AMERICAN NIGHT: THE BALLAD OF JUAN JOSÉ, Yale Repertory Theatre, 2012

SEPTEMBER 21 to OCTOBER 13 2012-1

3 SEAS

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Welcome to American Night: The Ballad of Juan José, the first production of Yale Repertory Theatre’s 2012–13 season!

I am delighted to reintroduce you to playwright Richard Montoya, who made his Yale Rep debut nearly a decade ago alongside Ric Salinas and Herbert Siguenza (with whom he founded the Chicano performance group Culture Clash) in Culture Clash in AmeriCCa. It’s also a great joy to bring back director Shana Cooper, who staged Shakespeare’s Romeo and Juliet at our theatre in 2011.

In this political, timely, and impassioned comedy, Richard, Shana, and a remarkable company of artists make audacious dreams come true on stage, while posing significant questions about the state of our national dream. We are fortunate, indeed, to live in a nation where political debates can play themselves out in our theatres, as well as in the Electoral College: after all, Juan José’s story could be the story of our own ancestors, or of our descendants.

Still, all of us who care about freedom of expression must be mindful that artists in China, Belarus, Russia, on the West Bank, and around the world, are regularly silenced, harassed, and imprisoned. In Arizona, the plays of Culture Clash were banned from school systems by a state law passed in 2010. What is the distance between banning books and burning books?

The freedom to tell stories that ask complicated questions about the human experience is the foundation of our season ahead—a season filled with distinctive voices, from award-winning playwrights David Adjmi and Sarah Ruhl, to award-winning actors Bill Camp and Paul Giamatti, to award-winning (do you get my drift?) directors Robert Woodruff and Evan Yionoulis. These leading American artists have made their way to Yale because they have courageous questions to raise, and can raise them memorably, all the while turning a compassionate eye toward what is noble—and what is foolish—in the human experience.

Should you join us for most or all of this year’s plays—and I hope that is your plan—you’ll find yourself embarked on a rich adventure: anecdotally, the evidence of ten years’ worth of e-mails suggests to me that audience members who get the most out of any individual experience are the ones who see several productions each year. They delight in the widest array of arguments, in the greatest variety of aesthetics, in laughter and tears—and in so doing, they experience the most visceral connections between the plays and their own lives.

At Yale Rep, we offer you artists who can create those connections with you: entertaining you, and entertaining conflicting ideas, ideas that are vital in the stories we tell and in the culture at large. We offer you questions that provoke a response, because theatre without provocation is dead on arrival. And increasingly, we offer you the opportunity to join each other, our staff, and the artists, in talking about what you have seen and how it made you think and feel. After many of our performances this season, we will be hosting a series of post-show discussions to make more of your night or afternoon in the theatre. (A schedule of these events is available at yalerep.org.)

Thank you for being here with us for this performance. If you enjoy it, we hope that you will spread the good word to your family and friends—in a small city, word of mouth means a lot! And, of course, please feel free to email me directly about this production at james.bundy@yale.edu. Your thoughtful comments are informative and reliable measures of how we’re doing, and I’m grateful!

Sincerely, James Bundy, Artistic Director

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TIM BROWN, FRANCIS JUE, AND LUPITA NYONG’O IN THE WINTER’S TALE. PHOTO BY JOAN MARCUS, 2012

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YALE REP’S 2012-13 SEASON ALSO INCLUDES: World Premiere

PAUL GIAMATTI

By DAVID ADJMI Directed by REBECCA TAICHMAN

By WILLIAM SHAKESPEARE Directed by JAMES BUNDY

MARIE ANTOINETTE

A Co-Production with American Repertory Theater OCTOBER 26 TO NOVEMBER 17, 2012

HAMLET

MARCH 15 TO APRIL 13, 2013

World Premiere World Premiere

DEAR ELIZABETH

By SARAH RUHL

A play in letters from Elizabeth Bishop to Robert Lowell and back again

Directed by LES WATERS

NOVEMBER 30 TO DECEMBER 22, 2012

STONES IN HIS POCKETS

By MARIE JONES Directed by EVAN YIONOULIS

JANUARY 25 TO FEBRUARY 16, 2013

IN A YEAR WITH 13 MOONS

Film and screenplay by RAINER WERNER FASSBINDER Adapted for the stage by BILL CAMP and ROBERT WOODRUFF Directed by ROBERT WOODRUFF Featuring BILL CAMP APRIL 26 TO MAY 18, 2013

YALEREP.ORG 203.432.1234

YALEREP@YALE.EDU 5

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2006 2007 2008 2009 2010 2011

SEPTEMBER 21 TO OCTOBER 13, 2012

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

PRESENTS

By RICHARD MONTOYA Developed by CULTURE CLASH and JO BONNEY Directed by SHANA COOPER Choreographer Scenic Designer Costume Designer Lighting Designer Sound Designer Projection Designer Production Dramaturg Vocal and Dialect Coach Singing Coach Fight Director

KEN ROHT KRISTEN ROBINSON MARTIN T. SCHNELLINGER MASHA TSIMRING PALMER HEFFERAN PAUL LIEBER LAUREN DUBOWSKI BETH McGUIRE VICKI SHAGHOIAN RICK SORDELET

Casting Director

TARA RUBIN CASTING

Stage Manager

JAMES MOUNTCASTLE

The world premiere of American Night: The Ballad of Juan José was commissioned and produced by The Oregon Shakespeare Festival, Artistic Director Bill Rauch, Executive Director Paul Nicholson.

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

SEASON MEDIA SPONSOR

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Source: Q1 2012 Omniture; Jan. 2012 Comscore.

CAST IN ORDER OF APPEARANCE

Juan José Juan José the First, Ensemble Lydia, Ensemble

RENÉ MILLÁN RICHARD MONTOYA NICOLE SHALHOUB

Ben Pettus, Ensemble

AUSTIN DURANT

Mrs. Finney, Ensemble

FELICITY JONES

Johnny, Ensemble Harry Bridges, Ensemble Viola Pettus, Ensemble Teddy Roosevelt, Ensemble

JAMES HIROYUKI LIAO GREGORY LININGTON DEIDRIE HENRY RICHARD RUIZ

AMERICAN NIGHT: THE BALLAD OF JUAN JOSÉ IS PERFORMED WITHOUT AN INTERMISSION.

