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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre’s production of The Fairytale Lives of Russian Girls! It is a tremendous pleasure to introduce you both to playwright Meg Miroshnik, a recipient of the prestigious Whiting Writers’ Award, which recognizes early career writers of exceptional talent and promise, and to OBIE Award winner Rachel Chavkin, whose critically acclaimed production of Natasha, Pierre and the Great Comet of 1812 (cited among one of 2013’s Top Ten productions by the New York Times) is playing currently in New York. The Fairytale Lives of Russian Girls had its world premiere at Atlanta’s Alliance Theatre in 2012. Our new production of the play is a vital step in establishing this work in the contemporary repertoire, nourished by the conversations provoked with audiences over time. Just as Yale Rep has taken great pride in launching plays by August Wilson and Sarah Ruhl, among others, that have gone on to multiple productions nationwide, we are equally pleased to welcome Meg Miroshnik back to New Haven (where she graduated from the School of Drama) as she revisits this play with an entirely new team of collaborators. I love the originality of Meg’s work: the world of these Russian girls is one that few, if any, of us have ever seen on stage before. In reimagining a recent moment in Russian culture and history through the prism of that country’s ancient folk tales, she not only spins a good yarn—she also evokes our universal struggle with questions of how much of our own culture feels authentic to us, and how much we distrust it. The events of the play may take us far from our daily experience, but its themes live close to home. Thank you for joining us today for the next step in this play’s journey! As always, I welcome the opportunity to hear from you. Please feel free to email me directly at james.bundy@yale.edu with your thoughts about the play or any of your experiences at Yale Rep. Sincerely,
James Bundy Artistic Director
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JANUARY 31–FEBRUARY 22, 2014
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS
(or дebyшκи) By MEG MIROSHNIK Directed by RACHEL CHAVKIN Scenic Designer Costume Designer Lighting Designer Composer, Music Director, Sound Designer Vocal and Dialect Coach Fight Director Production Dramaturg Casting Director Stage Manager
CHRISTOPHER ASH KJ KIM BRADLEY KING CHAD RAINES JANE GUYER FUJITA RICK SORDELET AMY BORATKO TARA RUBIN HANNAH SULLIVAN
The Fairytale Lives of Russian Girls was originally produced by Alliance Theatre, Atlanta, Georgia; Susan V. Booth, Jenning Hertz Artistic Director.
YALE REP IS SUPPORTED IN PART BY THE DEPARTMENT OF ECONOMIC AND COMMUNITY DEVELOPMENT
SEASON MEDIA SPONSOR
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CAST Annie
EMILY WALTON
Masha
SOFIYA AKILOVA
Katya
CELESTE ARIAS
Other Katya, Nastya Olga, Passport Control Officer, Professor, Valentina Baba Yaga, Yaroslava
STÉPHANIE HAYES JESSICA JELLIFFE FELICITY JONES
SETTING Moscow 2005: the Thrice-Nine Tsardom in the Thrice-Ten Country
THE FAIRYTALE LIVES OF RUSSIAN GIRLS IS PERFORMED WITHOUT AN INTERMISSION.
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Serious Coffee.
THE MORE THINGS CHANGE, THE MORE THEY STAY THE SAME: What Happens When a Nation Vanishes
On December 21, 1991, the USSR dissolved. Overnight, the once-feared Communist superpower was carved into twelve independent nations, with the largest being the Russian Federation. Even though borders were redrawn, maps relabeled, and constitutions rewritten, the Soviet Union wouldn’t disappear like it was never there. Instead, the past two decades have seen a new Russia trying to retrofit capitalism and democracy (or gestures thereof) onto a huge, often unyielding, Soviet infrastructure.
w o c s Mo
For some, the end of the Cold War was lucrative. By 2005, the year in which The Fairytale Lives of Russian Girls is set, intrepid businessmen rode the capitalist experiment and exponential economic growth right up to the doors of their new mega-mansions: a new oligarchy of billionaires emerged, flush with petrol cash, and flaunted their wealth. Economic power bled into politics, and those with new wealth wielded influence. Russia’s first president, Boris Yeltsin, created an environment for these oligarchs to succeed and for former KGB officer Vladimir Putin to seize power. The look of power was flashy and gold-plated, but it bore an uncanny resemblance to the Soviet era.
