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November 26 to December 18, 2010
BY KIRSTEN GREENIDGE DIRECTED BY EVAN YIONOULIS January 28 to February 19, 2011
THE PIANO LESSON DIRECTED BY LIESL TOMMY
March 11 to April 2, 2011
ROMEO AND JULIET
DIRECTED BY SHANA COOPER April 15 to May 7, 2011
BY INGMAR BERGMAN DIRECTED BY ROBERT WOODRUFF
Jenn Gambatese and Sean Palmer in We Have Always Lived in the Castle. Photo by Joan Marcus.
A NOTE FROM THE ARTISTIC DIRECTOR
Edward Albee’s career is remarkable not only for its longevity—his first play, The Zoo Story, premiered Off-Broadway in 1960; his most recent, Me, Myself & I, opened at Playwrights Horizons in September—but also for the thrilling and rigorous challenges his plays have provided for generations of audiences and the artists who bring them to life on stage. As the late great actress Irene Worth once said, “there is a theme that runs through all of Edward Albee’s work, and it is, ‘Pay attention!’”
PHOTO BY JOHN GROO.
Welcome to Yale Repertory Theatre’s production of Edward Albee’s A Delicate Balance!
A Delicate Balance is no exception. Edward has described the play, which won the Pulitzer Prize for Drama in 1966, as “concerned with the isolation of people who have turned their backs on participating in their own lives and therefore cannot participate fully in anyone else’s life.” It’s a timeless subject: when the author revisited the script for a new Broadway production in 1996, he found he needed to change only two lines. To really look at the ways in which we let our lives pass us by can be both chaotic and bracing. Astonishing circumstances do come to pass for each of us, and we will naturally find ourselves differently prepared—or unprepared—for the challenges ahead. Working on A Delicate Balance has been a journey of discovery, an intermingling of the known and unknown. Edward offers a precise, if open-ended, map to any interpreter: “The play means what it says.” Agnes and Tobias certainly live in a house that could be found in many Connecticut towns, and the characters wear clothes that we see around us often. Bringing these elements to theatrical life is the joy: the adventure of rehearsal depends upon the special gifts of actors to undergird the meanings of the play with the complexity and ambiguity of the human spirit, in rehearsal and in each different performance. Your presence here today completes our party: in truth, we can’t quite know exactly what you’re going to get until you come to get it. But I can tell you for sure that going to the rehearsal hall each day has been an opportunity to see how wonderful roles inspire and challenge wonderful artists, and that all of us are grateful for your company here and now. And I hope you will return to Yale Rep soon: our season continues in November with the world premiere of Bossa Nova, a powerful and poignant new play by Kirsten Greenidge, directed by Evan Yionoulis (The Master Builder, Richard II). 2011 begins with a new production of August Wilson’s Pulitzer Prize winner, The Piano Lesson, directed by Liesl Tommy (Eclipsed); and continues with Shakespeare’s timeless romance, Romeo and Juliet, directed by Shana Cooper; and the US premiere of Autumn Sonata by Ingmar Bergman, directed by Robert Woodruff (Battle of Black and Dogs, Notes from Underground). Thank you for being here today! As always, I look forward to reading what you think and feel about the show. Please feel free to email me at firstname.lastname@example.org. Sincerely,
James Bundy Artistic Director
OCTOBER 22 TO NOVEMBER 13, 2010
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
A DELICATE BALANCE Scenic Designer
AARON P. MASTIN
ALAN C. EDWARDS
Composer/Sound Designer Production Dramaturg Casting Directors Stage Manager
SARAH PICKETT CATHARINE M. KOLLROS TARA RUBIN LAURA SCHUTzEL LINDSEY TURTELTAUB
A Delicate Balance is presented by special arrangement with Samuel French, Inc.
SEASON MEDIA SPONSOR
CAST (IN ORDER OF SPEAKING)
SETTING THE LIVING ROOM OF A LARGE AND WELL-APPOINTED SuBuRBAN HOuSE. NOW. THERE WILL BE TWO 10-MINuTE INTERMISSIONS.
In 1958, Edward Albee wrote his play The Zoo Story in less than three weeks as “a sort of thirtieth birthday present to [himself].” And he did what any other budding playwright would do to get his work produced: he sent it to an array of prominent directors, agents, playwrights, and composers. Those who read The Zoo Story were “anywhere from mildly enthusiastic to wildly impressed by it,” but no one in New York was willing to produce a play about two men on a park bench. That rejection could have been the end of a less determined writer’s career. Albee doggedly sought a home for his piece, and in 1959, Die Zoo-Geschitchte, a German translation of the play, premiered in Berlin. ABOVE: EDWARD ALBEE AT THE PROVINCETOWN PLAYHOuSE, 1963. BETTMAN/CORBIS.