FRONTERAS: CICATRIZES EN LA TIERRA The border is a scar.

9

Serious Coffee.

Juan José enters the

New Haven Night Richard Montoya’s American Night: The Ballad of Juan José follows the title character’s pioneer path to his American Dream: a new life for himself and his family in the land of alleged equal opportunity.

The play also becomes an actual dream, as a nodding Juan José joins the roll of sleepy American idealists, including Mark Twain’s eponymous Connecticut Yankee in King Arthur’s Court and Dorothy in The Wizard of Oz. American Night begins with and ultimately becomes a Mexican corrido, or folk ballad, borne out of medieval Spanish romances that conveyed the adventures of a knight errant. The corrido was an essential tool for disseminating information, tradition, and frequently subversion, especially during the Mexican Revolution: when Villa and Zapata were killed in battle, the people learned about it in a song. Today, the corrido survives in Mexican and, as the cultures increasingly mingle, Mexican-American music, tackling issues from immigration to the Mexican Drug War, often inflected with rap.

corrido=ballad

correr=to run

How will the dream-corrido of American Night resonate in New Haven? Our national dialogue on immigration focuses understandably on border states in the West and Southwest, where cartel violence, combined with the rise of anti-immigrant fever, have led the playwright to what he calls his “trans-border despair.” But according to the 2010 census, 19 percent of U.S. Hispanics live in the Northeast, and nearly a third of New Haven’s population identifies as Hispanic or Latino.

From the moment English Puritans bought the land that now constitutes New Haven from the Quinnipiac Indians in 1638, continual waves of immigration and migration have renewed and redefined this city. As a result, civil rights issues have long shaped life and politics here. Among other landmark events, the oldest American municipal civil rights agency, the New Haven Commission on Equal Opportunities, opened its doors in 1963. But like JJ, newcomers to New Haven and the greater Northeast, including the many immigrants from Latin American countries, have been both welcomed and rebuffed.

At his journey’s end, Juan José’s encounter with this country’s past and present has left his armor of hope dented and dinged, but he will still need to wear it. As American Night reminds us, his story is a “ballad without end.” Montoya hopes the immigrant will see that the legal path to citizenship is well worth his time—and that all Americans will find it worth our encouragement.

PHOTOS: AZUL BLEU MOON/SHUTTERSTOCK AND JAMES STIEDL/FLICKR.

—LAUREN DUBOWSKI, PRODUCTION DRAMATURG 11

In American Night, Richard Montoya transforms a hyper time-traveler who crosses the borders o landscape of Juan José’s dream.

MANZANAR, CA SAN FRANCISCO, CA Site of the 1954 Bloody Thursday conflict between striking maritime workers, led by organizer Harry Bridges, and the police.

This led to the General Strike, the largest strike in U.S. history.

U.S.

Location of the most widely known of the 10 “War Relocation Camps,” where more than 110,000 Japanese-Americans were forcibly relocated during World War II under President Franklin D. Roosevelt’s Executive Order 9066.

World’s leading immigration country

Mexico

¡hij ole !=g osh !

JUÁREZ One of the fastest growing cities in the world, despite being called “the most violent zone in the world outside of declared war zones” in 2009. Genderbased killing of women, called feminicidio in Spanish, is rampant in the city.

¡óra esperanza le!= hey! amor=love

Nearly 1/2 million SONORAN DESERT A desert that spans a large swath of the Southwestern United States and includes the western portion of the U.S.-Mexico border. It is one of the deadliest places to cross.

5,600

ACLU estimate of the number of migrant deaths between 1994 and 2009.

e op =h

World’s leading emigration Number of country Mexicans attempting to cross the border each year:

arigatō= thank you (Japanese)

Leading cause of death:

Exposure to the elements

heat stroke, dehydration, hypothermia, drowning, accidents

25%

Projected Hispanic or Latino percentage of U.S. population in 2050

60%

Passing grade on the U.S. naturalization civics test

16.3%

Hispanic or Latino percentage of the U.S. population as of 2010 (50.5 million people)

MARICOPA COUNTY, AZ Joe Arpaio, the elected sheriff of this county, first elected in 1992, is a leading proponent of anti-immigration law.

63%

Percentage who are Mexican

Length of border: 1,969 miles. Composition: Non-continuous fences, gates, and walls that cross over

vato=dude, man sueño=dream

the stereotype of the sleeping Mexican into o f time and space. Here is just a little of the FT. RILEY, KS Hypothesized origin of the Spanish Flu, which ignited a global pandemic from 1918-1919, causing the death of 3-6% of the world’s population.

Top 5 states where Mexican immigrants live:

California, Texas, Illinois, Arizona, Georgia MONEY, MS In 1955, Emmett Till, a 14-year-old African American boy, spoke to a white woman in a grocery store here and was then brutally murdered by her husband and his half-brother. The men were acquitted, but later admitted to the crime, protected by double jeopardy.

MARATHON, TX A small community in Brewster County, just south of where Viola Pettus cared for victims of the 1918 Spanish Flu pandemic. =w hy ?

ay úd a

38.5 million

lp =he me

po r qu é?

MAQUILADORAS

A complex network of powerful cartel gangs have been violently fighting for dominance over the flow of drugs into the United States for several decades, especially since the 1990s.

cartels/carteles= Criminal drug organizations at the center of the present-day Mexican Drug War

e m

A controversial manufacturing system along the border which benefitted from the 1994 North Atlantic Free Trade Agreement between the U.S., Mexico, and Canada. 1.3 million Mexicans, mostly young women, currently work in approximately 3,000 maquiladoras in poor conditions for less than a living wage.

