SEVEN GUITARS, Yale Repertory Theatre, 2016

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2016– 17


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A Note From the Artistic Director Welcome to August Wilson’s Seven Guitars! What an honor it is to celebrate Yale Rep’s 50th Anniversary Season with this play: there is no other writer more widely and joyfully identified with our theatre than August Wilson. Six of the ten plays comprising his American Century Cycle—which chronicles the African American experience in each decade of the 20th Century—received their world premieres here. Lloyd Richards, Artistic Director from 1979-1991, one of August’s earliest and most accomplished collaborators, directed the first five: Ma Rainey’s Black Bottom (1984), Fences (1985), Joe Turner’s Come and Gone (1986), The Piano Lesson (1987), and Two Trains Running (1990). Radio Golf (2005) premiered as the Yale Rep directorial debut of Timothy Douglas, who also steers this production of Seven Guitars. Timothy has directed multiple productions of nine of the American Century Cycle plays, but his own journey with August dates back to 1984 as well: as an actor in training at Yale School of Drama, he understudied roles for the original productions of Ma Rainey’s Black Bottom, Fences, and Joe Turner’s Come and Gone. August’s heroic poetic sensibility and celebration of African American music and culture resound as vibrantly today as they did when the play was written 21 years ago. That the story also resonates so closely with contemporary events is a mark both of the playwright’s genius and of the enduring realities of structural racism: Floyd Barton’s fateful journey from Chicago to Pittsburgh is occasioned, in part, by his release from a casually vicious 90-day incarceration for vagrancy. We present the play in the aftermath of an ugly American election season featuring resurgent reliance on racism, misogyny, and nativism as normalized political strategies. Therefore, any of us might wonder what the theatre might do either to heal the nation or to reveal a better path forward. No simple answer will do and, indeed, theatre has always been better at asking questions than offering answers. The vital role of our art form is engaging audiences viscerally with important ideas in dramatic conflict with each other, and then leaving them to wrestle with the resulting ambiguities. August Wilson’s Seven Guitars embraces this challenge at the personal level, with its moving interplay of love, betrayal, forgiveness, and hope; and at the political level, with regard to personal responsibility and consequences of systemic oppression. This is a rebuke to those who would describe our recent national vote simply as a “change election,” ignoring a long history of bigotry, newly emboldened. It is also an implicit reminder to those of us who have benefited from actual—not alleged—racist rigging of the system for over four hundred years: that the outcome of any election leaves more work to be done, and that a less imperfect Union would be at least as desirable as a more perfect one. Thank you for joining us to experience August Wilson’s work brought to life by this distinguished company of artists. As always, I look forward to hearing your comments about Seven Guitars or any of your experiences at Yale Rep. My email address is

Sincerely, James Bundy


for Yale Repertory Theatre

My face in the mirror. The buttons on my coat. The coin in my pocket. These are my compatriots. My compatriots & I ask for your attention. We are going to begin now. My compatriots & I have traveled many roads. Some circuitous, some sharp & straight, others brambled & rough, & all of them have led, as if by some grand design, to the one burnished with art & small, irrevocable tragedies. We have carried in our pockets

to bargain our passage, memory, peaches, acorns, & a wild heart that plies its trade with considerate & alarming passion. Some roads have opened to us. Some have refused our bargain & bred landscapes of severe wolves to blunt & discourage our advance. Others, closed for repairs, shall remain closed & wanting forever. My compatriots & I have come from many places, many tapestries of roads, to come now, in our fortieth year, to this place rich with welcome; remembering the time we batted .400



, 200 4. to by Dav id Coo per Aug ust Wil son , pho

& sent eleven homeruns crashing into the windows of the houses behind the park, how we would touch each base nonchalantly, & the same bases, the same object: To find a way home even at the start. My compatriots & I we arrive here at this place knowing the measure of distance that between that space & this, like the space between a man’s hand & a woman’s hair, are many passages of tremor & trust. My compatriots & I We take off our hat.

We salute you. We walk up to the door. We open it & enter. We take off our hat. We hang it up. We give you, with love & thanks ‘this bloodless execution of the alphabet.’

April 27, 1985

Bank of America applauds Yale Repertory Theatre for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence. Bank of America congratulates Yale Rep on its 50th Anniversary season and recognizes it for its success in bringing the arts to performers and audiences throughout our community. Visit us at Life’s better when we’re connected® ©2016 Bank of America Corporation | SPN-126-AD | AR7NWC3L


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

Directed by


Music Director

Scenic Designer

Costume Designer

Lighting Designer


Sound Designer and Composer


Production Dramaturg


Technical Director


Dialect Coach


Fight Director


Casting Director




Stage Manager

Lyrics to “Floyd’s Impromptu Blues” by Dwight Andrews. Seven Guitars had its world premiere at the Goodman Theatre, January 23–February 19, 1995. Development of Seven Guitars was supported by the Eugene O’Neill Theater Center during a residency at the National Playwrights Conference of 1994. Seven Guitars is presented by special arrangement with Samuel French, Inc. Yale Repertory Theatre gratefully acknowledges The Burry Fredrik Foundation and Carol L. Sirot for generously supporting the 50th anniversary season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.





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Cast in order of speaking Louise



Red Carter

Canewell WAYNE T. CARR Vera





Floyd Barton



Setting The action of the play takes place in the backyard of a house in Pittsburgh in 1948.



The Peop that dried up jobs down South. When African Americans—long limited by the region’s plantation economy and deep-rooted racism—trekked North, they did so not only for the prospect of securing steady employment, but with the profound hope that, finally, they would gain opportunities historically and systematically denied to them, that the relocation would mean thriving, instead of merely surviving, in America.


Seven Guitars stands at a dramatic intersection. The play, which had its premiere in 1995, is part of August Wilson’s American Century Cycle that dramatizes the African American experience over the course of ten plays and one hundred years. The fifth installment in the series, Seven Guitars is situated between The Piano Lesson and Fences, two of Wilson’s bestknown works. Seven Guitars occupies a historical intersection, too: its 1948 setting locates it in the aftermath of World War II; in an America still segregated along color lines; in the midst of the Second Great Migration that saw African Americans move from the South in search of new Promised Lands; and in Wilson’s own neighborhood, Pittsburgh’s Hill District, at its height—and on the brink of destruction. World War II reinvigorated Pittsburgh: its industrial factories boomed to accommodate war efforts, and workers rushed to the “Steel City” to meet its growing labor needs. As if by some act of Providence, the city’s war-era industrial renaissance coincided with the mechanization of agricultural production 11