The play was a critical success and played to full houses; theatres all over Europe wanted to talk to the young American about producing his work, and a brief article in the New York Times predicted that The Zoo Story would be on Broadway within a year. In the winter of 1959, Albee returned to New York, triumphant, yet still without prospects for an American production. Finally, on January 14, 1960, the play had its uS premiere Off-Broadway on a double bill with Samuel Beckett’s Krapp’s Last Tape at the Provincetown Playhouse in Greenwich Village. Albee’s work was the bigger hit, and the double-bill ran for an astonishing 582 performances. A photograph of a brooding Albee, thirty-two years old at the time, adorned posters and advertisements: the playwright had literally become the new face of American drama. 9
I’ve been influenced by everybody, for God’s sake. Everything I’ve seen, either accepting it or rejecting it. —Albee, quoted in Mel Gussow’s Edward albEE: a Singular JournEy, 1999
As a child, Albee seemed to have been chosen for a life in the theatre. Plucked from an orphanage by multi-millionaire theatre owner Reed Albee and his wife Frances, little Edward was raised in Westchester, where he enjoyed the opportunities that his family’s wealth could provide. Because of the Albees’ theatrical legacy, their home was also frequented by a circle of veteran Vaudeville actors and artists. But the young Albee had to choose—and forge— his own path, even if it meant rejecting the one paved for him by his parents. Two boarding schools expelled him in five years, because Albee cut classes and ignored assignments. He preferred to stay up all night working on his own writing projects: plays, poetry, and fiction. After a brief stint at college, and an even briefer one back home, twenty-year-old Albee moved to Greenwich Village to live a Bohemian life. He worked odd jobs to supplement the small income he received from his family and spent his free time writing, reading, and soaking up the culture of downtown Manhattan. Albee 10
considered himself a poet, but, in 1953, in response to Albee’s poems, Thornton Wilder, who had written Our Town and The Skin of Our Teeth, suggested that the young writer try his hand at playwriting again. After a few years of struggling with drama, he produced The Zoo Story, and he was “suddenly aware that [he] had been writing something worthwhile.” Once Albee got started, he was prolific. In the late 1950s, Albee wrote four more one-acts, including The American Dream and The Death of Bessie Smith. These plays found hospitable welcome in European theatres, and Albee thrived on Berlin’s stages. There, his star burned brightly, but when he was in America, he preferred to orbit in avant-garde circles rather than with stars, rich producers, and playwrights who had achieved “household name” status. Albee’s work lived somewhere between the two continents. He took inspiration from a varied roster of playwrights—drawing as much from American forebearers—such as Williams, Wilder, and O’Neill—as from European dramatists. Anton Chekhov’s plays influenced him as did the works of Eugene Ionesco and Beckett, the avantgarde “absurdists” who began writing after World War II. In 1962, Albee found a way to create a synergy of all his influences in his first full-length play, Who’s Afraid of Virginia Woolf? In this piece, he introduced audiences to the witty George and Martha. No matter how familiar and funny this couple seemed on the surface, there was something darker—and more vicious—beneath their patter. The Village Voice opined, “the evening’s number
one illusion is that this is a conventional play.” The play went straight to the Great White Way, and Albee was thrust into the “household name” club. Although Virginia Woolf was a box office success, not everyone enjoyed George and Martha’s long boozy night or delighted in their game of “get the guests.” Some accused Albee of having no sympathy for his characters, and others took offense at the play’s “vulgar language” and “overt sexuality.” The 1963 drama jury of the Pulitzer Prize selected Virginia Woolf for the award, but due to its provocative content, the Pulitzer’s advisory board instead awarded no drama prize that year. Three years later, Hollywood proved the board over-sensitive when director Mike Nichols adapted the play into a film starring real-life forces of nature Elizabeth Taylor and Richard Burton. George and Martha were now making a liquor-soaked splash across the nation.
But when I write a play, I’m interested in changing the way people look at themselves and the way they look at life. I have never written a play that was not in its essence political. But we don’t need an attack on the specific or the conscious. We need an attack on the unconscious.
The same year the movie was released, a new Albee play, A Delicate Balance premiered on Broadway. In this play, Albee took the living-room drama, an old stand-by of American realism, and infused it with the existential terror found in the works of European absurdism. According to Albee, something bigger lurks beneath the surface of the play; it’s not about “the demands of friendship” but is a cautionary tale about characters who avoid life until “things become too late finally.” In 1966, without a hint of controversy, the Pulitzer Prize committee awarded Albee its drama award for A Delicate Balance.