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h g i r w y a l P e h t m o r F
y experience was inspired by m rls Gi ian ss Ru of ty, and working The Fairytale Lives ow State Universi sc Mo at g in dy stu ow in 2005, I living in Moscow, n I arrived in Mosc he W r. ite wr e zin ga men. This might as a freelance ma a city filled with wo be to ed em se it expectancy for was struck by how e (the average life tru t ha ew m so en be But visually? It felt have statistically , , I soon learned). 57 s wa e tim bird of the species at th ighter-plumaged br e a Russian man at th re es we ss en re m i-d rant min th. Russian wo women wearing vib like an absolute tru untered of young co en I more unsettling es r, en he sc ot e women took of ce exemplified by th en ge es pr ni om re begging for chan e snow. But the adscarves who we he and stilettos in th in en, en m m wo wo of er y sion of the cit e legions of old to my first impres d forms, including th on en sp dd re to tro rt wn fo il and do nnels. In an ef n who appears fra in underground tu ga. She’s a woma Ya ba Ba all-powerful girlof r an te y ac all but who is actu rs I hit upon the char ne io ry ns pe g in folk tales to tell ve e ranks of begg ing ancient Russian us enough to join th of ea id e th to K Yaga led me —MEG MIROSHNI eating witch. Baba . en m wo t ou modern stories ab
years have seen countless journalists and artists—most prominently the guerrilla punk band and artist collective Pussy Riot—censored, imprisoned, or murdered. The turmoil created absurdity: so much change on top of stasis, a dizzying influx of money, rights, and everything the West had to offer—but a discordant familiarity to those controlling everything new. Today’s generation of young adults—those currently in their twenties and thirties—are the last who remember life as Soviet citizens. Even though maybe not much has actually changed, they are the last born in a country that no longer exists, and their lives have straddled the old and the new. —AMY BORATKO, PRODUCTION DRAMATURG
For the rest of the population, initial optimism gave way to anxiety and disillusionment. Middle-aged and senior citizens were products of a former time: educated and groomed to be Soviet citizens. They depended on state promises—a certain type of job, the guarantee of an apartment (no matter how long the wait or meager the result)—and no longer had a place in this new world. Now that the illusion of a “classless” society was gone, the vast majority of the population had to be the counterpoint to the oligarchs. Those facing strife often looked back at the Soviet era with rose-tinted glasses, reminiscing for the lost USSR. Even the promise of social change flagged. Decades earlier, as the Communist regime relaxed under perestroika and Gorbachev’s reforms, many hoped for new liberties. But recent OPPOSITE PAGE: A WOMAN IN RED SQUARE, 1987, PHOTO BY PETER TURNLEY/CORBIS. ABOVE: A WOMAN APPROACHES MODERN DAY ST. BASIL’S, PHOTO BY JULIEN FROMENTIN.
THE AMERICAN DREAM:
A Happily Ever After?
Gorbachev’s reforms in the 1980s and immigration policies by Jimmy Carter, Ronald Reagan, and George H. W. Bush’s administrations granted thousands of Jewish Soviet Citizens religious asylum in the United States. Those who fled the rampant antiSemitism of the USSR hoped that life would be better in America: freedom to worship and limitless opportunity. But the tough immigrant life left many to wonder if they had made the right choice. Families that left the Soviet Union months before it collapsed, to face rebuilding a new life in a new country, often felt that they missed an opportunity—a chance to seize on the economic growth of their former home. —AB
THE ELEMENTS OF SKAZKI: A Primer in Russian Fairytales The Intro: Abandon your thoughts of “once upon a time.” Russian skazki, or fairytales, get started on a much more practical note: Zhyli byli, or “they lived, they were.”
The Location: These tales often take place in the forest, v les, in the “land of the living dead” (the thrice-nine tsardom). The River of Fire separates the thrice-nice kingdom from the thrice-ten kingdom, the “land of the truly dead.”
The Heroines: There are male heroes—peasants and princes—in Russian skazki, but The Fairytale Lives of Russian Girls looks at the young women, the dyevuskhi, who populate folklore. Many of the gals are clever—like the seven-year-old (who would actually be called a dyevotchka, a little girl) who helps her father solve the tsar’s riddles or the dyevushka who manages to flee the bear, or medved, who’s been keeping her captive.
The Problems: Orphans are sent away by their wicked stepmothers—right into the lairs of witches (see “The Villain” below). Rich men can’t control their greed and try to outwit their poor brothers. A young woman must fight for her true love—even if he’s already married to a powerful tsarina. And countless girls must use magical tokens or sheer ingenuity to escape every variety of imprisonment.
The Villain: One of the biggest bad guys of Russian skazki is not a guy at all, but an old woman named Baba Yaga. She’s a ravenous witch who looks like a frail babushka but who possesses tremendous strength and power. Baba Yaga’s hut, located in the thrice-nine tsardom, sits on chicken legs and is surrounded by a fence of human bones. At night, she flies through the air on a mortar and uses her pestle to steer her. Her weakness? Everytime she’s asked a question, she ages. Often, little orphaned dyevushki are sent to her hut, where Baba Yaga makes them perform difficult and tedious domestic chores. That is, unless she decides to cook them in her big brick oven and eat them for dinner.
The Conclusion: Many Western fairytales, particularly those peddled by a certain cartoon mouse, end with the promise of a “happily ever after.” The Russian skazki make no far-reaching promises. The protagonist may win—she may even marry a tsar and become tsaritsa—but she is not guaranteed a lifetime of happily ever after. —AB FROM TOP TO BOTTOM: VASILISA THE BEAUTIFUL AND BABA YAGA. ILLUSTRATIONS BY IVAN I. BILIBIN IN ALEXANDER AFANASYEV’S RUSSIAN FAIRY TALES, 1900.