CULIACÁN, SINALOA Juan José’s hometown.

ra= fronte

Total number of immigrants, illegal and legal, living in the U.S. as of 2010

bor der

THE MEXICAN DRUG WAR

r rural and urban areas. Some parts are secured by a “virtual fence,” or security monitoring system.

MEXICO CITY, MEXICO The capital of Mexico, where the Treaty of Guadalupe was signed in 1848, ending the Mexican-American War and making nearly half of latter-day Mexico part of the U.S.

Richard Montoya, Culture Clash, and the Dreaming of American Night Richard Montoya, an eighth-generation American, was born in San Diego, spent his formative years as an artist in San Francisco, and now calls L.A. home. California is one of the nation’s most diverse states—so it’s perhaps unsurprising that the performance collective he’s been part of there with collaborators Ric Salinas and Herbert Siguenza since 1984 is called Culture Clash.

The group grew out of a rich Chicano, or Mexican-American, artistic landscape fertilized by 1960s activism. Fellow Chicano writer-artist Guillermo Gómez-Peña has called the trio “reverse anthropologists and social detectives” who “irritate everyone democratically.” He points out that in the 1990s, armed with their unique brand of satire, Culture Clash invaded many forms of media previously uncharted by Chicanos, from television to opening for the rock band, Rage Against the Machine, to video art in film and television.

The last time Montoya took the stage at Yale Rep, in 2003, it was to perform Culture Clash in AmeriCCa, directed by Tony Taccone. The play grew from ten years of conversation

with all kinds of people, everywhere from their native California to New York. Five years later, The Oregon Shakespeare Festival commissioned the group to launch its nine-year American Revolutions cycle of new history plays. The result was American Night, written by Montoya and developed with Culture Clash and director Jo Bonney.

Characteristically prescient, the play opened shortly before Arizona SB 1070— the strictest immigration law in the United States—was scheduled to go into effect.

The Yale Rep production, directed by Shana Cooper, marks American Night’s East Coast premiere. Montoya and Cooper’s collaboration has brought a number of updates to the script to reflect current events and resonate with a New England audience. As you’ll see, American Night remains insistently timely. The Supreme Court released a split decision on SB 1070 this June, allowing both sides to claim victory. Today, these “United” States are increasingly divided on issues from politics to religion to sexuality.

At the close of our first African American president’s first term, on the eve of an ideologically driven election, Montoya does something truly radical. He dreams all Americans, from Sacagawea to the person sitting next to you, onto the stage.

For everything that threatens to sunder us as a nation, American Night gives us all something in common—laughter can be a great uniter.

—LD

CULTURE CLASH (LEFT TO RIGHT): RIC SALINAS, HERBERT SIGUENZA, AND RICHARD MONTOYA. PHOTO BY JOHN MALDONADO.

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CAST AUSTIN DURANT (BEN PETTUS, ENSEMBLE) is happy to return to Yale Rep, where he previously appeared in Death of a Salesman and Passion Play. His other credits include War Horse (Lincoln Center Theater); Anna Christie (The Old Globe); A Doctor in Spite of Himself (Intiman Theater); The Illusion, One Flew Over the Cuckoo’s Nest (Berkshire Theatre Festival); The Fantasticks (Mum Puppettheatre); Othello, Jelly’s Last Jam, Romeo and Juliet (Yale School of Drama); The Who’s Tommy, and The Mystery of Irma Vep (Yale Summer Cabaret). He has also appeared on the television program Nurse Jackie. He received his BA from Temple University and his MFA from Yale School of Drama. Austin is a 2012 Leonore Annenberg Fellow.

DEIDRIE HENRY (VIOLA PETTUS, ENSEMBLE) is an award-winning actress last seen in A Raisin in the Sun at the Kirk Douglas Theatre and Ebony Repertory Theatre in Los Angeles. Her other theatre credits include Parade (Mark Taper Forum); Athol Fugard’s Coming Home, Yellowman (Fountain Theatre); Small Tragedy (The Odyssey Theatre); The Ballad of Emmett Till (Goodman Theatre); Yellowman (Berkeley Repertory Theatre); As You Like It, Three Sisters, Wit, Hamlet, Seven Guitars (Oregon Shakespeare Festival); Closer (Portland Center Stage); and Blues for an Alabama Sky (Alliance Theatre, Hartford Stage, Arena Stage, Huntington Theatre). Awards include two Ovation Awards and two additional nominations for Best Actress, two NAACP Theatre Awards, two Los Angeles Drama Critics Circle Awards, and a Helen Hayes Award Nomination for Best Supporting Actress. Her film and television appearances include Beautiful Boy, Beyond the Blackboard, Touch, Harry’s Law, Chicago Code, The Riches, ER, Without a Trace, Strong Medicine, Shark, NCIS, Heartland, Brothers & Sisters, Lie to Me, and Southland. She currently lives in Los Angeles with her honey and their brand new puppy, Walnut.

FELICITY JONES (MRS. FINNEY, ENSEMBLE) previously appeared at Yale Rep in The Winter’s Tale, The Master Builder, A Woman of No Importance, Lulu, and The Ladies of the Camellias. Her New York stage credits include the Broadway production of Metamorphoses, and Off-Broadway: The Captain’s Tiger (Manhattan Theatre Club), Measure for Measure (The Public Theater), and As You Like It (The Acting Company). Regional credits include The Homecoming, ’Tis Pity She’s a Whore, Lady Windemere’s Fan (CENTERSTAGE); The Diary of Anne Frank (Westport Country Playhouse); Enrico IV (American Conservatory Theater); The

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Odyssey (Goodman Theatre); and Cymbeline (Hartford Stage, McCarter Theatre).

She is an associate with Lattawork Productions, performing her one-woman school show Me Pluribus Unum. She was an Associate Artist for ten years at Theatre de la Jeune Lune, where she co-wrote and performed in such works as Crusoe, Friday and the Island of Hope, The Green Bird, and Children of Paradise: Shooting a Dream (the last two also seen here at Yale Rep). Film and television credits include Julie & Julia, Wonderland, Deadline, Ed, and Law & Order.