Over the course of the 1940s, 1.4 million African Americans made the pilgrimage from South to North and West; they numbered almost as many as the three previous decades combined. The rural Deep South soon ceded its status as the locus of Black America. By the late 1940s, the Hill District of Pittsburgh was regarded as one of the most influential Black communities in the U.S., while the South Side of Chicago became reputed as the nation’s Black capital. Anticipating an artistic rebirth akin to the first Great Migration’s Harlem Renaissance, blues musicians set their sights on the South Side, discerning its destiny as a cultural epicenter. Whatever their incentives and final destinations, the migrants’ movements shifted the demographic and cultural landscapes of America. Although the travelers found work and settled into city life, they were not always welcomed: African Americans encountered both familiar and new obstacles designed to impede their progress. Legal, economic, and social systems conspired against them. The states sanctioned violence against them. Police and vigilantes surveilled them. In courtrooms, in the workplace, and in the streets, Justice denied them. After the war, Pittsburgh’s industrial revival gave way to the “urban renewal” of its ethnic neighborhoods; from the late 1940s into the 1960s, the government—with a promise

ple of Promise of redevelopment that it would never see through—demolished the Hill’s businesses and razed its homes. Through it all, African Americans struggled, and through it all, they persevered. The characters of Seven Guitars journey toward Promised Lands—havens they can readily envision and that seem within reach, but that too often prove mirages or perpetually on the horizon. Secure in his talents and having bought into American meritocracy, Floyd “Schoolboy” Barton professes his faith: “It’s out there for somebody it may as well be out there for me.” And so, Floyd excitedly sets out to realize his dream. Others, like bandmate Canewell, temper their expectations, articulating doubts about Floyd’s game plan. Still others, like Hedley, proclaim that the game is rigged by and for the white man. Despite these skeptics, Floyd insists, “It take a fool to sit around and don’t want nothing. I ain’t no fool.” Such audacity, in Wilson’s words, stems from the characters’ “faith in America’s willingness to live up to the meaning of her creed so as not to make a mockery of her ideals. It is this belief in America’s honor that allows them to pursue the American Dream even as it remains elusive.” From this hopeful place, and not out of ignorance, they drive forward in spite of the odds. Though their philosophies send them down different paths, a spiritual grounding consistently powers their forward motion. Reflecting on his work, Wilson affirmed, “the metaphysical presence of a spirit world has become increasingly important to my work. It is the world that the characters turn to when they are most in need.”

Like Black women and men throughout history, Wilson’s characters across his American Century Cycle resist and often transcend their circumstances, tapping into something both beyond and seeded deep within them. That which might be dismissed as madness or magical, Wilson recognized as profound, and so, in his dramas, made real. In pursuit of their dreams deferred, Wilson’s characters riff on the Yoruban philosophical concept of às.e.—speaking into being, the power to produce change. In Seven Guitars, Hedley repeats the refrain from “Buddy Bolden’s Blues,” keeping alive his father’s promise to him. An interpreter of signs like the Biblical prophets he upholds, Hedley keeps vigil by way of his song and, through his call, invites response. Floyd’s answer (“Wake up and give me the money”) reinterprets Hedley’s chorus (“Come here, here go the money”). With the carpe diem spirit and without many resources, Floyd introduces his own anticipative incantation: “When we get to Chicago....” The roads traversed may be limited, but they do not limit the spirits making their way. Wilson’s plays connect African American movements across the twentieth century and to our march toward progress in the twenty-first century. Black Lives Matter and Yale’s recent March of Resilience are the descendants of earlier racial and social justice efforts. The world of Seven Guitars strikes a chord precisely because it contextualizes our contemporary struggle against systemic racial oppression as a historic one. Like Wilson’s seven characters, we stand at a crossroads, at the site of chronic pain, of perennial joy, and of present possibility. Às.e.. —CATHERINE MARĺA RODRĺGUEZ, PRODUCTION DRAMATURG 12

Seven Voices on His Legacy at Ya During his lifetime, August Wilson (1945–2005) emerged from the hills of Pittsburgh and onto the American stage as one of its premier playwrights. He began as a poet during the Black Arts Movement and continued under the primary influence of his “four Bs”: the Blues (especially Bessie Smith), Argentinian writer Jorge Luis Borges, American playwright Amiri Baraka, and American visual artist Romare Bearden. In his artistic and personal journeys, he crossed borders but always carried his experiences and his people with him and into his work. He believed that the artist’s “private ocean” was “inextricably linked to the tributary streams that gave rise to, and occasioned, the impulse to song.” His African roots, his African American experience, and the voices of his Pittsburgh Hill District home were all tributary streams in his body of art. To lift these up, he fashioned a vessel that could contain multitudes and transcend as he did: his epic American Century Cycle consciously connected to a spirit across continents and time. He found a kindred spirit in Lloyd Richards, then the Artistic Director of Yale Repertory Theatre and Dean of Yale School of Drama. And Wilson found a home at Yale: he premiered six of his ten American Century Cycle plays at Yale Rep; he wrote and rewrote and rehearsed in our halls; and he walked down the streets just outside this theatre. After twenty years of artistic labor, Wilson completed the project as well as his earthly journey. Wilson made a lasting impression. The following seven artists call Yale an artistic home; they acknowledge his influence in the confluence of their artistic and personal expressions; and they see his spirit alive at Yale and beyond. —CATHERINE MARĺA RODRĺGUEZ, PRODUCTION DRAMATURG


August referred to his writing as “traveling down the landscape of the self.” If you take racism as the background out of which every self has to evolve in each play of the American Century Cycle, you realize that such an evolution isn’t possible just through the power of ego. There is something else, something more that rises up, something that is beyond and that compels. I call that Spirit. 13

Self-actualization is a prominent drive in human nature. In Wilson’s strongest characters, especially the ones that I call rebels, like Floyd in Seven Guitars, that drive for self-actualization pushes them forth in spite of risk or danger, to somehow try to do right for a little while. But then they got to wiggle, they can’t just go by the rules. They survive by the will of their Spirit. Then there are the prophetic characters, like Aunt Ester, who carry knowledge that goes beyond any book learning. They carry Wisdom and connection to something mighty, and that’s what I call cellular memory. We all have it. It’s a knowing beyond any logic. And from that knowing—that knowing

n August Wilson, ale and Beyond which partially comes from seeing it in the text, experiencing it when I play a role like Aunt Ester, from entering the life of Gem of the Ocean and from being around August himself—one is invited to partake in a gigantic landscape of Being. A place where August trusted something that he could not name. He just went into it. Some people might call it creative flow, but in truth, we all know that place when we get quiet and still enough to listen deeply.

may not have understood what I was asking, but I finally realized that he was indeed answering my questions, and in the most evocative and gratifying way! And—like the chafing process through which the oyster transforms that piece of grit into a pearl—it has been through my career-long practice of interpreting his stories that his answers have revealed themselves as true, precise, and unexpected treasures.

I will never forget the excitement of sitting in rehearsal at Yale waiting for the final new pages of Radio Golf, the last play of the American Century Cycle. Like hungry children anticipating hot biscuits fresh out the oven, we waited to see how he was going to connect the end with the beginning. Yale provided that opportunity for August and for each of us there with him for that historic moment. Yale was the essential container for the necessary process that supported the birth of that play.


Yale is still providing that essential container where together we can travel to mine the truths that August sought himself when he created each of his plays. It is all our jobs to pass on the legacy.