CAST SOFIYA AKILOVA* (MASHA) is making her Yale Rep debut. She recently received her MFA from the NYU/Tisch School of the Arts Graduate Acting Program, where some of her favorite credits include The Cherry Orchard, Arms and the Man, Restoration, All’s Well That Ends Well, and All My Sons. Her film and television credits include Listen Up Philip, directed by Alex Ross Perry, and Alpha House, directed by Michael Mayer.
CELESTE ARIAS (KATYA) is a second-year MFA candidate at Yale School of Drama, where she has performed in The Visit and Sagittarius Ponderosa. Other credits include Tartuffe, Miss Julie, In the Bar of a Tokyo Hotel, Heart’s Desire (Yale Summer Cabaret); Three Seagulls, or MASHAMASHAMASHA! (HERE, Theater Reconstruction Ensemble); Demon Dreams (Magic Futurebox, NYIT Award Best Featured Actress, 2012); and Motherfucker with a Social Life (Old Vic/New Voices, London). Celeste holds a BFA from New York University.
STÉPHANIE HAYES* (OTHER KATYA, NASTYA) Originally from Sweden and the UK, Stéphanie is making her Yale Rep debut. Her theatre credits include Richard Foreman’s Old-Fashioned Prostitutes (A True Romance) at The Public Theater and February House at The Public and Long Wharf Theatre. She is a graduate of Yale School of Drama, where she appeared in The Seagull, Eurydice, Much Ado About Nothing, Homebody/Kabul, and Orestes. Stéphanie was recently selected as Artist-in-Residence at Mabou Mines and will also be performing in the Russian play Illusions at the Baryshnikov Arts Center this summer. She is also an associate member in the Vancouver-based Tigermilk Collective. stephanie.hayes.se
JESSICA JELLIFFE (OLGA, PASSPORT CONTROL OFFICER, PROFESSOR, VALENTINA) is Co-Founder/Co-Artistic Director of Banana Bag & Bodice, a theatre collective based in NYC. She has collaborated on and performed in each of their shows since 1999, including The Sewers (Ontological-Hysteric Theater), The Fall & Rise of The Rising Fallen (PS122), Space// Space (The Collapsable Hole), and Beowulf—A Thousand Years of Baggage, which received its world premiere with The Shotgun Players in Berkeley, California, and has toured
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nationally and internationally (American Repertory Theater, SummerStage NYC, Les Escales Improbables du Montréal, the Kilkenny Arts Festival, the Edinburgh Festival Fringe, the Adelaide Festival, Mayfest Bristol, and the Brighton Festival). Additional stage credits in New York include Natasha, Pierre and the Great Comet of 1812 (workshop, Ars Nova); Botch (Joe Diebes); Shadows (Hoi Polloi); Oh What War, As You Like It (Restless Productions); and History of the World Pt IV (GAle GAtes et al), as well as Gogol: a clown-opera (Exit Theater, San Francisco). Film credits: Stingray Sam (BNS Productions) and Made Up Language (Zbigniew Bzymek, director).
FELICITY JONES* (BABA YAGA, YAROSLAVA) previously appeared at Yale Rep in Hamlet, 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 Windermere’s Fan (Center Stage); 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 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, The Carrie Diaries, Wonderland, Deadline, Ed, and Law & Order.
EMILY WALTON* (ANNIE) is very excited to be making her Yale Rep debut. In New York, she has been in the Broadway companies of Peter and the Starcatcher and August: Osage County. Her other New York credits include Eager to Lose, A Farce in Rhyming Verse (Ars Nova); The Shaggs: Philosophy of the World, Saved (Playwrights Horizons); Cactus Flower (West Side Theatre); and The Deepest Play Ever: The Catharsis of Pathos (New Ohio Theatre). Regional credits include The Wizard of Oz (Sacramento Music Circus), Sondheim on Sondheim (Great Lakes Theater Festival), and The Graduate (Cape Playhouse). Emily is also a singer-songwriter and has performed her music at various venues in Manhattan.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
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CREATIVE TEAM CHRISTOPHER ASH (SCENIC DESIGNER) is an international designer of scenery, lighting, and projections for theatre, dance, opera, and film. He has received awards and nominations in Chicago, Los Angeles, and international arenas. Recent projects include projections for La Traviata (Lyric Opera of Chicago), Marie Antoinette (Soho Rep); lighting for Heidi Latsky Dance’s One Hour: Two Works and GiMP, Anadolu Atesi’s international tour of Troia, and several pieces for River North Chicago and Hubbard Street 2 dance companies; and production and lighting design for Amanda Palmer’s music video Bedsong. He is a third-year MFA candidate at Yale School of Drama, where he has designed lighting for Platonov and sets for Lottie in the Late Afternoon and Iphigenia Among the Stars. For the Yale Cabaret he has designed sets, lights, and projection for We Know Edie La Minx Had a Gun; sets for Christie in Love and Chamber Music; and lighting and projections for The Yiddish King Lear and Rey Planta; and is the publicity photographer for the current season. He was the assistant scenic designer for Belleville (Yale Rep) and has been a regular associate designer to scenic designer Riccardo Hernandez. To see more of his work, please visit ChristopherAsh.com.