JAMES HIROYUKI LIAO (JOHNNY, ENSEMBLE) is thrilled to be making his Yale Rep debut. His other theatre credits include M. Butterfly (Arena Stage), The Caterer (Whitefire Theatre), All My Sons (The Matrix Theatre Company), and Waiting for Godot (78th Street Theatre Lab). His film and television credits include Frankenweenie, Battle: Los Angeles, Management, House, 24, CSI, Prison Break, and Law & Order.

Born and raised in Brooklyn, James received his BFA in drama from The Juilliard School.

GREGORY LININGTON (HARRY BRIDGES, ENSEMBLE) was a company member at the Oregon Shakespeare Festival for twelve years. Roles there include Berowne in Love’s Labor’s Lost, Cassius in Julius Caesar, Gratiano in The Merchant of Venice, Edgar in King Lear, Proteus in The Two Gentlemen of Verona, Trofimov in The Cherry Orchard, Mr. Marks in Intimate Apparel, Doricourt in The Belle’s Stratagem, and Jack Rover in Wild Oats. World premieres at OSF: Armin in Equivocation (also Seattle Rep, Arena Stage), Donald in Welcome Home, Jenny Sutter (also The Kennedy Center), Fleiss in Oedipus Complex, and Throne of Blood (also Brooklyn Academy of Music). He is a founding member of the Black Swan Lab at OSF (2009). He worked extensively with Misery Loves Company in Prague (1995–1999) and trained at the Pacific Conservatory for the Performing Arts (Class of 1993). This is Mr. Linington’s first appearance at Yale Rep. He currently lives in Los Angeles.

RENÉ MILLÁN (JUAN JOSÉ) is making his Yale Rep debut. His New York theatre credits include The Wild Party on Broadway and El Paso Blue at the Summer Play Festival. His regional credits include Juan José in American Night: The Ballad of Juan José, Angelo in Measure for Measure, the Bastard in King John, Tybalt in Romeo and Juliet, Palo in Gibraltar, The Tiger in Tracy’s Tiger, Officer Fernandez in Breakfast, Lunch and Dinner (Oregon Shakespeare Festival); Juan José in American Night: The Ballad of Juan José (La Jolla Playhouse, Kirk Douglas 17

CAST Theatre); René Flores in Lydia (Denver Center Theatre); Leonardo in Blood Wedding (Guthrie Theater, Missouri Rep); and Great in Orange, Lemon, Egg, Canary (Actors Theatre of Louisville). His film and television credits include In America, In the Weeds, 24, and CSI: Miami. MFA, University of Washington, Seattle. Mr. Millán is a Beinecke Fellow at Yale School of Drama this fall. renemillan.com

RICHARD MONTOYA (PLAYWRIGHT; JUAN JOSÉ THE FIRST, ENSEMBLE) As solo playwright: Water & Power (Mark Taper Forum, L.A. Drama Critics Award; published by Samuel French); Palestine, New Mexico (Mark Taper Forum); and Anthems (Arena Stage). La Jolla Playhouse: Culture Clash’s Zorro in Hell and The Mission. New works include The River for Campo Santo in San Francisco, The Federal Jazz Project for San Diego Repertory Theatre, a project for The Ground Floor at Berkeley Rep, and 32 Beds for South Coast Repertory in Costa Mesa. He is a co-writer and co-founder of Culture Clash which was founded in 1984. Montoya is a Sundance Institute Writer and Director Film Lab alumnus and a staff writer for John Wells’s acclaimed Southland. He will complete post-production of his feature film Water & Power, based on his play, here at Yale’s Digital Media Center for the Arts. A Beinecke Fellow at Yale School of Drama this fall, he studied at the American Conservatory Theater and is the proud father of Mountain Montoya to whom American Night is dedicated.

RICHARD RUIZ (TEDDY ROOSEVELT, ENSEMBLE) made his Yale Rep debut in last season’s The Winter’s Tale. His other theatre credits include The Two Gentlemen of Verona (The Public Theater) as well as the National Tours of Sweet Charity, Urinetown, Man of La Mancha, and Jesus Christ Superstar.

Regionally he has appeared in Cyrano (Folger Theatre), ’Tis Pity She’s a Whore (CENTERSTAGE), The Mystery of Irma Vep (Intiman Theatre), Guys and Dolls (Long Wharf Theatre), Moby Dick: Rehearsed (Berkshire Theatre Festival), Candide (Arden Theatre Company), Love’s Labour’s Lost (Connecticut Repertory Theatre), Treasure Island (People’s Light & Theatre), A Midsummer Night’s Dream (Two Rivers Theater Company), The Music Man (Lyric Theatre), and Picasso at the Lapin Agile (Theatre Virginia).

NICOLE SHALHOUB (LYDIA, ENSEMBLE) is making her Yale Rep debut. She has appeared Off-Broadway in The Fifth Column (Mint Theater Company), Hell House (St. Ann’s Warehouse), The Clean House (understudy, Lincoln Center Theater), as well as in shows at the Broadway Comedy Club, The PIT, New York International Fringe Festival, and chashama.

Regional credits include Mary Zimmerman’s Arabian Nights 18

(Berkeley Rep), Icarus (Lookingglass Theatre Company), Mirror of the Invisible World (Goodman Theatre), Loulou the Acrobat (Banff Arts Center), Snow in June and Six Characters in Search of an Author at American Repertory Theatre directed by Robert Brustein. She has also worked at Arena Stage, Kansas City Rep, Williamstown Theatre Festival, Hartford Stage, and Perry Mansfield. She has appeared in the films Sex and the City 2 and The International, as well as the TV shows Law & Order: Criminal Intent and The Good Wife. She has a BA from Columbia University and an MFA from the ART Institute at Harvard University.