August was the ultimate storyteller, and throughout the Radio Golf process he would always answer my direct questions with an informed and inspired tale. At first, I was tempted to believe that he


I met August Wilson when I was 12 years old after landing the part of Raynell in Fences at Yale Rep in 1985. I was then blessed to return to this theatre the following year playing the part of Zonia in Joe Turner’s Come and Gone. I am still in awe to have known him, to have witnessed his work come alive. He wrote from a true and honest place. You believed in the characters, regardless of color lines or background; these stories were your stories, regardless of what side of the ‘Fence’ you were on. There was such honesty in rehearsals, both [director] Lloyd Richards and August made sure of it…that the characters resounded in truth, that through us they were human, they were warm, they were living, struggling, hurting, laughing, singing, defining. They were, simply, our stories that audiences got to partake of and truly feel. This is what I remember…this is what I will never forget.


Seven Voices on August Wilson

DWIGHT ANDREWS music director

A part of August Wilson’s gift to us was his profound understanding of the centrality of music to the African American experience. His ability to bring that understanding into his plays stands alone in the 20th-century American theatre. The ecology of African American music uses every scrap, circumstance, and material at hand and turns it into powerful musical expressions like the spirituals and the blues, jazz and gospel, rhythm and blues, and hip-hop. From playing spoons and bones to saxophones and guitars to turntables and beat boxes, August knew there must always be music. Thus, many of the signature moments in his plays come through music—from the Juba in Joe Turner to the work song “Berta, Berta” in The Piano Lesson, his voice resonates with unforgettable precision and clarity. Thank you, August, you found your song!


At the world premiere of Fences, I wept with recognition and a pang of grief. There, on the stage, were all my uncles. August had nailed their banter, pride, and innate joy. He got it so right that it changed what I thought was possible in a theatrical experience. It was the truth, unadorned, poetic and stunningly beautiful. As we created that Juba in Joe Turner’s Come and Gone, I realized that he was not only calling on conscious cultural memory, but ancient memory as well, profound and necessary.


Later, with August’s language deep in their bones, James Earl Jones and Mary Alice completed the lesson for me as I watched them rehearse before their New York opening: we are not pretenders in this art form; we are professional truth tellers.


There is a collective memory that exists in the Black consciousness that ties Black Americans together. It is that same feeling of collective history that exists within these halls at Yale. August Wilson put the memories of my father and his father and his father on stage and highlighted the pain, the pride, and the tradition that threads its way through our community every day. The relevance of his words echoes decade after decade and reverberates in the everyday tragedies and the need for solidarity that we try daily to voice. To

be in a place where Wilson created these plays and where his plays are celebrated gives me hope as an artist and for the art that we create in this place—hope that as Wilson’s words continue to move audiences that we can move the hearts and minds of our communities with similar displays of our truths.


My entry to August Wilson’s Seven Guitars was atypical. Or maybe not. Growing up in Miami we barely got a production of the standard bearer of Black theatre, A Raisin in the Sun, let alone any of the burgeoning canon of work that August Wilson was forging in his mythopoetic fire. I met Vera before I knew anyone else.

My high school friend Alana Arenas (now my fellow Steppenwolf Theatre Company ensemble member) had to, like all of us on our second day of senior year, perform four monologues in front of the entire department. The piece she chose from Seven Guitars echoes in my mind still: VERA He touched me here. […] He gave me here […] and he ain’t here he ain’t here he ain’t here quit looking for him cause he ain’t here […]. I remember being floored. I remember being jealous, thinking, “who wrote this protest of a lonely black woman?” Miles away August Wilson was creating the perfect “stand-up and not-gonnatake-it-anymore” monologues for the spectrum of the Black experience, be it Tonya in King Hedley II or Citizen in Gem of the Ocean. But it is Vera whom I always remember, whom I always knew. It would be years before I would read the entire play. Even more before I would see the work live and meet the man creating it. Vera’s first impression never left me. Her ability to make a space out of no space is what holds true for us today, in this time; where the air seems to be stifled with gun-power and lonely mothers, sisters, wives all—remembering places they were once filled, now made empty, now made barren. My love for Seven Guitars is probably atypical but maybe not. Every year since I first heard the speech Vera gives, without fail, at any open call, someone else shows up clearly marked by the same indelible imprint. They come singing the truth of what Mr. Wilson did to our hearts and minds: “He touched me here.” LEFT: PITTSBURGH MEMORY BY ROMARE BEARDEN, 1964. © ROMARE BEARDEN FOUNDATION


Cast STEPHANIE BERRY* (LOUISE) is making her Yale Rep debut. She most recently appeared in Mothers and Sons at Cincinnati Playhouse. Other recent credits include world premieres of Autumn, Repairing a Nation (Crossroads Theatre Company), Safe House (Cincinnati Playhouse in the Park), Wild with Happy (Center Stage), Autumn’s Harvest (Lincoln Center Education), and Iced-Out, Shackled and Chained (National Black Theatre in Harlem). Her film work includes the upcoming OG with Jeffrey Wright and Blue Angels, as well as Delivery Man, The Invasion, No Reservations, and Finding Forrester. On television she has appeared on The Blacklist, Blue Bloods, Louie, Broad City, and all of the Law & Order series. She is the winner of an OBIE Award for The Shaneequa Chronicles, her solo production about coming of age in Harlem. She is a recipient of the Distinguished Artist Fellowship from the TCG/Fox Foundation Fellowship. Stephanie is a founding member of Blackberry Productions Theater Company, a Harlem-based organization that develops new works and brings theatre to underserved populations. She is currently touring The Magic of Storytelling to schools and universities, featuring original and traditional folktales.

WAYNE T. CARR* (CANEWELL) is making his Yale Rep debut. He spent four seasons at the Oregon Shakespeare Festival, where he played Stokely Carmichael in All the Way, John Lewis in The Great Society, Caliban in The Tempest, and the title role in Pericles (also at Folger Theatre and Guthrie Theater), as well as roles in Antony and Cleopatra, The Taming of the Shrew, A Midsummer Night’s Dream, and As You Like It. Other theatre credits include Funk It Up (Joe’s Pub); Richard II (The Pearl Theatre Company); Bomb-itty of Errors, Troilus and Cressida (Hudson Valley Shakespeare Festival); The Glass Menagerie, Trouble in Mind, Eurydice, A Christmas Carol (The Milwaukee Rep); as well as productions at Goodman Theatre, American Players Theatre, Seattle Repertory Theatre, Indiana Repertory Theatre, among others. Film and television: Who’s Afraid of the Big Black Wolf (Pasadena International Film Festival, Best Actor in a Short), Pleading Guilty (pilot), and Matadors (pilot). Education: BA, Frostburg State University; MFA, Penn State.

ANTOINETTE CROWE-LEGACY (RUBY) is making her Yale Rep debut. She is a second-year MFA candidate at Yale School of Drama, where her credits include The Three Sisters, Some Bodies Travel, and Our Lady of 121st Street. She holds a BFA in acting from Southern Methodist University, where she appeared in The Women, For Colored Girls…, and The Skriker, among others. She has also performed with Soul Rep Theatre and Dallas Theater Center.