AMY BORATKO (PRODUCTION DRAMATURG) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of Dear Elizabeth, The Realistic Joneses, Good Goods, Belleville, Autumn Sonata, We Have Always Lived in the Castle, Battle of Black and Dogs, Compulsion, Notes from Underground, A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama), as well as Voice and Vision’s ENVISION Retreat at Bard College. She has been a teaching fellow at Yale College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama.
RACHEL CHAVKIN (DIRECTOR) is an OBIE Award winning and Drama Desk nominated director and founding Artistic Director of the Brooklyn-based devising ensemble The TEAM (theteamplays.org). Credits include Dave Malloy’s electro-pop opera Natasha, Pierre and the Great Comet of 1812 (Ars Nova, world premiere; Kazino, commercial transfer; New York Times Top Ten 2013); The TEAM’s RoosevElvis, named one of 2013’s Top Ten by Time Out New York (Bushwick Starr); Lauren Yee’s The Hatmaker’s Wife (Playwrights Realm); The TEAM’s Mission Drift (co-produced by PS122, Lisbon’s Culturgest, and London’s Almeida Theatre), with music by Heather Christian, most recently seen at London’s National Theatre; Three Pianos by Rick Burkhardt, Alec Duffy, and Dave Malloy (New York Theatre Workshop, American Repertory Theater, Incubator Arts Project); and the world premiere of Taylor Mac’s The
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Lily’s Revenge (Act II) at HERE Arts Center. Rachel is a New York Theatre Workshop Usual Suspect; an Artistic Associate at Classic Stage Company; an Artistic Associate at London’s Gate Theatre; an alumnus of Soho Rep’s Writer/Director Lab, the Drama League Directors Project, and the Women’s Project Director’s Lab; and a New Georges Affiliate Artist. She is a graduate of New York University (BFA) and Columbia University (MFA).
JANE GUYER FUJITA (VOCAL AND DIALECT COACH) is a lecturer in acting at Yale School of Drama. Her coaching credits include A Streetcar Named Desire, Marie Antoinette, Good Goods, Bossa Nova, and We Have Always Lived in the Castle at Yale Rep, as well as productions at American Repertory Theater, Ensemble Studio Theatre, Primary Stages, The Public Theater’s Under the Radar Festival, Signature Theatre, Actor’s Shakespeare Project, Shakespeare in the Parking Lot, ABC Family, and Hallmark Hall of Fame. Jane received her MFA in voice and speech pedagogy from the American Repertory Theater Institute at Harvard University and is an associate teacher of Fitzmaurice Voicework®.
KJ KIM (COSTUME DESIGNER) is a third-year year MFA candidate at Yale School of Drama, where her credits include Romeo and Juliet and Iphigenia Among the Stars. Her Yale Cabaret credits include Cat Club and Dutchman. Born in Seoul, South Korea, she graduated from the University of Evansville with a BA in costume design. In January 2011, she received the USITT Young Designers and Technicians Award in Makeup Design and placed first in Alcone Company’s Makeup Design Award for Region III. In April 2011, she went to the Kennedy Center in Washington, DC, as one of eight national finalists in her field, making it her second year advancing to a national competition. artekj.com
BRADLEY KING (LIGHTING DESIGNER) Previously with director Rachel Chavkin: Natasha, Pierre and the Great Comet of 1812 (Kazino, Ars Nova) and Uncle Vanya (Classic Stage Company). Other recent New York theatre credits include Women or Nothing (Atlantic Theater Company), Be a Good Little Widow (Wild Project), Dunkfest ’88 (Ars Nova), Lawnpeople (Cherry Lane), Dukus (Target Margin Theater), Ninth and Joanie (Labyrinth Theater Company), and Children (The Actors Company Theatre). Regional credits include productions at Berkeley Rep, La Jolla Playhouse, McCarter Theatre, Penobscot Theatre, Virginia Stage, and Williamstown Theatre Festival. Opera credits include Bard Summerscape, Boston Early Music Festival, Kentucky Opera, New York City Opera, Opera Omaha, Vancouver Opera, and Virginia Opera. bradleykingld.com
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CREATIVE TEAM MEG MIROSHNIK (PLAYWRIGHT) Plays include The Fairytale Lives of Russian Girls (Susan Smith Blackburn Prize finalist, 2012; Alliance/Kendeda Graduate Playwriting Award, 2011–12), The Droll {A Stage-Play about the END of Theatre}, The Tall Girls (Alliance Theatre, directed by Susan V. Booth, March 2014), and an adaptation of the libretto for Shostakovich’s Moscow, Cheryomushki. Her work has been developed or produced by La Jolla Playhouse, O’Neill National Playwrights Conference, Center Theatre Group, Lincoln Center Directors Lab, South Coast Repertory, the Sallie B. Goodman Fellowship at the McCarter Theatre Center, Alliance Theatre, the Wilma Theater, the Kennedy Center, Lark New Play Development Center, Chicago Opera Theater, the Moscow Playwright and Director Center, Washington Ensemble Theatre, Yale Cabaret, Perishable Theatre, WordBRIDGE Playwrights Laboratory, and One Coast Collaboration, and published in Best American Short Plays, 2008–2009 (Applause, 2010). She holds commissions from South Coast Rep, Steppenwolf Theatre Company, and Yale Rep. Originally from Minneapolis, she currently lives in Los Angeles, where she is a member of the Playwrights Union. A graduate of Yale School of Drama, she is a recipient of the 2012 Whiting Writers’ Award.