CREATIVE TEAM SHANA COOPER (DIRECTOR) made her Yale Rep debut directing Romeo and Juliet in 2011. Her other recent projects include Love’s Labor’s Lost (Oregon Shakespeare Festival) and The Taming of the Shrew (California Shakespeare Theater). Shana is a founding member of New Theater House, where she has directed A Midsummer Night’s Dream, The Whale Play by Victor I. Cazares, and Twelfth Night (in collaboration with actors from the Oregon Shakespeare Festival). Other credits include Camino Real (NYU MFA program), The Three Sisters (The Studio/New York), A Lie of the Mind (American Conservatory Theater MFA program), Oklahoma! (Hangar Theatre, associate director); as well as productions at Willamette Repertory Theatre, Sonoma Repertory Theatre, Cal Shakes Student Company, Washington Shakespeare Festival, Amherst College, Willamette University (Guest Artist), and Magic Theatre’s Young California Writer’s Project. Shana was the Associate Artistic Director of the California Shakespeare Theater from 2000–2004. She is the recipient of a 2010 Princess Grace Award, Drama League Directing Fellowship, a TCG Observership Grant, the Phil Killian Directing Fellowship (Oregon Shakespeare Festival), and a member of the Jack O’Brien Director’s Lab. She received her MFA from Yale School of Drama, where she was awarded the Julian Milton Kaufman Memorial Prize. Upcoming projects include The Unfortunates, a new musical by 3 Blind Mice, Casey Hurt, and additional material

by Kristoffer Diaz (Oregon Shakespeare Festival).

LAUREN DUBOWSKI (PRODUCTION DRAMATURG) is a second-year MFA candidate in dramaturgy at Yale School of Drama, where her credits include Caryl Churchill’s Fen directed by Joan MacIntosh. She is currently an artistic associate of Yale Cabaret and the web managing editor for Theater magazine. Lauren is an alumna of Bryn Mawr College and later helped found the Headlong Performance Institute in Philadelphia.

PALMER HEFFERAN (SOUND DESIGNER) previously designed sound for Fracturing (Sweeter Theater), Tio Pepe (The Public Theater), Call Me Anne (Access Theater), Heroes (American Players Theatre), Cymbeline, and Antony and Cleopatra (Yale School of Drama). She also served as associate sound designer on American Hwangap (Play Company); Boy’s Life (Second Stage Theatre); Fifty Words (MCC Theater); Dying City, Hedda Gabler (Hartford Stage); Dinner with Friends, Tartuffe (Westport Country 19

CREATIVE TEAM Playhouse); Beyond Therapy (Williamstown Theatre Festival); We Have Always Lived in the Castle (Yale Rep); and assistant sound designer on The Piano Lesson (Yale Rep).

Her original compositions were presented in the 2011 Prague Quadrennial as part of the 3rd International Theatre Soundscore and Music Composition Exhibition. Palmer holds a BFA from Savannah College of Art & Design and is a third-year MFA candidate at Yale School of Drama. palmerhefferan.com

PAUL LIEBER (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama, where he has designed the projections for The Seagull and Eurydice. Other credits include The Realistic Joneses (Yale Repertory Theatre), Persona, Underneath the Lintel, and Out of the Blue (Yale Cabaret). He has worked professionally in Cincinnati as a projection, lighting, and sound designer. Paul is a graduate of Xavier University, where he received his BA in electronic media.

BETH McGUIRE (VOCAL AND DIALECT COACH) Vocal and dialect credits include the Broadway productions of Chaplin and A Streetcar Named Desire with Blair Underwood and the Off-Broadway productions of The Overwhelming (Roundabout Theatre Company); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theatre Club); People Be Heard (Playwrights Horizons); Candida, Gas Light (The Roundtable Ensemble); Free Market, Exit Cuckoo (Working Theater); Art of Memory (Company SoGoNo); and In Darfur (The Public Theater). Regional: Belleville, The Piano Lesson, The Servant of Two Masters, Eclipsed, Death of a Salesman, Lydia, All’s Well That Ends Well, dance of the holy ghosts, The Mystery Plays, The Taming of the Shrew, King Lear, Iphigeneia at Aulis, Kingdom of Earth (Yale Rep); The Convert (McCarter Theatre); Hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New Jersey); The Cook (Hartford Stage); and Crimes of the Heart (The Cape Playhouse). Ms. McGuire is an assistant professor of acting at Yale School of Drama; is a member of VASTA (The Voice and Speech Trainers Association), Actors’ Equity, SAG, and AFTRA; and is an actress with over 30 years of performance experience.

JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) Please see page 25 for his bio.

KRISTEN ROBINSON (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed sets for Fox Play and The Seagull. She was Yale School of Drama’s 2012 Princess Grace Scholarship nominee and is the recipient of the Alfred L. and Nancy L. McDougal Scholarship and the Donald and Zorka Oenslager Scholarship in Stage Design. Other credits include Clutch Your Amplified Heart and Pretend, Persona, Out of the Blue, Dorian Gray (Yale Cabaret); The Tempest, Twelfth Night, Rosemark’d Queen (Yale Summer Cabaret Shakespeare Festival); Pippin, Big River, Oliver!, Dirty Rotten Scoundrels (The Carnegie Visual and Performing Arts Center); Engaged! (Cincinnati Shakespeare Festival); and Equus (New Edgecliff Theatre). She also worked as an art director for Feiffer Dancer Films by Judy and Ellen Dennis.

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KEN ROHT (CHOREOGRAPHER) is an artist from Los Angeles. His directing/ choreography credits include Offenbach!!! (Bard Summerscape); Breasts/Tears, The Good Soldier Schweik (Long Beach Opera); Last Resort, an operetta which he also wrote (REDCAT); seven seasons of the 99¢ Holiday Spectacles, which he also wrote (Bootleg Theater, LA); and the feature film musical, The Bloody Indulgent. He has also worked as a choreographer at New York Philharmonic, New York City Opera, La Jolla Playhouse, Playwrights Horizons, Oregon Shakespeare Festival (seven seasons), Los Angeles Center Theatre Group, Michael Counts’s GAle GAtes, as well as on music videos for Sanrio and Jamie Cullum. He is the recipient of grants and/or commissions from Plum Foundation, Good Works Foundation, Department of Cultural Affairs-Los Angeles, Los Angeles County Arts Commission, Durfee Foundation, and Audrey Skirball-Kenis Theater Projects.