ANDRÉ DE SHIELDS* (HEDLEY) is making his Yale Rep debut. In a career spanning forty-seven years, he has distinguished himself as an unparalleled actor, director, and educator. A multiple Tony Award nominee, his journey as creative activist includes Broadway, Off-Broadway, regional theatre, feature films, television, concerts, and distinguished visiting professorships. Seven Guitars marks his second collaboration with Timothy Douglas, the first having been as “Stool Pigeon” in August Wilson’s King Hedley II. He is a Beinecke Fellow at Yale School of Drama this season.

DANNY JOHNSON* (RED CARTER) is making his Yale Rep debut. Broadway credits include All the Way and The Song of Jacob Zulu. Off-Broadway: The Last Saint on Sugar Hill, Our Lady of 121st Street, A Soldier’s Play. Regional: The Mountaintop (True Colors Theatre), What I Learned in Paris (Alliance Theatre), Joe Turner’s Come and Gone (Goodman Theatre), A Raisin in the Sun (Intiman Theatre), as well as productions at Steppenwolf Theatre Company, Huntington Theatre Company, The Repertory Theatre of St. Louis, The St. Louis Black Repertory Company, Cincinnati Playhouse in the Park, Weston Playhouse, Cleveland Play House, and Chicago Shakespeare Theater, among many others. Television: Daredevil, Luke Cage, Quantico, Shades of Blue, Law & Order: SVU, Gotham, House of Cards, Blue Bloods, Damages, and The Sopranos; film: Finding Her, Don King: Only in America, Reservation Road, and Frequency, among others. Danny is a graduate of The Theatre School at DePaul University.

BILLY EUGENE JONES* (FLOYD BARTON) has previously appeared at Yale Rep in Breath, Boom; Richard II; and Death of a Salesman. His Broadway credits include A Raisin in the Sun, The Trip to Bountiful, The Big Knife, The Mountaintop, Passing Strange, Radio Golf, and Gem of the Ocean. Off-Broadway credits include Pitbulls (Audelco nomination for Best Actor; Rattlestick Playwrights Theater), The Jammer (Atlantic Theatre Company), In the Footprint (The Civilians), Waiting for Godot and Three Sisters (Classical Theatre of Harlem). Regional credits include Macbeth (Berkeley Repertory Theatre), The Good Negro (Goodman Theatre), Stick Fly (Elliot Norton nomination for Best Supporting Actor; Arena Stage, Huntington Theatre Company), Othello (California Shakespeare Theater), Spunk (Actors Theatre of Louisville), and The People Before the Park (Premiere Stages). Other stage credits include productions at Two River Theater, Alliance Theatre, Hartford Stage, and numerous productions at Dallas Theater Center. Billy is a graduate of Yale School of Drama. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS


Cast RACHEL LESLIE* (VERA) is making her Yale Rep debut. Her most recent credits include All the Way at Cleveland Play House and Wellesley Girl by Brendan Pelsue at the 2016 Humana Festival. In New York City, she’s worked with New Georges, Keen Company, 78th Street Theatre Lab, and at HERE. Some of the regional theatres she’s appeared at include The Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Guthrie Theater, Syracuse Stage, Shakespeare Theatre Company, Indiana Repertory Theatre, and The Berkshire Theatre Festival. Film and television credits include Difficult People, Unforgettable, Alpha House, 666 Park Avenue, Law & Order, The Ticket, and Quietly. Rachel is a member of Quick Silver Theater Company and The Actor’s Center. She holds an MFA from Temple University.

Creative Team DWIGHT ANDREWS (MUSIC DIRECTOR) served as Resident Music Director at Yale Rep under Lloyd Richards, during which time his credits included Julius Caesar, Ubu Rex, The Resurrection of Lady Lester, Fences, Ma Rainey’s Black Bottom, The Piano Lesson, and Joe Turner’s Come and Gone. More recently, he served as composer for the 2009 production of Death of a Salesman. His Broadway credits include Ma Rainey’s Black Bottom (original and revival), Joe Turner’s Come and Gone, The Piano Lesson, Fences, Seven Guitars, and A Raisin in the Sun (revival). Other theatre credits include Everybody’s Ruby, Gertrude Stein’s Photograph, The Resurrection of Lady Lester (Off-Broadway); August Wilson’s 20th Century (Music Supervisor, The Kennedy Center); as well as regional productions of Playboy of the West Indies, Jitney, Heliotrope Bouquet, Blues in the Night, From the Mississippi Delta, Miss Evers’ Boys, Flying West, Blues for An Alabama Sky, and Gem of the Ocean. Film and television: The Old Settler, Miss Evers’ Boys, and The Piano Lesson. He has taught at Yale, Harvard, and Rice Universities and is an Associate Professor of music theory at Emory University in Atlanta.

RON CARLOS (DIALECT COACH) is a New York-based voice, speech, and dialect coach. He is currently a lecturer in acting at Yale School of Drama and has taught at Harvard University, City College of New York, Marymount Manhattan College, the Atlantic Theatre School (NYU/Tisch School of the Arts), the Shakespeare Theatre of New Jersey, and The National Student Leadership Conference. Coaching credits include The Glass Menagerie and It’s Only a Play on Broadway; Party People, Sweat, Plenty, Privacy (The Public Theater); The Capables (Judson Gym); War (Yale Rep); The Piano Lesson (Hartford Stage); Misalliance, Love’s Labour’s Lost (Shakespeare Theatre of New Jersey); The Lily’s Revenge, The Snow Queen (American Repertory Theater); “Master Harold”…and the Boys (Gloucester Stage Company); television: Orange Is the New Black (Netflix), Madam Secretary (CBS), Power (STARZ), Unforgettable (CBS) and Fringe (Fox); and film: *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS


Look Away. He received his MFA in voice and speech pedagogy from the American Repertory Theater Institute at Harvard University and is an Associate Teacher of Fitzmaurice Voicework®.

AN-LIN DAUBER (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Othello and The Oresteia. Other credits include Antarctica! Which Is to Say Nowhere, Adam Geist (Yale Summer Cabaret); Salt Pepper Ketchup, Revolt. She Said. Revolt Again., The Show Sound of Snow (Yale Cabaret); and the world premiere of The Square Root of Three Sisters, coproduced by the Dmitry Krymov Lab and Yale School of Drama, presented at the International Festival of Arts & Ideas. An-lin has a BA in art history from Stanford University.

TIMOTHY DOUGLAS (DIRECTOR) directed the world premiere of August Wilson’s Radio Golf at Yale Rep and earned his MFA in acting from Yale School of Drama. Recent credits include Disgraced, King Hedley II (Arena Stage); Father Comes Home from the Wars (Parts 1, 2, & 3), Two Trains Running (Roundhouse Theatre); the world premiere of Rajiv Joseph’s The Lake Effect (Silk Road Rising; Jeff Award: Best New Work); and the Off-Broadway production of Brontë: A Portrait of Charlotte. He is currently an Associate Artist at Cincinnati Playhouse in the Park, where he has directed Mothers and Sons, The Trip to Bountiful, Clybourne Park, The North Pool, Buzzer, and the world premiere of Safe House. For three seasons he served as Associate Artistic Director at Actors Theatre of Louisville, where he directed a dozen productions including three Humana Festival premieres. He has directed projects for American Conservatory Theater, Guthrie Theater, Berkeley Rep, South Coast Rep, Steppenwolf, Playmakers Rep, Woolly Mammoth Theatre Company, Downstage (New Zealand), National Theatret (Norway), among many others; served as a Director-inResidence at Center Theatre Group and New Dramatists as well as on the faculties of ACT, UNC School of the Arts, USC, New Zealand Drama School, and Emerson College.