Critics were divided about Albee’s sophomore Broadway hit: A Delicate Balance was either Albee’s most mature play to that point, an even richer masterpiece than Virginia Woolf, or else it was a confused play, the last gasp of a fading playwright. Albee, however, was far from fading. In the late 60s and 70s, Albee’s plays reveled in formal exploration. These more “experimental” plays included Tiny Alice (1964), a play about the literal and figurative masking of characters brought together to coordinate a donation to the Catholic church, and Box, a characterless monologue, which was presented with Quotations from Mao Tse-Tung (1968), a companion play comprised of three contrapuntal monologues, one of them pulled directly from the Little Red Book.
—Albee, quoted in “edwArd Albee FiGhts bAck” by Guy FlAtley, ThE nEw york TimES, 1971
With his 1974 Seascape, there was little doubt that Albee had abandoned the bottomless liquor cabinets and realism of Virginia Woolf and Delicate Balance. This new play featured two human-sized Englishspeaking lizards, who crawl out of the sea, and through their interaction with a human couple, are almost driven back into it. Albee won his second Pulitzer for the work. Despite critical acclaim, as Albee continued to challenge established dramatic forms, Broadway and its audiences cooled toward the playwright. The Lady from Dubuque (1980) closed after twelve performances on Broadway, and just a few years later, The Man Who Had Three Arms only ran for sixteen performances. Even though Broadway began to freeze Albee out of its inner circle, it didn’t mean that Albee’s work wasn’t being produced. His plays—both old and new—thrived on regional theatre stages and in Europe. Albee leveraged his successes to cultivate new talent and promote playwriting in the United States and to defend artistic freedom around the world. In the 1960s, Albee participated in State Departmentsponsored artistic exchanges with the Soviet union and Latin America. He set up programs to nurture new American voices by co-founding a workshop for earlycareer playwrights that fostered the work of Lanford Wilson, John Guare, and Sam Shepard, among others, and establishing The Edward F. Albee Foundation, which runs a writers’ retreat in Montauk that has nurtured the likes of Christopher Durang, Spalding Gray, and Will Eno. The college drop-out has even infiltrated academia, becoming a prominent professor, most significantly at the university of Houston, where he taught from 1989 to 2003, and 12
at Australia’s National Institute of Dramatic Art. Albee has even become a political activist; he has worked extensively with PEN (Poets, playwrights, editors, essayists, and novelists) International, protesting injustices against fellow artists, including demanding the release of 2010 Nobel Peace Prize winner Liu Xiaobo.
The responsibility of the writer is to be a sort of demonic social critic—to present the world and the people in it as he sees it and say, “Do you like it? If you don’t like it, change it.” —Albee, in An interview with diGby diehl in ThE TranSaTlanTic rEviEw,1963
Through all of his academic and political work, Albee never abandoned his own artistic endeavors. He continued to write and produce his plays, but it took nearly two decades for the New York theatre scene to reignite its interest in his work. A new wave of critical and commercial success for Albee came with the 1994 production of Three Tall Women at the Vineyard Theatre. The Off-Broadway production was the play’s third: the English Theater in Vienna laid claim to the world premiere, and a theatre in Woodstock, NY, produced the American. But, suddenly, a flood of critical praise for the play led to a 582-show Broadway run at the Promenade Theatre (eerily mirroring the numbers for The Zoo Story). And Albee won his third Pulitzer for the play.
All of the sudden, Albee found himself “rediscovered,” although he was never lost. Large-scale remountings of his early works were produced on Broadway. (Albee himself avoids the word “revival,” because to him, the plays are never “dead.”) In 1996, A Delicate Balance celebrated its thirtieth anniversary with a new production at Lincoln Center Theater. Albee even revisited the text, but he found he needed to change only two lines that were specific to its original 1960s context. The play had remained remarkably current. At the cusp of the twenty-first century, and now well into it, Albee has continued to produce new provocative plays. In 2002, The Goat or, Who Is Sylvia? pushed audiences to examine their ideas of morality and taboo through the story of a middle-aged man in love with a goat. He also continues to embrace a method of developing work that often relies on theatres across the pond or major American regional theatres. His 1998 The Play About the Baby opened in England and had its US premiere at the Alley Theatre in Houston.
Both plays earned Pulitzer nominations. And, just before his eightieth birthday, Albee finished a commission from the McCarter Theatre: Me, Myself & I, which just finished its New York run.
I would rather go on than be remembered. —Albee, in An interview For the AcAdeMy oF AchieveMent, upon his AcceptAnce in 2005
Through his talent, tenacity, and stewardship, Albee is, unquestionably, one of America’s greatest playwrights. But, even though he’s become an institution, it doesn’t mean that he’s given up his iconoclastic streak. He strives to create a more restless, probing, and adventurous theatre, financing and directing it himself if no one else will. “Plays,” Albee has said, “should be relentless, the playwright shouldn’t let people off the hook.” And he hasn’t let anyone off the hook for over fifty years—not his audiences, collaborators, or himself. Maybe it takes such an iconoclast to become an icon.