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

MARTIN T. SCHNELLINGER (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include The Bachelors and Angels in America, Part Two: Perestroika. He also worked on Basement Hades: Songs from the Underworld, A Thought in Three Parts, Church, and Hong Kong Dinosaur at Yale Cabaret. Prior to Yale, Martin lived for six years in Washington, DC, where his credits include Beauty of the Father; Momia en el Closet: The Return of Eva Perón; El mejor alcalde, el rey; The Aging of the Plum; Blood Wedding; Valor, agravio y mujer, all at GALA Hispanic Theatre; After Juliet (Imagination Stage); The Winter’s Tale (The Academy for Classical Acting at Shakespeare Theatre Company); and Abstract Nude (Capital Fringe Festival). His opera credits include Suor Angelica/Gianni Schicci (Opera Theatre and Music Festival of Lucca, Italy) and L’heure Espagnole (College Conservatory of Music, University of Cincinnati).

VICKI SHAGHOIAN (SINGING COACH) Previous Yale Rep credits include the world premieres of Adam Bock and Todd Almond’s musical We Have Always Lived in the Castle and David Rabe’s The Black Monk, as well as Iphigeneia at Aulis and Serious Money. Her other credits include Athol Fugard’s Coming Home and Have You Seen 21

CREATIVE TEAM Us? (Long Wharf Theatre), Metamorphoses (Broadway); and she has been affiliated with The Public Theater, The Drama League, New York Musical Theater Festival, All Stages, The Old Globe, Eugene O’Neill Theater Center, and Kurt Weill Foundation for Music. Performance credits range from San Francisco Opera to Montreux International Jazz Festival: Jenufa (Sir Charles Makerras); Der Rosenkavalier (Sir John Pritchard); Das Lied von der Erde, L’Enfant et les Sortilèges, and Seven Deadly Sins (all with Kent Nagano); the world premieres of Song of Pegasus (Ron MacFarland) and Un racconto fiorentino (Avery Fisher Hall). She created the role of Wallis Simpson in The Windsor Follies (Laurie Beechman Theatre, NYC) and also appeared in Carousel (Opera Illinois) and Candide (Harrisburg Opera), both directed by Dan Knechtges. She has debuted over a dozen libretti with the celebrated Donald Pippin. She most recently appeared as Lyubov Ranevskaya in The Cherry Orchard (Miscreant Theater Company, NYC). As a recipient of the Rotary International Foundation Graduate Fellowship Award, she did her graduate studies at the Royal College of Music (ARCM), School of Opera and the Alexander Institute in London. She joined the acting faculty at Yale School of Drama in 2000.

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

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

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

MASHA TSIMRING (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Petty Harbour, The Seagull, Doctor Faustus Lights the Lights, and The Taming of the Shrew. Other credits include Funnyhouse of a Negro, Basement Hades, Church, Persona, Dorian Gray, PleasureD, Debut Track One Chord One Verse One (or, The Shed), all at Yale Cabaret; Fireworks Festival (Berkeley Repertory Theatre); The Norman Conquests, Skylight (Shotgun Players); Once in A Lifetime (ACT Conservatory); Printz Dance Project (Cowell Theater); and Drip (Crowded Fire). Masha received her BFA from Emerson College. mashald.com

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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his eleventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first ten seasons, Yale Rep has produced more than thirty world, American, and regional premieres, six of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned nearly three 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, Death of a Salesman, and A Delicate Balance 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 20th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.

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

as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.

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

JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre.

Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 13 years old, and Katie, age 11.

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

ARTISTIC

Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg 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

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

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

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PRODUCTION

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

Scenery Colin Buckhurst, Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Shop Carpenter Emily Erdman, Wyatt Heatherington Tilka, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Keri Kriston, Scenic Artist Nathan Jasunas, Clare McCormick, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, Senior 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 Linda Young, Senior Head Electrician Alexander Zinovenko, Head Electrician Sound Nicholas Pope, Sound Supervisor Paul Bozzi, Staff Sound Engineer Sanghyun Ahn, Pornchanok Kanchanabanca, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Christopher Russo, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, FOH Mix Engineer

ADDITIONAL STAFF FOR AMERICAN NIGHT: THE BALLAD OF JUAN JOSÉ Jessica Holt, Assistant Director Carmen Martinez, Assistant Scenic Designer Grier Coleman, Assistant Costume Designer Oliver Wason, Assistant Lighting Designer

Sam Ferguson, Assistant Sound Designer and Engineer Shawn Boyle, Nick Hussong, Assistant Projection Designers Nicole Marconi, Assistant Stage Manager Mike Backhaus, Associate Production Supervisor Christina Keryczynskyj, Technical Director Joey Brennan, Brian Smallwood, Assistant Technical Directors Matthew Groeneveld, Master Electrician Karen Walcott, Projection Engineer James Lanius III, Assistant Stage Carpenter Nora Hyland, Assistant Properties Master April Nichole Chateauneuf, Rachel Smallwood, Assistant Scenic Artists Nikki Fazzone, Harry Johnson, Judi Wallace, Drapers Sarah Williams, House Manager Yahya Abdul-Mateen, Ato Blankson-Wood, Geoff Boronda, Elivia Bovenzi, James Cusati-Moyer, Emily DeNardo, Shannon L. Gaughf, Molly Hennighausen, Sara Holdren, Samantha Lazar, Tiffany Mack, Matt Raich, Caitlin Smith Rapoport, Andras Viski, Run Crew UNDERSTUDIES Aaron Bartz, Teddy Roosevelt, Ensemble Joshua Bermudez, Juan José, Ensemble Robert Grant, Harry Bridges, Ensemble Brenda Meaney, Mrs. Finney, Ensemble Tom Pecinka, Juan José the First, Ensemble Paul Pryce, Ben Pettus, Ensemble Zenzi Williams, Viola Pettus, Ensemble Mitchell Winter, Johnny, Ensemble Carmen Zilles, Lydia, Ensemble SPECIAL THANKS Rob and Kathy Chase, Indian River Marina, Long Wharf Theatre properties shop, Paul Chang Custom Tailoring, Rich Tortorigi 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.