IAN HANNAN (TECHNICAL DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where his credits the 2016 Carlotta Festival and Coriolanus. Previously at Yale Rep he served as assistant technical director for Arcadia. Prior to attending Yale, Ian served seven years as Technical Director at Concord Academy, an independent preparatory school producing music, theatre, and dance with professional designers and directors. He has also worked on Broadway shows and tours as a draftsman for ShowMotion. Ian has a BA in theatre from the University of New Hampshire.

CAROLINA ORTIZ HERRERA (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she has designed Some Bodies Travel, Women Beware Women, The Skin of Our Teeth, and The Troublesome Reign of King John. Other credits include The Slow Sound of Snow, Caught, Lake Kelsey Musical, Trouble in Tahiti, The Untitled Project, Don’t Be Too Surprised, (Yale Cabaret); The Recommendation (IAMA Theatre Company, 2014 Ovation Award for Best Production 20

Creative Team of a Play); The Marriage of Bette and Boo, A Raisin in the Sun (University of La Verne); Esther’s Moustache (Studio Stage); The Onion Creek (Son of Semele); Hit, Wild in Wichita, Melancholia, Habitat (The Latino Theater Company); as well as lighting, projections, and scenery for Datugan Dance Theatre. Her directing projects include Strangers in Disguise and The Women of Juarez (University of La Verne). Carolina was born and raised in Mexico City and received a BA in theatre from the School of Theatre, Film and Television at UCLA.

HELEN IRENE MULLER* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Oresteia, The Winter’s Tale, Deer and the Lovers, and The Seagull. She served as Assistant Stage Manager on Yale Rep’s production of Happy Days last season. Her other credits include the Broadway Under the Stars series in Jack London State Park (Transcendence Theatre Company) and The Musical of Musicals (A Musical) (Midnight Sun Theatre). Helen holds a BA in theatre and French from St. Olaf College.

CATHERINE MARÍA RODRÍGUEZ (PRODUCTION DRAMATURG) is a secondyear MFA candidate at Yale School of Drama, where she founded El Colectivo, Yale’s pan-Latinx affinity theatre organization. Recent credits include Amy and the Orphans (Yale School of Drama), And Tell Sad Stories of the Death of Queens, and Salt Pepper Ketchup (Yale Cabaret). Catherine currently serves as a core stakeholder for the Lark’s México/United States Playwright Exchange, as well as on the Latina/o Theatre Commons’ National Steering Committee, Literary Managers & Dramaturgs of the Americas’ Board of Directors, and Yale School of Drama’s Equity, Diversity, & Inclusion Working Group. Prior, she co-organized #WikiTurgy, a national Edit-A-Thon to diversify Wikipedia’s theatre coverage and co-hosted the Dramaturgy Open Office Hours Project. She was the Dramaturgy and Artistic Fellow at Baltimore Center Stage and a visiting instructor of dramaturgy for Catholic University’s MFA playwriting program. Catherine proudly calls New Orleans and Nicaragua home. Past credits: Baltimore Center Stage, El Círculo Teatral (México), Borderlands, Steppenwolf, and Northwestern University (Performance Studies). Honors: 2016 Role Call of People to Watch, TCG’s American Theatre; 2014 Dramaturg Driven Grant, LMDA; 2014 Leadership Institute Fellow, National Association of Latina/o Arts and Cultures; 2013 Dramaturgy Debut Panelist, Association for Theatre in Higher Education. Carnegie Mellon: BFA, dramaturgy; BA, Latina/o studies. Black Lives Matter.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Falsettos (upcoming); A Bronx Tale (upcoming); Dear Evan Hansen (upcoming); Cats; Disaster!; School of Rock; Dr 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 *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS


Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. OffBroadway: 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.

RICK SORDELET (FIGHT DIRECTOR) Theatre credits include 65 Broadway productions and 60 productions on five continents in hundreds of cities around the world including Misery starring Bruce Willis, Cymbeline for The Public Theater’s Shakespeare in the Park, Big Love for Signature Theatre, Beauty and the Beast, The Lion King, Waiting for Godot, No Man’s Land, and Ben Hur Live (Rome, European Tour). Opera: Cyrano starring Placido Domingo (Metropolitan Opera, The Royal Opera House, La Scala), and Don Carlo and Cold Mountain (Santa Fe Opera). Film: The Game Plan, Dan in Real Life, and Hamlet. Rick was Chief Stunt Coordinator for Guiding Light for 12 years and One Life to Live, representing over 1,000 episodes of daytime television. Rick sits on the board of the Shakespeare Theatre of New Jersey and teaches at Yale School of Drama and HB Studio. He is a recipient of an Edith Oliver Award for Sustained Excellence from the Lucille Lortel Foundation and a Jeff Award for Best Fight Direction for Romeo and Juliet (Chicago Shakespeare Theater). Rick has created the new stage combat company, Sordelet INK, with his son Christian Kelly-Sordelet. They have over thirty years of action movement experience for film, television, and stage.

AUGUST WILSON (PLAYWRIGHT, APRIL 27, 1945–OCTOBER 2, 2005) authored Gem of the Ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II, and Radio Golf. These works explore the heritage and experience of African Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theatres across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson’s work garnered Pulitzer Prizes for Fences (1987) and The Piano Lesson (1990); a Tony Award for Fences; Great Britain’s Olivier Award for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey’s Black Bottom, Fences, Joe Turner’s Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney, and Radio Golf. Additionally, the cast recording of Ma Rainey’s Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson’s early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming, and the musical satire Black Bart and the Sacred Hills. Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwriting, the Whiting Writers Award, 2003 Heinz Award, and was awarded a 1999 National Humanities Medal from the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts


Creative Team and Sciences, a 1995 inductee into the American Academy of Arts and Letters, and on October 16, 2005, Broadway renamed the theatre located at 245 West 52nd Street, the August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007. Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero.

FAN ZHANG (SOUND DESIGNER AND COMPOSER) is a third-year sound design MFA candidate at Yale School of Drama, where her credits include Fucking A, New Domestic Architecture, Women Beware Women, The Children, and The Troublesome Reign of King John. At Yale Rep, she previously served as associate sound designer for War. Yale Cabaret credits include Solo Bach, Caught, and The Commencement of William Tan. Her other credit including Redeem (Cincinnati Ballet), And Then There Were None (National Centre for the Performing Arts of China), and Blindness (BFA Theatre). Her film and television credits include The Old (China Central Television), Xiao Jie (Beijing Youth Pictures), Urumchi (Xinjiang Pictures), and Resurrection (Beijing Youth Pictures). She also worked as sound engineer for Soundfirm and China Film Group Corporation. She graduated with a BA with honors in film production (emphasis on sound design) from Beijing Film Academy.