CAST KATHLEEN BUTLER (EDNA) originated the role of “B” in Three Tall Women, Gillian in Marriage Play, and Louise Nevelson in Occupant, all by the remarkable Mr. Albee. Her recent New York theatre credits include Such Things Only Happen in Books (Keen Company), Albee’s The American Dream (Cherry Lane Theatre), WAPATO (Women’s Project), Albee’s The Play About the Baby, Triangles, and Lucky Rita by Joe Stein. She also appeared in the original productions of The Shaker Chair by Adam Bock (Humana Festival of New American Plays), Everything I Really Need to Know I Learned in Kindergarten, Last Lists of My Mad Mother, and The Middle Passage, as well as more than 40 productions in regional theatres such as Alley Theatre, Long Wharf Theatre, and Actors Theatre of Louisville. Her film and television credits include A League of Their Own, Night Curtain, Law & Order, The Louis CK Project, Kenny the Shark, and As the World Turns. JOHN CARTER (HARRY) is delighted to be performing in an Edward Albee play again. Previously he worked with Mr. Albee on the revival of A Delicate Balance on Broadway (Lincoln Center Theater), and Off-Broadway in Finding the Sun, Fragments (Signature Theatre Company), and All Over (Roundabout Theatre Company). His other Broadway credits include Festen and the recent revival of A Streetcar Named Desire (Roundabout). His regional theatre credits include All Over (McCarter Theatre) and Come Back, Come Back, Wherever You Are, written and directed by Arthur Laurents (George Street Playhouse). His film credits include Lasse Halstrom’s The Hoax, Woody Allen’s Celebrity, Random Hearts directed by Sidney Pollack, as well as Joe Kidd, Scarface, Badlands, and Marooned, among others. His numerous television appearances over the years include recurring roles on Law & Order, All My Children, and Barnaby Jones (appearing for five years as Lt. Biddle), and the miniseries The Winds of War.
KATHLEEN CHALFANT (AGNES) previously appeared at Yale Rep in Passion Play by Sarah Ruhl and All’s Well That Ends Well. Her New York stage credits include Angels in America (Tony, Drama Desk Award nominations), Racing Demon, Dead Man’s Cell Phone by Sarah Ruhl, Wit (also at Long Wharf Theatre, in Los Angeles and London; Drama Desk, OBIE, Lucille Lortel, Outer Critics, Connecticut Critics Circle Awards), Prophecy by Karen Malpede, A Hard Heart, Spalding Gray: Stories Left to Tell, Great Expectations, Bloomer Girl, Guantanamo, The Last Letter, Talking Heads, Savannah Bay, Far Away, Nine Armenians (Drama Desk nomination), Twelve Dreams, Henry V 14
(Callaway Award), True History and Real Adventures, Iphigenia and Other Daughters by Ellen McLaughlin, Endgame, The Party, and Three Poets. Film and television: Duplicity, The Last New Yorker, Murder and Murder, Bob Roberts, Five Corners, Jumpin’ at the Boneyard, A Price Above Rubies, Perfect Stranger, Kinsey, The Book of Daniel, The People Speak, The Guardian, The Laramie Project, Lackawanna Blues, Benjamin Franklin, A Death in the Family, Rescue Me, all iterations of Law & Order, and Storm of the Century. Ms. Chalfant is a Beinecke Fellow at Yale School of Drama this fall.
EDWARD HERRMANN (TOBIAS) is making his Yale Rep debut. His New York theatre credits include The Deep Blue Sea, Love Letters, Plenty (Tony Award nomination), The Philadelphia Story, Mrs. Warren’s Profession (Tony Award; Drama Desk Award nomination), and Moonchildren on Broadway; as well as Psychopathia Sexualis (Drama Desk Award nomination), Life Sentences, Julius Caesar, Not About Heroes, Tom and Viv, Gardenia, A Midsummer Night’s Dream, and The Basic Training of Pavlo Hummel. His numerous film and television appearances include The Paper Chase, The Great Gatsby, Harry’s War, Reds, Mrs. Soffel, The Purple Rose of Cairo, Compromising Positions, The Lost Boys, Overboard, Big Business, Nixon, The Aviator, Treasure Buddies, Intolerable Cruelty, St. Elsewhere (Emmy Award nomination), The Practice (Emmy Award), Oz, Gilmore Girls, Grey’s Anatomy, 30 Rock, Law & Order, and The Good Wife. His upcoming films include A Christmas Wish, Son of Morning, Born to be a Star, and For Robbing the Dead. Training: Fulbright Scholar at the London Academy of Music and Dramatic Art. Mr. Herrmann is a Beinecke Fellow at Yale School of Drama this fall.
