTS
Aetna Foundation Ameriprise Financial Chevron Corporation Corning, Inc. Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation
IN KIND
Jane Kaczmarek Asaad Kelada Tracy Chutorian Semler Jeremy Smith
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/support. This list includes current pledges, gifts, and grants received from July 1, 2016, through April 1, 2018.
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General Information
Accessibility Services
HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) Post Office Box 208244 New Haven, CT 06520 203.432.1234 yalerep@yale.edu
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive FM listening system, largeprint 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 Laura Kirk, Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.
BOX OFFICE HOURS Monday to Friday: 10AM to 5PM Saturday: 12PM to 5PM Until 8PM on all show nights GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. 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. RESTROOMS Restrooms are located in the lower level of the building. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Repertory Theatre is 203.764.4014. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre.
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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.
AUDIO DESCRIPTION (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. The AD performance for Kiss is May 12 at 2PM. (Pre-show description: 1:45PM.)
TOUCH TOURS (TT) Prior to a performance, patrons who are blind or low vision touch fabric samples, rehearsal props, and building materials in the theatre to better understand what comprises the production design. The TT performance for Kiss is May 12 at 12:45PM OPEN CAPTIONING (OC) A digital display of the play’s dialogue as it’s spoken. The OC performance for Kiss is May 19 at 2PM.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Youth Programs As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Bob and Priscilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Newman’s Own; Sandra Shaner; Southern Connecticut Gas Company; United Illuminating Company; Esme Usdan. FROM THE TOP: Schools gathering for WILL POWER!, photo by Elizabeth Green; Dwight/Edgewood Project workshop and performance, 2017.
Community Partners Ashley’s Ice Cream Anaya Sushi Atelier Florian Barracuda Booktrader Café Box 63 Café Romeo Forget Me Not Flower Shop
Four Flours GHP Printing and Mailing Harvest Wine Bar Heirloom House of Naan Hull’s Art Supply and Framing
Insomnia Cookies Jonathan Edwards Winery Katz’s Deli Savour Catering The Study at Yale Willoughby’s Coffee and Tea
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COMPLIMENTARY GLASS OF PROSECCO WITH DINNER BEFORE OR AFTER THE SHOW
Harvest is a fresh take on our lifelong dedication to satisfying meals and loyal guests. Custom cuisine from farm to fork. 372 Greenwich Avenue, Greenwich | 1104 Chapel Street, New Haven 36 Railroad Place, Westport | 64 Lasalle Road, West Hartford 37
harvestwinebar.com
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