FUFAN ZHANG (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Amy and the Orphans and The Oresteia. Other credits include Phaedra’s Love (Yale Summer Cabaret, 2016); Salt Pepper Ketchup (Yale Cabaret, 2015); Ya Shan (Golden Hedgehog University Drama Festival, 2013); production design for Yamakawa, a series of photographs by Youjia Qu; The Terrorists (Best Foreign Short Film Award, Seoul International Youth Film Festival, 2011); Show Time (Best Film, 48 Hour Film Project, 2014); and the short film How to Kill Juan-Juan. Fufan has a BA in stage, film, and television design from The Central Academy of Drama in Beijing.


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Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 15th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 14 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 24th 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. 25

JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her twelfth 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 24 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 the Interim Chair of the Playwriting Department of Yale School of Drama.

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 former Yale President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I, II, & III. 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.


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 and Yale Digital Media Center for the Arts advisory boards. 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 Arcadia, A Streetcar Named Desire, American Night: The Ballad of Juan José, 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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Seven Guitars Staff

Yale Repertory Theatre Staff

ARTISTIC Tori Sampson, Assistant Director Stephanie Osin Cohen, Assistant Scenic Designer Mika Eubanks, Assistant Costume Designer Erin Earle Fleming, Assistant Lighting Designer Megumi Katayama, Assistant Sound Designer and Engineer Helen Irene Muller, Fight Captain Stuart Bogie, Harmonica Instructor Myke Ross, Guitar Instructor Walton Wilson, Recorded “Radio” Voice Bianca A. Hooi, Assistant Stage Manager

James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

PRODUCTION Harry Beauregard, Associate Production Manager Latiana (LT) Gourzong, Jen Seleznow, Becca Terpenning, Assistant Technical Directors Judianne Wallace, Draper Austin Byrd, Master Electrician Caitlin Crumbleholme, Olivia Plath, Jakeem Powell, Lisa D. Richardson, Andrew Rovner, Run Crew ADMINISTRATION Stevi Kramer, House Manager UNDERSTUDIES Lauren E. Banks*, Louise Juliana Canfield, Vera Jonathan Higginbotham*, Red Carter Leland Fowler, Floyd Barton Moses Ingram, Ruby Sean Boyce Johnson, Canewell James Udom, Hedley *Appears courtesy of Actors’ Equity SPECIAL THANKS The Juilliard School Group 45 Kate Dale and the Juilliard Prop Shop The Long Wharf Theatre Prop Shop A Broken Umbrella Theatre


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 Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Rachel Carpman, 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 Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments Lindsay King, Library Services

PRODUCTION Production Management Bronislaw J. Sammler, Head 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, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Bryanna Kim, Brian Pacelli, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Kristen Feehtel, Assistant Scenic Artist Olga Tyurikova, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers Properties Assistant Bill Batschelet, Properties Stock Manager Logan Baker, Michael Schermann, 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 Jamie Farkas, Rachel Gregory, Assistants to the Costume Shop Manager

Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Mayumi Nishiyama, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Roxy Jia, Haley Wolf, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer ADMINISTRATION General Management Flo Low, Gretchen Wright, Associate Managing Directors Trent Anderson, Assistant Managing Director Emalie Mayo, Senior Administrative Assistant to the Managing Director Laura Cornwall, Jaime Totti, Management Assistants Rachel Shuey, Company Manager Armando Huipe, Leandro A. Zaneti, 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
 Chiara Klein, Associate Director of Development and Alumni Affairs
 Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications
 Alice Kenney, Development Associate
 Rebecca Hampe, Development Assistant 30

Yale Repertory Theatre Staff Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Monica Avila, Chris Fuller, Preston Mock, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura 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 Emily Reeder, Associate Director of Marketing and Communications Laura Cornwall, Caitlin Crumbleholme, Marketing and Communications Assistants Marguerite Elliott, Publications Manager Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Sara Cho, Jordan Graf, Nicolette Mántica, Kenneth Murray, Alexis Payne, Tarleton Watkins, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Kerry Burke-McCloud, Billy Cavell, Sabrina Clevenger, Cara Correll, Paige Cunningham, Aryssa Damron, Daniel Diaz Vita, Adam D’Sa, Rebecca Hampe, Hannah Herzog, Jamie Inwood, Michaela Johnson, Shawn Luciani, Ashley Stanbury, Monica Traniello, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography


Operations Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate Jennifer Draughn, Arts and Graduate Studies Superintendent Sherry Stanley, Team Leader Michael Humbert, Facility Steward Lucille Borchert, Donell DiGioia, Ty Frost, Kathy Langston, Mark Roy, Jerome Sonia, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Daryl Brereton, Associate Director of Digital Technology Luis Serrano, Web and Email Services Associate Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants 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, John Marquez, Customer Service and Safety Officers

The Actors and Stage Manager employed in this production are members 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.

Seven Guitars November 25–December 17, 2016 Yale Repertory Theatre, 1120 Chapel Street

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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. Twelve 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. 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 24 new American plays and musicals at Yale Rep and theatres across the country—including this season’s Scenes from Court Life by Sarah Ruhl, Imogen Says Nothing by Aditi Brennan Kapil, and Mary Jane by Amy Herzog. Photos by Joan Marcus and Carol Rosegg.



War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016. 33



Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; upcoming Broadway, 2017.



peerless by Jiehae Park. Yale Rep, world premiere, 2015.

Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.


The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014. 34

Yale School of Drama Board of Advisors John B. Beinecke, Chair Michael Diamond John Badham, Vice Chair Polly Draper Jeremy Smith, Vice Chair Charles S. Dutton Sasha Emerson Nina Adams Heidi Ettinger Amy Aquino Lily Fan Sonja Berggren Terry Fitzpatrick Carmine Boccuzzi Marc Flanagan Lynne Bolton Marcus Dean Fuller Clare Brinkley Anita Pamintuan Fusco Sterling B. Brinkley, Jr. Donald Granger Kate Burton David Marshall Grant Lois Chiles David Alan Grier Patricia Clarkson Ruth Hendel Edgar M. Cullman III Catherine MacNeil Scott Delman Hollinger

Sally Horchow Ellen Iseman David Johnson Jane Kaczmarek Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy Tarell Alvin McCraney 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 ($50,000 and above)