American Night: The Ballad of Juan José September 21 to October 13, 2012 University Theatre, 222 York Street

YALEREP.ORG 27

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

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

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

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

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

COMMISSIONED ARTISTS David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff 28

Yale Rep productions supported by the BINGER CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Clifton Duncan, Angela Lewis, de’Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Brooke Bloom in Marie Antoinette, 2012; and Maria Dizzia and Gilbert Owuor in Belleville, 2011. Photos by Joan Marcus.

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FOR YOUR INFORMATION

ACCESSIBILITY SERVICES

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

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

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

RESTROOMS There is an accessible restroom in the main lobby. Additional restrooms are located downstairs.

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

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

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

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

THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED. 30

Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, Frederick A. DeLuca 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 DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

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

Open Captioning and Audio Described performances are on Saturdays at 2PM.* AD pre-show description begins at 1:45PM. American Night: The Ballad of Juan José Marie Antoinette Dear Elizabeth Stones in His Pockets Hamlet* In a Year with 13 Moons

Oct 6 Nov 10 Dec 15 Feb 9 Apr 6 May 11

Oct 13 Nov 17 Dec 15 Feb 16 Apr 13 May 18

*Hamlet OC and AD performances begin at 1:30PM with a pre-show at 1:15PM. c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.

YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 16,500 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.

Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Anna Fitch Ardenghi Trust, Bank of America, N.A.,Trustee; Deborah S. Berman; Bob and Priscilla Dannies; Frederick A. DeLuca Foundation; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart.

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

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

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

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

These lists include current pledges, gifts, and grants received from July 1, 2011‚ through June 30, 2012.

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MAKE A GIFT!

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

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

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

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National Endowment for the Arts/Arts Midwest, Shakespeare for a New Generation James Munson Edward Trach

BENEFACTORS ($10,000–$24,999) Americana Arts Foundation Anonymous Bisno Productions Connecticut Commission on Culture and Tourism Scott Delman Ruth and Steve Hendel Catherine MacNeil Hollinger Ellen Iseman Lucille Lortel Foundation Donald B. Lowy Stacey Mindich Productions Sonja and Patrick Seaver Michael and Riki Sheehan Ted and Mary Jo Shen Jeremy Smith Carol L. Sirot Foundation Trust for Mutual Understanding Carol M. Waaser PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy John Badham Merritt Forrest Baer Foster Bam Jim Burrows The Noel Coward Foundation

Michael Desantis and Patrick Baugh Michael Diamond Terry Fitzpatrick Beth Galston F. Lane Heard III Linda Gulder Huett Ben Ledbetter and Deborah Freedman Sarah Long Peter Nelson Carol Ostrow Theater Communications Group Robert Pohly and Julie Turaj Philip J. Smith Susan Stroman

DIRECTOR’S CIRCLE ($1,000–$4,999) Actor’s Equity Foundation Anna Fitch Ardenghi Trust, Bank of America, N.A., Trustee Paula Armbruster Mr. and Mrs. B. Ashfield Robert L. Barth Estate of Cynthia K. Barrington* Jody Locker Berger Deborah S. Berman Jeffrey A. Bleckner Walter Bobbie Michael Broh James Bundy CECArts Link Joan D. Channick Patricia Clarkson Enrico Colantoni Sue Ann Gilfillan and Tony Converse Peggy Cowles The Frederick A. DeLuca Foundation Michael S. David Glen R. Fasman

Marc Flanagan Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan James W. Gousseff Albert R. Gurney Judith Hansen Richard Harrison Katherine W. Haskins Carol Thompson Hemingway James Ingalls James Earl Jewell Rolin Jones Jane Kaczmarek The Ethel & Abe Lapides Foundation Sasha Emerson Levin George N. Lindsay, Jr Linda Lorimer and Charley Ellis William Ludel Drs. Robert and Wendy Lyons Romaine A. Macomb Jenny Mannis and Henry Wishcamper Thomas Masse and Dr. James Perlotto Maximum Entertainment Productions Dawn G. Miller The Garret and Mary Moran Family Foundation Neil Mulligan Arthur and Merle Nacht NewAlliance Foundation Victoria Nolan and Clark Crolius Richard Ostreicher Mr. and Mrs. Albert Pailet F. Richard Pappas Dw Phineas Perkins George and Kathy Priest Hal Prince

Lance Reddick Dr. Michael Rigsby Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick Rachel Smith Kristin Sosnowsky Kenneth J. Stein Shepard and Marlene Stone Lee Stump Robert and Arlene Szczarba John Henry Thomas Tobin Theatre Arts Fund Courtney Vance Barry and Fran Weissler Terrence Witter Steve Zuckerman

PARTNERS ($500–$999) In Memory of Herbert Altman Mary Ellen and Thomas Atkins Alexander Bagnall Christopher Barreca Alice B. and James T. Brown Joy G. Carlin Cosmo Catalano, Jr. Ernestine and Ronald Cwik Bob and Priscilla Dannies Ramon L. Delgado The Cory & Bob Donnalley

Charitable Foundation Roberta Enoch and Steven Canner Paul Cleary Richard Sutton Davis Peter Entin Dr. and Mrs. Frederic Finkelstein Rob Greenberg Elizabeth M. Greene William B. Halbert Karsten Harries and Elizabeth Langhorne Jane C. Head Jeffrey Hermann Donald Holder John Robert Hood Helen Kauder and Barry Nalebuff