ELLEN McLAUGHLIN (CLAIRE) previously appeared in the Yale Rep production of Cryptogram. Her New York credits include Tony Kushner’s Angels in America on Broadway, Craig Lucas’s Blue Window (Manhattan Theatre Club), Kushner’s A Bright Room Called Day (The Public Theater), and The Bacchae—Torn to Pieces (La MaMa E.T.C.). Her regional credits include All My Sons (PlayMakers Repertory Company), A Delicate Balance (Arena Stage), Homebody (Intiman Theatre), Ghosts (Berkeley Repertory Theatre), and The Threepenny Opera (Trinity Repertory Company; Elliot Norton Award). She is also a playwright. Her producers include The Public Theater, Classic Stage Company, New York Theatre Workshop, Guthrie Theater, the Intiman, and London’s Almeida Theatre. Her plays include Iphigenia and Other Daughters, Tongue of a Bird, The Persians, Helen, and Oedipus. She appeared in every production of Angels in America from its earliest workshops through its Broadway run. She has been teaching playwriting in various venues nationwide and at Barnard College since 1995. Film and television work includes Jon Jost’s The Bed You Sleep In and appearances on Law & Order. 15
CAST KEIRA NAUGHTON (JuLIA) has appeared on Broadway in The Rivals (Lincoln Center Theater), Dance of Death, and Three Sisters. Her Off-Broadway credits include Hunting and Gathering, Indoor/Outdoor, All My Sons, Lucy, The American Clock, Tesla’s Letters, Roses in December, Evolution, Uncle Jack, and Hotel Universe. Regional theatre credits include Becky Shaw (Huntington Theatre); Proof (Arena Stage, Helen Hayes Award nomination); Company (Kennedy Center Sondheim Celebration); Faith Healer, Macbeth (Berkshire Theatre Festival); Uncle Vanya, Wonder of the World (Barrington Stage); The Goatwoman of Corvis County (Shakespeare & Company); Cleveland Play House; Williamstown Theatre Festival; and Westport Country Playhouse. Her television and film appearances include All My Children, 3 Lbs., Law & Order: SVU, Sex and the City, Guiding Light, Blair Witch 2, and Cradle Will Rock. She is a singer/ songwriter in the band The Petersons. She received her MFA from Tisch School of the Arts at NYu.
CREATIvE TEAM EDWARD ALBEE (PLAYWRIGHT) was born on March 12, 1928, and began writing plays 30 years later. His plays include The Zoo Story (1958), The Death of Bessie Smith (1959), The Sandbox (1959), The American Dream (1960), Who’s Afraid of Virginia Woolf? (1961– 62, Tony Award), Tiny Alice (1964), A Delicate Balance (1966, Pulitzer Prize; 1996, Tony Award), All Over (1971), Seascape (1974, Pulitzer Prize), Listening (1975), Counting the Ways (1975), The Lady from Dubuque (1977–78), The Man Who Had Three Arms (1981), Finding the Sun (1982), Marriage Play (1986–87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play About the Baby (1997), The Goat or, Who Is Sylvia? (2000, 2002 Tony Award), Occupant (2001), At Home at the Zoo (Act 1: Homelife. Act 2: The Zoo Story) (2004), and Me, Myself & I (2008). He is a member of the Dramatists Guild Council, and President of The Edward F. Albee Foundation. Mr. Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980. In 1996 he received the Kennedy Center Honors and the National Medal of Arts. In 2005, he was awarded a special Tony Award for Lifetime Achievement. Mr. Albee is a Beinecke Fellow at Yale School of Drama this fall.
JAMES BUNDY (DIRECTOR) Please see page 20 for his bio. ALAN C. EDWARDS (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Every Other Hamlet In The Universe, the things are against us, La Ronde, and Love’s Labour’s Lost. Other credits include Hedwig and the Angry Inch (also set design), The Phoenix, Muse (Yale Summer Cabaret); The Maids, A Day 16
in Dig Nation, Lady Day at Emerson’s Bar & Grill, See What I Wanna See (Yale Cabaret); The Pulp of the Matter (Connecticut College Dance); and The Marriage of Figaro (Tri-Cities Opera). While studying at Ithaca College, he designed Urinetown, Burn This, and scenery for the opera Acis and Galatea. His New York credits include the Broadway productions of A Catered Affair (set design assistant), Boeing-Boeing and The Country Girl (props); and the Off-Broadway production of Amazons and Their Men (props).
CATHARINE M. KOLLROS (PRODuCTION DRAMATuRG) is a third-year MFA candidate at Yale School of Drama, where she served as co-adaptor and dramaturg on last season’s A Midsummer Night’s Dream. Last season, she also served as assistant director on the world premiere of POP! at Yale Rep. This season, Catharine will be working as the dramaturg for the Yale Opera production of Don Giovanni. She received her BA in comparative literature from the University of Chicago.