Quina Fonseca Catherine MacNeil Hollinger J.M. Kaplan Fund Dmitry Ananiev Sarah Long Anonymous (2) Lucille Lortel John B. Beinecke Foundation Sonja Berggren and Donald and Angela Lowy Patrick Seaver Roz and Jerry Meyer Lynne and Roger Bolton National Endowment Burry Fredrik for the Arts Foundation Lupita Nyong’o Lois Chiles and Richard Carol Ostrow Gilder GUARANTORS Aram Piruzyan Nicholas Ciriello ($25,000–$49,999) The Seedlings Edgar M. Cullman, Jr. Connecticut Department Foundation Edgar M. Cullman III of Economic and Jonathan Marc Sherman, Edgerton Foundation Community in honor of Dr. Ronald Heidi Ettinger Development Sherman Lily Fan Ruth and Steve Hendel Carol L. Sirot Anita Pamintuan Fusco Azamat Kumykov Theatre Communications and Dino Fusco Mabel Burchard Fischer Group The Horace W. Cliff Warner Goldsmith Foundation Grant Foundation Righteous Persons Lane Heard and Foundation PATRONS Margaret Bauer Virginia B. Toulmin ($5,000–$9,999) Stephen J. Hoffman Foundation Deborah Applegate William and Sarah and Bruce Tulgan Hyman BENEFACTORS John Badham David Johnson Foster Bam Geoffrey Ashton Johnson ($10,000–$24,999) Nina Adams and The Eugene G. and Rocco Landesman Moreson Kaplan Margaret M. Blackford The Frederick Loewe Americana Arts Memorial Fund, Bank Foundation Foundation of America, Co-Trustee Neil Mazzella Carmine Boccuzzi and The Frederick A. DeLuca James Munson Bernard Lumpkin Foundation Alan Poul Mary L. Bundy Polly Draper Pam and Jeff Rank Jim Burrows Christopher Durang Robert Riordan The Noël Coward Terry Fitzpatrick Robina Foundation Barbara and Richard Linda and Larry Rodman Foundation Franke Talia Shire Schwartzman Scott Delman Michael Diamond David Freeman Tracy Chutorian Semler Educational Foundation Marcus Dean Fuller The Ted and Mary Jo of America Donald Granger Shen Charitable Gift Charles Finch Albert R. Gurney Fund 35

The Shubert Foundation Jeremy Smith Stephen Timbers Jennifer Tipton Nesrin and Andrew Tisdale Edward Trach Trust for Mutual Understanding Kara Unterberg Esme Usdan Albert Zuckerman

Sally Horchow Linda Gulder Huett Ellen Iseman Adrian and Nina Jones Ben Ledbetter and Deborah Freedman David Freeman Jennifer Lindstrom Tom Moore Arthur and Merle Nacht New England Foundation for the Arts Mark C. Rosenthal Ben and Laraine Sammler Michael and Riki Sheehan Philip J. Smith Donald Ware

PRODUCER’S CIRCLE ($2,500–$4,999)

Anna Fitch Ardenghi Trust, Bank of America,Trustee Mark Blankenship Shirley Brandman and Howard Shapiro Donald and Mary Brown Thomas Bruce James Bundy Ben Cameron Michael S. David Samuel French Inc. Fred Gorelick and Cheryl MacLachlan Alan Hendrickson JANA Foundation Jewish Federation of Greater New Haven The Ethel & Abe Lapides Foundation George A .and Grace Long Foundation, Bank of America, N.A., Co-Trustee

William Ludel NewAlliance Foundation Thomas Middleton Dw Phineas Perkins Abby Roth and R. Lee Stump Alec and Aimee Scribner Courtney B. Vance Amanda Wallace Woods

Carol A. Prugh William H. Prusoff Foundation Lance Reddick The Rodgers and Hammerstein Foundation Anne Seiwerath Eugene Shewmaker Benjamin Slotznick DIRECTOR’S CIRCLE Dr. Matthew Specter and ($1,000–$2,499) Ms. Marjan Mashhadi Victor and Laura Altshul Carol and Arthur Peter Andrew Spinner Amy Aquino and Kenneth J. Stein Drew McCoy Shepard and Marlene Paula Armbruster Stone Paul F. Balser, Sr. David Sword Barbara Bartlett Arlene Szczarba John Lee Beatty Sylvia Van Sinderen and Jody Locker Berger James Sinclair Deborah S. and Carol M. Waaser Bruce M. Berman Wendy Zimmermann Mark Brokaw and Stephen Cutler Cyndi Brown James T. Brown PARTNERS Kate Burton ($500–$999) Alexandra Cadena Actors’ Equity Joan Channick and Ruth Foundation Hein Schmitt Donna Alexander Patricia Clarkson Mr. and Mrs. B.N. William Conner Ashfield Sue Ann Gilfillan Emily P. Bakemeier and Converse and Tony Alain G. Moureaux Converse Edward Blunt Peggy Cowles Claudia Brown Catherine and Elwood Anne and Guido Davis Calabresi Ramon Delgado Ian Calderon Sasha Emerson Dr. Michael Cappello Glen R. Fasman and Kerry Robinson Marc Flanagan Cosmo Catalano, Jr. Melanie Ginter and Dr. Paul D. Cleary John Lapides Bill Connington Eduardo Groisman Bob and Priscilla Mary and Arthur Hunt Dannies James Earl Jewell Richard Sutton Davis Rolin Jones Robert Dealy Ann Judd and The Cory & Bob Bennett Pudlin Donnalley Elizabeth Katz and Charitable Foundation Reed Hundt Bernard Engel Helen Kauder and Barry Roberta Enoch and Nalebuff Steven Canner Roger Kenvin Peter Entin George N. Lindsay, Jr. Kyoung-Jun Eo Thomas G. Masse and Susan and Fred James M. Perlotto, MD Finkelstein Tarell Alvin McCraney Anthony Foreman David Moore James Gardner Garrett and Mary Moran Betty Goldberg Neil Mulligan Kris and Marc Granetz Jim and Eileen Mydosh David Marshall Grant Richard Ostreicher Rob Greenberg F. Richard Pappas Regina Guggenheim Amy Povich William B. Halbert Kathy and George Priest

Karsten Harries and Elizabeth Langhorne Barbara Hauptman Jane Head Ethan Heard Carol Thompson Hemingway Donald Holder Raymond Inkel Jane Kaczmarek Gregory Kandel Harvey Kliman and Sandra Stein Dr. Gary and Hedda Kopf Mildred Kuner Maryanne Lavan Chi-Lung Lui Charles Long and Roe Curtis Linda Lorimer and Charles Ellis Timothy Mackabee Brian Mann Jenny Mannis and Henry Wishcamper John McAndrew Peter and Wendy McCabe Daniel Mufson Gayther Myers, Jr. Laura Naramore Victoria Nolan and Clark Crolius William and Barbara Nordhaus Arthur Oliner Louise Perkins and Jeff Glans Faye and Asghar Rastegar Jon and Sarah Reed Bill and Sharon Reynolds Dr. Michael Rigsby and Prof. Richard Lalli Steve Robman Dr. Mark Schoenfeld Sandra Shaner James Steerman Nausica Stergiou Marsha Beach Stewart Matthew Suttor Don Titus Julie Turaj and Robert Pohly John Turturro and Katherine Borowitz Sophie von Haselberg Paul Walsh Carolyn Seely Wiener Steven Wolff Evan Yionoulis Steve Zuckerman

INVESTORS ($250–$499)