CHAD RAINES (COMPOSER, MUSIC DIRECTOR, SOUND DESIGNER) Composition/sound design credits include The Bakkhai directed by Lileana BlainCruz at Bard College; Arabian Nights directed by Jesse Jou at Fairfield University; From White Plains written and directed by Michael Perlman at Pershing Square Signature Center (GLAAD Outstanding New York Theater Award: Off-Off Broadway); and Suicide, Incorporated directed by Jonathan Berry at Roundabout Underground. His previous Yale Rep credits include Robert Woodruff’s productions of Battle of Black and Dogs, for which he received the 2010 Critics Circle Award for Outstanding Sound Design, and Autumn Sonata. He is a graduate of Yale School of Drama, where he was awarded the Frieda Shaw, Dr. Diana Mason OBE, and Denise Suttor Prize for Sound Design. Chad spent most of 2012 and 2013 touring with Amanda Palmer on guitar and synthesizer. He is also frontman for The Simple Pleasure.
TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Upcoming Broadway: Bullets Over Broadway and Aladdin. Selected Broadway: A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
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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.
HANNAH SULLIVAN* (STAGE MANAGER) returns to Yale Rep, where she served as the assistant stage manager for Hamlet last season. Hannah is a third-year MFA candidate at Yale School of Drama, where her credits include Sunday in the Park with George, Petty Harbour, A Duck on a Bike, and Angels in America, Part Two: Perestroika. Hannah has also worked with Cirque du Soleil, Arena Stage, The Muny, Yale Cabaret, Shakespeare Festival St. Louis, HotCity Theatre, the New Harmony Project, Opera Theatre of St. Louis, Barenaked Ladies Touring, and most recently on the new Broadway musical Beautiful: The Carole King Musical. Training: University of Evansville.
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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his twelfth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eleven seasons, Yale Rep has produced more than thirty world, American, and regional premieres, seven 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 low-cost 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 21st 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 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 ninth 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 22
more than 40 new 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 (HEAD OF PRODUCTION) 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 A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, 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 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, 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 very proud parents of two beautiful girls: Ellie, who is 15 years old, and Katie, age 13.
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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 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 Administration Amy Boratko, Literary Manager Ruth M. Feldman, Director of Education and Accessibility Services Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Dana Tanner-Kennedy, Literary Associate Tara Rubin, C.S.A.; and Scott Anderson; Lindsay Levine, C.S.A.; Kaitlin Shaw, Eric Woodall, C.S.A.; Merri Sugarman, C.S.A, Casting Lindsay King, Teresa Mensz, Library Services 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 Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments
ADMINISTRATION
Caitie Hannon, Lauren Wainwright, Associate Managing Directors Molly Hennighausen, Assistant Managing Director Chiara Klein, Management Assistant Emalie Mayo, Senior Administrative Assistant to the Managing Director Sarah Williams, Company Manager Gretchen Wright, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Alyssa Simmons, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Jane Youngberg, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications
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Finance and Information Technology Katherine D. BurgueĂąo, Director of Finance and Human Resources Cristal Coleman, Joanna Romberg, Business Office Specialists Giana Cusanelli, Ashlie Russell, Business Office Assistants Sarah Stevens-Morling, Interim Director of Information and Communication Systems Daryl Brereton, Associate Information Technology Director Janna J. Ellis, 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 Rachel Smith, Associate Director of Marketing Brittany Behrens, Associate Director of Marketing Marguerite Elliott, Publications Manager Kathleen Martin, Online Communications Assistant Libby Peterson, Marketing Assistant Fraver, Graphic Designer Joan Marcus, Production Photographer Laura Kirk, Interim Associate Director of Audience Services Shane Quinn, Interim Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Evan Beck, Paul Cook, Cle Dupuy, Anthony Jasper, Katie Metcalf, Andrew Moore, Sophie Nethercut, Emily Sanna, Peter Schattauer, Elena Sokol, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate Joe Proto, Arts and Drama Zone Superintendent VonDeen Ricks, Sherry Stanley, Team Leaders Marcia Riley, Facility Steward Lucille Bochert, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Garland Short, Custodians Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, Fred Geier, Patrick Grant, Customer Service and Safety Officers
PRODUCTION