AARON P. MASTIN (COSTuME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where he designed the costumes for Orlando and elijah (Carlotta Festival of New Plays). Other costume design credits include Ragtime, Carousel, 1776, Sweeney Todd (New Jersey Performing Arts Center); York College; Battery Dance Company (NYC and international tours); and Manhattan Children’s Theatre. Set design credits include Two Headed (Berkshire Theatre Festival); Ascension, Acts of Love (Theatre Row); Ragtime, Brigadoon, Camelot, Hello, Dolly!, A Funny Thing Happened on the Way to the Forum (Riverside Center); as well as the 2004 main stage and cabaret seasons at Millbrook Playhouse. Production work includes Death in Love (independent film, assistant costume designer); HBO’s John Adams (background costumer); The Good Shepherd, Without a Trace, Gossip Girl (wardrobe); and New York Fashion Week for Tomer Gendler, FORM, Ports 1961 (production and production design). He holds a BFA in drama from Carnegie Mellon University.
CHIEN-YU PENG (SCENIC DESIGNER), originally from Taiwan, is a third-year MFA candidate at Yale School of Drama, where his recent credits include the sets for A Midsummer Night’s Dream and La Ronde. He received his BA in theatre and drama from National Taiwan university, where he designed Twelfth Night. His other credits include Nijinsky’s Last Dance (Yale Cabaret), The Branks, A Lover’s Discourse, Woyzeck, and K24. For more information, please visit chienyupeng.viewbook.com
SARAH PICKETT (COMPOSER/SOuND DESIGNER) previously designed the sound for Yale Rep’s productions of Death of a Salesman (2009) and Richard II (2007). Her other theatre credits in sound design and/or composition include Zero Hour (Yale School of Drama); Max Out Loud, The Bacchae (Yale Cabaret); Much Ado About Nothing (Oregon Shakespeare Festival); All’s Well That Ends Well (American Players Theatre); The Life & Adventures of Nicholas Nickleby, All My Sons, The Importance of Being Earnest 17
CREATIvE TEAM (PlayMakers Repertory Company); The Winter’s Tale (Asolo Repertory Theatre); Aliens with Extraordinary Skills (Women’s Project); Measure for Measure, Othello (Theatre for a New Audience); No Child… (Capital Repertory Theater and Hangar Theatre); The Great Peanut Butter Radio Hour (co-author), Hedwig and the Angry Inch (also played “Yitzhak,” music director), and The Santaland Diaries (Syracuse Stage). She received her BFA from Syracuse university, her MA from Cornell university, and her MFA from Yale School of Drama.
TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep since 2004. Broadway: Promises, Promises; A Little Night Music; Billy Elliot (adult casting); Shrek; Guys and Dolls; The Little Mermaid; Mary Poppins; Jersey Boys; The Producers; Mamma Mia!; The Phantom of the Opera; The Country Girl; Young Frankenstein; The Farnsworth Invention; Rock ’n’ Roll; The History Boys (uS casting); Les Misérables; Spamalot; The 25th Annual Putnam County Spelling Bee; The Pirate Queen; Good Vibrations; Bombay Dreams; Oklahoma!; Flower Drum Song; Imaginary Friends; Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. The Old Globe: Robin and the Seven Hoods, The First Wives Club, Sammy. Film: The Producers: The Musical. Members, Casting Society of America.
LINDSEY TURTELTAUB (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Seagull, Always Almost Something, The Tempest, and Man in Love. Other recent production credits include POP! and Battle of Black and Dogs at Yale Repertory Theatre; New Works-In-Progress 2010 at New York Theatre Workshop, featuring works by Motti Lerner, Harrison Rivers, and Joan Vail Thorne; Readings Festival 1 at New York Stage and Film, featuring new plays by Yussef El Guindi, Theresa Rebeck, Julian Sheppard, and Bryan Delaney; Love’s Labour’s Lost, Pericles on the High Seas, Gulliver’s Travels, and Carnage, A Comedy with The Actors’ Gang. She received her BA in theatre arts from uCLA.