Mary Ellen and Thomas Atkins Alexander Bagnall James Bakkom Christopher Barreca Sarah Bartlo Ashley Bishop Susan Brady and Mark Loeffler Tom Broecker Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Lani Click Robert S. Cohen Audrey Conrad Daniel R. Cooperman and Mariel Harris Stephen Coy John W. Cunningham Aziz Dehkan and Barbara Moss Charles Dillingham Dennis Dorn Kem and Phoebe Edwards Fine Family Randy Fullerton Dr. and Mrs. James Galligan Joseph Gantman Stephen Godchaux Marian Godfrey Greer Goodman Naomi Grabel Scott Hansen Douglas Harvey Anne Gregerson Nicole and Larry Heath Mona Heinz-Barreca Molly Hennighausen Amy Herzog Phillip Howse David Henry Hwang Joanna and Lee A. Jacobus Kirk Jackson Pam Jordan Dr. Unni Karunakara Bruce Katzman Rik Kaye Asaad Kelada Barnet Kellman Alan Kibbe David Kriebs Bernard Kukoff Frances Kumin Michael Lassell Kenneth Lewis Nancy Lyon Linda Maerz and David Wilson Elizabeth Margid Deborah McGraw 36

Contributors to Yale School of Drama and Yale Repertory Theatre George Miller and Virginia Fallon George Morfogen Janice Muirhead David Nancarrow Regina and Thomas Neville Jane Nowosadko Janet Oetinger Steven Oxman Maulik Pancholy Michael Parrella Cesar Pelli James Perakis Geoffrey Pierson Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Alec and Drika Purves Barbara and David Reif Daniel and Irene Mrose Rissi Howard Rogut Russ Rosensweig Jean and Ron Rozett Dana Sanders Robin Sauerteig Suzanne Sato William and Elizabeth Sledge Mary C. Stark Dennis Spencer Regina Starolis Erich Stratmann Bernard Sundstedt Richard B. Trousdell Marge Vallee William and Phyllis Warfel Vera Wells Dana Westberg George C. White Karen White Lila Wolff-Wilkinson John and Pat Zandy

FRIENDS ($100–$249)

Anonymous Emika Abe Paola Allais Acree Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel Alderman Lorraine Alfano Liz Alsina Shaminda Amarakoon Richard Ambacher Stephen and Judy August Clayton Austin Angelina Avallone Michael Backhaus Sandra and Kirk Baird 37

Russell Barbour Robert Barr Michael Bateman William and Donna Batsford Michael Baumgarten Richard Baxter Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Martin Blanco Anders Bolang Josh Borenstein Marcus and Kellie Bosenberg Shawn Boyle Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown William Buck Stephen Bundy Jonathan Busky Richard Butler Susan Wheeler Byck Michael Cadden David Calica Kathryn A. Calnan Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden King-Fai Chung Cynthia Clair Katherine D. Cline Aurélia and Ben Cohen Judith Colton and Wayne Meeks Forrest Compton Bill Connington Aaron Copp Robert Cotnoir Douglas and Roseline Crowley Sean Cullen Scott Cummings Phillip L. Cundiff Sr. Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Katherine Day Mr. and Mrs. Paul DeCoster Sarah and Ted DeLong

Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Alexander Dodge 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 Mr. and Mrs. Kenneth Fellows Paul and Susan Birke Fiedler Andria Fiegel Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Donald Fried Richard Fuhrman David Gainey Jane and Charles Gardiner Leah Gardiner Barbara and Gerald Gaab Josh Galperin Steven Gefroh Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Betty and Joshua Goldberg Robert Goldsby Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross John Guare

David Hale Alexander Hammond Ann and Jerome R. Hanley Lawrence and Roberta Harris Doug Harvey Brian Hastert James Hazen Catherine Hazlehurst Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Elizabeth Holloway James Guerry Hood Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Charles Hughes Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Richard Kaye Jay Keene Carol Soucek King Lindsay King Susan Kirschner Robinson William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Andrea Chi-Yen Kung Mitchell Kurtz William Kux Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Suttirat Larlarb

James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Wing Lee Charles E. Letts III Max Leventhal Irene Lewis Rita Lipson Mary Rose Lloyd Arthur Lueking Suzanne Cryer Luke Everett Lunning Andi Lyons Dr. and Mrs. Robert W. Lyons Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Peter Maradudin Marvin March Frederick Marker Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Robert McDonald Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Charles McNulty Lynne Meadow Robert Melrose Stephen W. Mendillo Donald Michaelis Kathryn Milano Bruce Miller Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones David Muse Rachel Myers Rhoda F. Myers Mariko Nakasone

James Naughton Tina C. Navarro Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Liv Nilssen Mark Novom Deb and Ron Nudel George and Marjorie O’Brien Adam O’Byrne Dwight R. Odle Sara Ohly Edward and Frances O’Neill Sara Ormond Lori Ott Kendric T. Packer Jennifer Palmer Joan Pape Russell Parkman Dr. and Mrs. Michael Parry Laura Patterson Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Bryce Pinkham Michael Posnick Gladys Powers Robert Provenza William Purves Sarah Rafferty Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Fernande E. Ross Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein Dean and Maryanne Rupp Ortwin Rusch Raymond Rutan John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad

Robert Sandberg Donald Sanders Robert Sandine and Irene Kitzman Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Yu 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 Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Katherine Sugg William and Wilma Summers Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Jane Savitt Tennen Jeann and Joseph Terrazzano Aaron Tessler David F. Toser Albert Toth Russell L. Treyz Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang

Carrie Van Hallgren Fred Voelpel Elaine Wackerly Mark Anthony Wade Charles and Patricia Walkup Erik Walstad Barbara Wareck and Charles Perrow Steven Waxler Mark Weaver John Weikart Rosa Weissman Peter and Wendy Wells Charles Werner Peter White Lisa A. Wilde Robert Wildman Marshall Williams David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Andrew Wolf Guy and Judith Yale Arthur and Ann Yost Shoshana Zax


Aetna Foundation Ameriprise Financial Chevron Corporation Corning, Inc. Covidien General Electric Corporation IBM Merck Company Foundation Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation


John Beinecke Lynn Bolton Sasha Emerson Ellen Iseman David Johnson Donald and Angela Lowy Carol Ostrow Walton Wilson Steve Zuckerman and Darlene Kaplan


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 moreinformation, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at This list includes current pledges, gifts, and grants received from July 1, 2015, through November 15, 2016.


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

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 FM 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 Laura Kirk, Director of Audience Services, at 203.432.1522 or

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 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 emergency-only telephone number at Yale Repertory Theatre 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 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. 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. 39

Audio Description: a live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. Open Captioning: a digital display of the play’s dialogue as it’s spoken. Below are the AD and OC performance dates for this season. All shows are at 2PM; the AD pre-show description begins at 1:45PM.

Seven Guitars

Dec 10 Dec 17

Imogen Says Nothing

Feb 4

Feb 11


Apr 1

Apr 8

Mary Jane

May 13 May 20

Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, N.A, Co-Trustee, for its support of audio description services for our patrons. 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 Allegra Print and Imaging; The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Bob and Pricilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; 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; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Esme Usdan; Charles and Patricia Walkup.


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Four Flours GHP Printing and Mailing Harvest Wine Bar Heirloom Hull’s Art Supply and Framing Insomnia Cookies

Jonathan Edwards Winery Katz’s Deli La Cuisine Savour Catering The Study at Yale Tarry Lodge Willoughby’s Coffee and Tea



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