Bronislaw J. Sammler, Head of Production James Mountcastle, Production Stage Manager Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Work-Study Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Scenery 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 Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Kevin Klakouski, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Interim Properties Master 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-Cristal Young, Senior Head Electrician Brian Quiricone, Head Electrician Daniel Hutchinson, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Gahyae Ryu, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer
ADDITIONAL STAFF FOR THE FAIRYTALE LIVES OF RUSSIAN GIRLS
Chloe Treat, Assistant Director Jean Kim, Assistant Scenic Designer Fabian Aguilar, Assistant Costume Designer Elizabeth Mak, Assistant Lighting Designer Sinan Zafar, Assistant Sound Designer and Engineer Emily DeNardo, Assistant Stage Manager Justin Bennett, Associate Production Manager Rose Bochansky, Technical Director Emily Erdman, Christina Keryczynskyj, Sean K. Walters, Assistant Technical Directors Elise Masur, Assistant Properties Master Nadir Balan, Properties Assistant Judianne Wallace, Draper Mitch Massaro, Master Electrician Hannah Sullivan, Fight Captain Sooyoung Hwang, House Manager Montana Levi Blanco, Grier Coleman, Soule Golden, Pornchanok Kanchanabanca, Annie Middleton, Oliver Wason, Ni Wen, Alexander Woodward, Run Crew Understudies Jenelle Chu, Masha Melanie Field*, Olga, Passport Control Officer, Professor, Valentina Anne Katherine Hägg,* Baba Yaga, Yaroslava Annelise Lawson, Nastya, Other Katya Mariko Parker,* Annie Carly Zien,* Katya *Appears courtesy of Actors’ Equity association, Union of Professional Actors and Stage Managers. Special Thanks Alex Barrett and the Yale School of Forestry, Kate Goehring, Alexandra Henrikson, Matt Hubbs, Celise Kalke, Judy Leavell, Ken Prestininzi, Diany Rodriguez, Eric Rosen, Bree Dawn Shannon, Paula Vogel, Sarah Elizabeth Wallis
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. The Fairytale Lives of Russian Girls January 31–February 22, 2014 Yale Repertory Theatre, 1120 Chapel Street
YALEREP.ORG
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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. To date, the Center has supported the work of more than 40 commissioned artists as well as the world premieres and subsequent productions of 15 new American plays and musicals—including this season’s The Fairytale Lives of Russian Girls by Meg Miroshnik; the Yale Rep-commissioned These Paper Bullets!, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; and Marcus Gardley’s The House that will not Stand. Other Binger Center-supported productions include the world premiere of Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, commissioned and produced by Yale Rep, and its subsequent west coast and NY premieres by La Jolla Playhouse and Theatre for a New Audience; 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-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep, as well as its productions at City Theatre in Pittsburgh and Virginia’s Firehouse Theatre Project; the world premiere of Amy Herzog’s Belleville at Yale Rep and its subsequent New York Theatre Workshop production; the world premiere of The Realistic Joneses by Will Eno at Yale Rep; and the world premiere co-production of David Adjmi’s Marie Antoinette at the American Repertory Theater and Yale Rep and its NY premiere at Soho Rep. Belleville and The Realistic Joneses, both Yale Rep commissions, were cited among the Top Ten of 2011 and 2012, respectively, by the New York Times. Will Eno’s The Realistic Joneses will premiere on Broadway this spring. For more information, please visit yalerep.org/center.
COMMISSIONED ARTISTS
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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, Noah Haidle, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Rolin Jones, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Meg Miroshnik, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, Amelia Roper, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff
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. 27
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. RESTROOMS Restrooms are located in the lower levels 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 Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. 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. 28
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.
AUDIO DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons.
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.
The Fairytale Lives of Russian Girls
Feb 15 Feb 22
These Paper Bullets!
Mar 29 Mar 29
The House that will not Stand May 3
May 10
c2 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 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students to Yale Rep for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; The Anna Fitch-Ardenghi Trust, Bank of America, Trustee; Deborah S. Berman; Susan C. Clark; Roxanne Coady; CT Humanities; Bob and Priscilla Dannies; The Frederick A. DeLuca Foundation; Bruce Graham; the George A. & 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; Jane Marcher Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target ®; 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; REHEARSAL FOR THE DWIGHT/EDGEWOOD PROJECT, 2013.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Box 63 American Bar and Grill Elm City Wellness Fleur de Lys Floral and Gifts Geronimo Tequila Bar and Southwest Grill
GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing New Haven Register Oaxaca Kitchen ROÌA
The Study at Yale Take the Cake Thali Thali Too Willoughby’s Coffee and Tea The Wine Thief The Yale Bookstore
This list includes current pledges, gifts, and grants received from January 1, 2013, through January 15, 2014.