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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his ninth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eight seasons, Yale Rep has produced more than twenty world, American, and regional premieres, five 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 two dozen 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. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, and Death of a Salesman at Yale Rep, as well as 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 and Yale School of Drama. vICTORIA NOLAN (MANAGING DIRECTOR) is in her 18th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard university; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston university School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale university and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR) is in her sixth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an integrated, artist-driven 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 20
Manager from 2000 to 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on 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 multimedia director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard university, where she taught courses in acting and dramatic arts. BRONISLAW SAMMLER (PRODuCTION SuPERVISOR) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. He co-authored Structural Design for the Stage, which won the united States Institute of Theatre Technology’s (uSITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded uSITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the uSITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODuCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 11 years old, and Katie, age 9. 21
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor 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 Kay Perdue Meadows, Artistic Associate Maya Cantu, Artistic Coordinator Tanya Dean, Hannah Rae Montgomery, Literary Associates Tara Rubin, CSA; Laura Schutzel, CSA; Casting Directors Dale Brown, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Casting Associates Kaitlin Shaw, Casting Assistant Ruth M. Feldman, Director of Education and Accessibility Services Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, 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
Suzanne R. Appel, Martha O. Jurczak, Associate Managing Directors DeDe Jacobs-Komisar, Brad Tuggle, Assistant Managing Directors Lico Whitfield, Management Assistant Emalie Mayo, Senior Administrative Assistant to the Managing Director Karena Fiorenza Ingersoll, Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Elizabeth Elliott, Jennifer Harrison Newman, Associate Directors of Development
Barry Kaplan, Senior Staff Writer Susan C. Clark, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Finance and Information Technology Katherine D. Burgue単o, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Laura Puopolo, Business Office Assistant Niti Mehta, Information Technology Assistant 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 Susan Kim, Associate Director of Marketing and Communications Jennifer Harrison Newman, Associate Director of Marketing Sarah Stevens-Morling, Online Communications and Advertising Manager Maggie Elliott, Publications Manager Jonathan Wemette, Marketing Assistant Scott McKowen, Punch & Judy Inc., Graphic Designers Joan Marcus, Production Photographer Janna J. Ellis, Associate Director of Audience Services and Tessitura Specialist Laura Kirk, Assistant Audience Services Director Tracy Baldini, Subscriptions Coordinator London Moses, Audience Services Assistant Sam Bolen, Amanda Culp, Courtney Engle, Tiffany Lin, Jeffrey Reinhardt, Emily Sanna, William Smith, Joanna Wilson, Box Office Assistants
Operations Diane Galt, Director of Facility Operations Rich Abrams, Operations Associate Paul Catalano, Arts and Drama Zone Superintendent VonDeen Ricks, Custodial Team Leader Marcia Reily, Building Attendant Lucille Bochert, Vermont Ford, Warren Lyde, Mark Roy, 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 Fred Grier, Customer Service and Safety Officer
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Beck, Senior Administrative Assistant to the Production Department
Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand 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 Jason Wells, Linda Young, Head Electrician Jacqueline Deniz Young, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Scenic Charge Angie Meninger, Scenic Artist Keri Kriston, Assistant Scenic Artist April Nichole Chateauneuf, Allison Jackson, Assistants to the Painting Supervisors Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager C. Nikki Mills, Assistant to the Properties Master Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Brandon Fuller, Ryan Gardner, Shop Carpenters Michael Backhaus, Kenyth X. Thomason, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Orlando Chavez, Assistant to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator Amy Jonas, Assistant to the Stage Carpenter
ADDITIONAL STAFF FOR A DELICATE BALANCE
Flordelino Lagundino, Assistant Director Sidney Erin Johnson, Assistant Scenic Designer Martin T. Schnellinger, Assistant Costume Designer Hyun Seung Lee, Assistant Lighting Designer Orlando Chavez, Associate Sound Designer Shaminda Amarakoon, Sound Engineer Catherine Costanzo, Assistant Stage Manager Rick Sordelet, Fight Coach James A. Zwicky, Associate Production Supervisor Bona Lee, Technical Director Andrew V. Wallace, Ted Griffith, Assistant Technical Directors Eric Casanova, Master Electrician Stephen C. Henson, Assistant Properties Manager Michael Bateman, Assistant Company Manager Reynaldi Lolong, House Manager Leon Dobkowski, Jennifer Lagundino, Solomon Weisbard, Run Crew
UNDERSTUDIES Robert Grant, Tobias Alexandra Henrikson, Claire Gabriel Levey, Harry Brenda Meaney, Agnes Hannah Sorenson, Edna SPECIAL THANKS Jakob Holder, Jonathan Lomma, Long Wharf Theatre props department, Ranbir Sidhu, Anne Tofflemire
Cover photo by Terry Manzo.
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 Scenic, Costume, Lighting, and Sound Designers in LORT are represented by united Artists Local uSA-829, IATSE.
The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers.
A Delicate Balance, October 22 to November 13, 2010. Yale Repertory Theatre, 1120 Chapel Street.
ABOUT YALE REP 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.