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YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino John Lee Beatty Sonja Berggren 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 Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger
David Marshall Grant Ruth Hendel Catherine MacNeil Hollinger David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy
Tarell Alvin McCraney David Milch Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler
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 Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder State of Connecticut, Office of the Arts Edgar M. Cullman, Jr. Edgar M. Cullman III Scott Delman Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation William S. Monaghan Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Edward Trach Kara Unterberg Esme Usdan Reggie Van Lee
GUARANTORS ($25,000–$49,999) Anonymous The Alec Baldwin Foundation
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CT Humanities Council, Inc. Educational Foundation of America Heidi Ettinger National Endowment for the Arts James Munson Eugene F. Shewmaker Jeremy Smith
BENEFACTORS ($10,000–$24,999)
Nina Adams and Moreson Kaplan The Josef and Anni Albers Foundation Americana Arts Foundation Sonja Berggren and Patrick Seaver Mary L. Bundy The Cornelius-Schecter Family Fund Michael Diamond Christopher Durang Joseph Gantman Albert R. Gurney Ruth and Steve Hendel Catherine MacNeil Hollinger Rocco Landesman Sarah Long Lucille Lortel Foundation Donald B. Lowy Neil Mazzella Carol Ostrow Joan Pape Ted and Mary Jo Shen Carol L. Sirot Foundation Trust for Mutual Understanding
PATRONS ($5,000–$9,999)
Deborah Applegate and Bruce Tulgan Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carmine Boccuzzi and Bernard Lumpkin Jim Burrows The Noël Coward Foundation Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Ellen Iseman Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht NewAlliance Foundation Michael and Riki Sheehan Philip J. Smith Warner Bros. Entertainment
PRODUCER’S CIRCLE ($2,500-4,999)
Anna Fitch Ardenghi Trust, Bank of America, Trustee John Badham Janice Johnson Barnum Marcus Dean Fuller Diana and David Jacobs The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees
William Ludel Jenny Mannis and Henry Wishcamper The Adam Mickiewicz Institute
DIRECTOR’S CIRCLE ($1,000–$2,499)
Amy Aquino and Drew McCoy Paula Armbruster Loreen Arbus Darren Bagert Alexander Bagnall Robert L. Barth Jody Locker Berger Deborah S. and Bruce M. Berman Bisno Productions Jeffrey A. Bleckner Michael Broh Thomas Bruce Ben Cameron Raymond Carver James Bundy Joan D. Channick Sue Ann Gilfillan and Tony Converse Peggy Cowles Michael S. David Ramon Delgado The Frederick A. DeLuca Foundation The Cory & Bob Donnalley Charitable Foundation Sasha Emerson Glen R. Fasman Lawrence and Megan Foley Melanie Ginter and John Lapides Stephen Godchaux Fred Gorelick and Cheryl MacLachlan
James W. Gousseff Donald Granger Carol Thompson Hemingway Sally Horchow James Earl Jewell Rolin Jones Reed and Elizabeth Hundt Mildred Kuner Michele Lee George N. Lindsay, Jr. Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Jane Marcher Foundation Robert Marx Peter Marshall Thomas Masse and Dr. James Perlotto Peter McCandless Maeve McGuire Dawn G. Miller Donna Mills David and Leni Moore Family Foundation Victoria Nolan and Clark Crolius Richard Ostreicher F. Richard Pappas Dw Phineas Perkins Eva Price and Avram Freedberg George and Kathy Priest Fred A. Rappoport Lance Reddick Dr. Michael Rigsby and Prof. Richard Lalli Joumana Rizk Liev Schreiber Marie S. Sherer Benjamin Slotznick Joel and Joan Smilow Kenneth J. Stein Shepard and Marlene Stone Erich Stratmann Lee Stump Arlene Szczarba Target John Henry Thomas Cheever and Sally Tyler Joan van Ark Courtney B. Vance Carol M. Waaser Cliff Warner George Zdru Steve Zuckerman
PARTNERS ($500–$999)
Actors’ Equity Foundation Mr. and Mrs. B. Ashfield
The Bruce Altman Family Mary Ellen and Thomas Atkins John Lee Beatty Irving and Jackie Blum Michael Bombara Susan Brady and Mark Loeffler Mark Brokaw James T. and Alice B. Brown Dr. Michael Cappello and Kerry Robinson Joy G. Carlin Cosmo Catalano, Jr. Jim Chervenak Patricia Clarkson Paul Cleary Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Roberta Enoch and Steven Canner Peter Entin Rob Greenberg Elizabeth M. Greene Jess Goldstein Robyn Goodman Regina Guggenheim William B. Halbert Karsten Harries and Elizabeth Langhorne Katherine W. Haskins Barbara Hauptman Jane C. Head Donald Holder John Robert Hood Raymond Inkel Walton Jones Jane Kaczmarek Barnet Kellman Alan Kibbe Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann Vanessa Marshall John McAndrew George Miller and Virginia Fallon Daniel Mufson Janice Muirhead Arthur Oliner Louise Perkins and Jeff Glans Amy Povich Daniel and Irene Mrose Rissi Aileen and Brian Roberts Suzanne Sato Alvin Schechter
Mr. and Mrs. Michael Schmertzler Sandra Shaner Matthew Specter Peter and Paula Steere Marsha Stewart Jack Thomas and Bruce Payne Thomas Thurston Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis
INVESTORS ($250–$499)
Susan and Bruce Ackerman Clayton Mayo Austin Sandra and Kirk Baird James Bakkom Robert Baldwin Douglas and Sarah Banker Michael Barker and Heidi Leigh Hanson Deborah Bloch Tom Broecker Donald Brown Claudia Brown William J. Buck Jonathan Busky Sheldon Bustow Anne and Guido Calabresi Ian Calderon Anna Cascio Wil Cather Dr. and Mrs. W.K. Chandler Ricardo and Jenny Chavira Barbara Jean and Nicholas Cimmino Aurélia and Ben Cohen Stephen Coy John W. Cunningham David Davenport Charles Dillingham Dennis Dorn Merle Gordon Dowling Marc Eisenberg Joel Fontaine Anthony Forman Walter M. Frankenberger III Joseph Wayne Gordon Anne K. Gregerson Sarah Hancock Douglas Harvey Barbara Hauptman Michael Haymes and Logan Green Jennifer Hershey-Benen
James Guerry Hood Mary and Arthur Hunt Joanna and Lee Jacobus Heide Janssen David and Linda Kalodner Abby Kenigsberg Harvey Kliman and Sandra Stein Donald and Candice Kohn David Kriebs Bernard Kukoff Frances Kumin William Kux Suttirat Larlarb Maryanne Lavan Kenneth Lewis Linda Lorimer and Charley Ellis Suzanne Cryer Luke Nancy F. Lyon Robert and Nancy Lyons Linda Maerz and David Wilson Peter Andrew Malbuisson Elizabeth Margid Deborah McGraw George Miller and Virginia Fallon Jane Nowosadko William and Barbara Nordhaus Dwight R. Odle Maulik Pancholy Laura Patterson Andy Perkins Stephan Pollack Michael Potts Meghan Pressman Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Faye and Ashgar Rastegar Jonathan and Sarah Reed Barbara and David Reif Bill and Sharon Reynolds Steve Robman Howard Rogut Russ Rosensweig Fernande E. Ross Jean and Ron Rozett Joel Schechter Mark and Cindy Slane Mary C. Stark Bernard Sundstedt Sy Sussman William and Phyllis Warfel Nathan Wells Dana Westberg
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Contributors to Yale School of Drama and Yale Repertory Theatre Judith and Guy Yale Albert Zuckerman
FRIENDS ($100–$249)
Paola Allais Acree Michael Albano Sarah Jean Albertson Victor and Laura Altshul Richard Ambacher Glenn R. Anderson Susan and Donald Anderson Leif Ancker Angelina Avallone Raymond Baldelli and Ronald Nicholes Boris Baranovic Robert Barr Edward and Barbara Barry William and Donna Batsford Nancy and Richard Beals Barbara and Jack Beecher James Bender Elizabeth Bennett Melvin Bernhardt Donald and Sandra Bialos Ashley Bishop Mark Bly Anders Bolang Debra Booth Paul Bordeau Marcus Bosenberg John Cummings Boyd Sara Hedgepath Braun John Breedis Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Christopher Brown Cyndi Brown Julie Brown Stephen and Nancy Brown Gerard and Ann Burrow Robert and Linda Burt Kate Burton Susan Wheeler Byck Dr. Adalgisa Caccone Michael Cadden Kathryn A. Calnan Lisa Carling Nicholas Carriere Sami Joan Casler Patricia Cavanaugh Suellen G. Childs Nicholas and Barbara Cimmino
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Cynthia Clair Susan and Fred Clark Lani Click Katherine D. Cline Roxanne Coady Robert S. Cohen Mr. and Mrs. Thomas Colville Patricia J. Collins Forrest Compton Kristin Connolly Audrey Conrad David Conte Kathleen and Leo Cooney Jack and Helen Cooper Greg Copeland Aaron Copp Robert Cotnoir Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley William H. Cuddy Sean Cullen Marycharlotte Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Belene and Neil Day Robert Dealy Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Peter and Connie Dickinson Melinda DiVicino Peter Donat Ms. JoAnne E. Droller R.N. and Stephen M. Soboleski Jeanne Drury George and Diane Dumigan Ian and Rosie Duthie Edwin and Karen Duval East Coast Management & Consulting Laura Eckelman Phoebe Edwards Frances L. Egler Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Kyoung-Jun Eo Dirk Epperson Dustin Eshenroder Christine Estabrook Ellen and Frank Estes Euphoria Salon
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UP NEXT YALE SCHOOL OF DRAMA
HEDDA GABLER
BY HENRIK IBSEN TRANSLATED BY PAUL WALSH DIRECTED BY KATHERINE McGERR
FEBRUARY 1–7 drama.yale.edu
YALE REPERTORY THEATRE NO BOUNDARIES: A SERIES OF GLOBAL PERFORMANCES
THE FILES
BY THEATRE OF THE EIGHTH DAY (TEATR ÓSMEGO DNIA)
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YALE REPERTORY THEATRE
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A MODISH RIPOFF OF WILLIAM SHAKESPEARE’S MUCH ADO ABOUT NOTHING ADAPTED BY ROLIN JONES SONGS BY BILLIE JOE ARMSTRONG DIRECTED BY JACKSON GAY
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Wind on the Water
Thursday, February 27 ∙ Woolsey Hall ∙ 7:30pm Frederick Hemke, saxophone
The Huntsmen of Wagner, Strauss & Beethoven
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Brahms Requiem
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