YALE CENTER FOR NEW THEATRE Established in 2008, the Yale Center for New Theatre is an integrated, 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. A key component of the Center’s work is the support of productions of Yale-commissioned works at theatres other than Yale Rep—over the next four years, over $600,000 will be committed to this project. The Yale Center for New Theatre also facilitates playwrights’ and composers’ residencies at the School of Drama. To date, the Yale Center for New Theatre has supported the work of more than two dozen commissioned artists as well as the world premieres and subsequent productions of six new American plays and musicals. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Yale Center for New Theatre to receive its world premiere at Yale Rep. This fall, Notes had its west coast premiere at La Jolla Playhouse and will have its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center, with further support from the Center. The Yale Center for New Theatre has also supported Yale Rep’s world premiere productions of the musical POP! by Maggie-Kate Coleman and Anna K. Jacobs; Compulsion by Rinne Groff, co-produced with The Public Theater and Berkeley Repertory Theatre, both of which will present the play this season; the Yale-commissioned musical We Have Always Lived in the Castle by Adam Bock and Todd Almond; and later this season, Bossa Nova by Kirsten Greenidge. Additionally, the Center has supported the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3.
COMMISSIONED ARTISTS DAVID ADJMI TODD ALMOND HILARY BELL ADAM BOCK BILL CAMP LEAR DEBESSONET WILL ENO MARCuS GARDLEY KIRSTEN GREENIDGE
MAKE YOUR DONATION GO TWICE AS FAR! This year, an anonymous donor will match one to one— up to $1 million—all new and increased donations made to the Yale Repertory Theatre Annual Fund by June 30, 2011. Make a gift this year and double its impact. To make a donation, please call Jennifer Harrison Newman, Associate Director of Development, at 203.432.5650, or email email@example.com. You can also give online at yale.rep.org/donate.
DANAI GuRIRA ANN MARIE HEALY AMY HERZOG NAOMI IIZuKA DAN LEFRANC ELIZABETH MERIWETHER SCOTT MuRPHY JuLIE MARIE MYATT DAVID NuGENT LINA PATEL JAY REISS SARAH RuHL OCTAVIO SOLIS PAuLA VOGEL KATHRYN WALAT ANNE WASHBuRN MARISA WEGRZYN ROBERT WOODRuFF
OPPOSITE PAGE: RANDY HARRISON IN POP!. THIS PAGE: JENN GAMBATESE AND ALEXANDRA SOCHA IN WE HAVE ALWAYS LIVED IN THE CASTLE. PHOTOS BY JOAN MARCuS.
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YALE REPERTORY THEATRE WORLD PREMIERE
BY KIRSTEN GREENIDGE DIRECTED BY EVAN YIONOULIS NOVEMBER 26 TO DECEMBER 18 yalerep.org CLOCKWISE FROM TOP: CORBIS IMAGES; SQUAREAMERICA.COM; MAGNUM PHOTOS.
YALE SCHOOL OF DRAMA
A STREETCAR NAMED DESIRE BY TENNESSEE WILLIAMS DIRECTED BY CHARLOTTE BRATHWAITE DECEMBER 10 TO 16 drama.yale.edu PHOTOS BY WOLFGANG LOESCH AND MIMMO JODICE/CORBIS.
For tickets or more information, call 203.432.1234
FOR YOUR INFORMATION
how to reach us
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 email@example.com.
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 Email: firstname.lastname@example.org
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 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 downstairs. Please contact the concierge for assistance with the elevator.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency-only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEvICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED.
Yale Repertory Theatre’s accessibility services are supported in part by the Frederick A. DeLuca Foundation, The Seedlings Foundation, and the Carol L. Sirot Foundation. Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.
audio description (ad)
A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
open captioning (oc)
You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Description performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.
A Delicate Balance
The Piano Lesson
Romeo and Juliet
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 10,000 Connecticut students and educators. The Dwight/Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/Grant Community schools to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2010.
Yale Rep’s education programs are supported in part by Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Deborah S. Berman; Bob and Priscilla Dannies; the Frederick A. DeLuca Foundation; Bruce Graham; the Lucille Lortel Foundation; Jane Marcher Foundation; Frances L. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target Stores; Esme usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; and Yale Cabaret.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom Hull’s Arts Supply and Framing Koji Mionetto New Haven Register Ocean Thin Films
Scoozzi Trattoria and Wine Bar The Shubert Foundation The Study at Yale, a Boutique Hotel Thames Printing Company, Inc. Willoughby’s Coffee and Tea WSHu Public Radio Group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2009‚ through October 1, 2010. 33
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John La Farge’s Second Paradise: Voyages in the South Seas, 1890–1891 October ��, ����–January �, ����, Yale University Art Gallery
John La Farge, The Peak of Maua Roa. Noon. Island of Moorea. Society Islands. Uponohu (detail), 1891. Watercolor and gouache. Yale University Art Gallery, Purchased with a gift from Denise Fitch in memory of her husband, George Hopper Fitch, b.a. 1932
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About A Delicate Balance Edward Albee, the three-time Pulitzer Prize-winning author of Who’s Afraid of Virginia Woolf? and Three Tall Women...