*deceased

Mildred Kuner Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann John McAndrew Johanna D. McAuliffe Daniel Mufson James Naughton Arthur Oliner Maulik Pancholy Amy Povich Peter S. Roberts Sandra Shaner Thomas Thurston Cheever and Sally Tyler Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis

INVESTORS ($250–$499) Anonymous Susan and Bruce Ackerman Richard Ambacher Clayton Mayo Austin James Bakkom Robert Baldwin John Lee Beatty Richard Bianchi* Lewis Black Deborah Bloch Edward Blunt Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Jonathan Busky Sheldon Bustow Anne and Guido Calabresi Anna Cascio Robert Cotnoir Stephen Coy John W. Cunningham Charles Dillingham Merle Dowling Pat Egan Joel Fontaine Walter M. Frankenberger III David Freeman Joseph Gantman Robert Gerwien

Melanie Ginter and John Lapides Joseph Wayne Gordon David M. Grant Anne K. Gregerson Norma and Richard Grossi Regina Guggenheim D. Keith Hargreaves Douglas Harvey Barbara Hauptman Sara Hedgepath Michael Haymes and Logan Green Nicole and Larry Heath Amy Herzog June and George Higgins Albert Hurwitz* Raymond P. Inkel Joanna and Lee Jacobus Cynthia Kaback Asaad Kelada Barnet K. Kellman Fredrica Klemm David Kriebs Bernard Kukoff Frances Kumin Suttirat Larlarb Kenneth Lewis Suzanne Cryer Luke Peter Marshall George Miller and Virginia Fallon David Nancarrow William and Barbara Nordhaus Louise Perkins and Jeff Glans Michael Potts Carol A. Prugh Sarah Rafferty Barbara and David Reif Bill and Sharon Reynolds Daniel and Irene Mrose Rissi Steve Robman Constanza Romero Russ Rosensweig Jean and Ron Rozett Suzanne Sato Cindy and Mark Schoenfeld Liev Schreiber Mark and Cindy Slane Mary C. Stark Sandra T. Stein and Harvey Kliman Jennifer Tipton

Anne Trites Suzanne Tucker David J. Ward William and Phyllis Warfel Dana Westberg Judith and Guy Yale

FRIENDS ($100–$249) Anonymous Emily Aber and Robert Wechsler Ade Ademola Michael Albano Sarah Jean Albertson Narda Alcorn Susan Anderson Bob and Jane Archibald Mary B. Arnstein Andrew Asensio Angelina Avallone Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Michael Barker and Heidi Leigh Hanson Robert Barr William Batsford Nancy and Richard Beals Thomas Beckett Barbara and Jack Beecher James Bender Martin Blanco Anders Bolang John Cummings Boyd Mark Boyer Amy Brewer and David Sacco Julie Anne Brown Oscar Lee Brownstein Gerard and Ann Burrow Robert and Linda Burt Susan Byck Susan Cahan and Jürgen Bank Donald Cairns Kathryn A. Calnan Lisa Carling Nicholas Carriere William E. Caruth Sami Joan Casler Marcelo Castro Patricia Cavanaugh Dr. and Mrs. W.K. Chandler Suellen G. Childs

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Contributors to Yale School of Drama and Yale Repertory Theatre Christian Clemenson Lani Click Katherine D. Cline Robert S. Cohen Patricia J. Collins Forrest Compton Greg Copeland Aaron Copp George Corrin, Jr. Dana S. Croll Timothy and Pamela Cronin Julie Crowder Jane Ann Crum Sean Cullen Marycharlotte Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Robert Dealy Nigel W. Daw Mr. and Mrs. Clifford E. DeBaptiste Mr. and Mrs. Paul DeCoster Melissa de La Cruz Elizabeth DeLuca Julia L. Devlin Liz Diamond Jose A. Diaz Leslie Dickert Connie and Peter Dickinson Melinda DiVicino Alexander Dodge Peter Donat Merle Gordon Dowling JoAnne E. Droller, R.N. Jeanne Drury George and Diane Dumigan Carolyn Dundes John A. Duran East Coast Management & Consulting Douglas Edwards Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Nancy Reeder El Bouhali Janann Eldredge Debbie Ellinghaus Lucinda Thomas Embersits

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Elizabeth English Dirk Epperson David Epstein Howard and Jackie Ertel Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Dan and Elizabeth Esty Euphoria Salon Jerry N. Evans John D. Ezell Patricia Fahey Michael Fain Kristan Falkowski Christopher Feeley Barbara and Richard Feldman Ruth M. Feldman Dr. and Mrs. Paul Fiedler Earle Finch Aurelia Fisher Lewis Folden Anthony Forman Nanci Fortgang Keith Fowler Karen Freedman Meredith Freeman Richard Fuhrman Michael T. Fulton and Catherine Hernandez Barbara and Gerald Gaab Jim and Eunice Galligan Joseph Gantman Karin Geballe Steven Gefroh Patricia Gilchrist Robert Glen William Glenn Marian Godfrey Lindy Lee Gold Betty and Joshua Goldberg Sandra Goldmark Robert Goldsby Naomi Grabel Kris and Marc Granetz Katharine Grant Raymond Grasso Bigelow Green Joe Grifasi Karen Grimmell Michael Gross John Guare

Jessica and Corin Gutteridge Phyllis Hammel Alexander Hammond Ann T. Hanley Jerome R. Hanley Scott Hansen Charlene Harrington Lyndsay N. Harris James T. Hatcher Scott Hawkins Ihor and Roma Hayda James Hazen Robert Heller Patricia Helwick Heather Henderson Stephen Hendrickson Jennifer Hershey-Benen Dennis and Joan Hickey Matthew and Lee Hieb Christopher Higgins Hill Regional Career High School Ira Hoffman Elizabeth Holloway Nicholas Hormann David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Mary and Arthur Hunt Peter H. Hunt Timothy and Diane Hunt John Huntington Patricia Ireland Andrew Jackness Candace Jackson Kirk Jackson John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Jim and Cynthia Jamieson Jeffrey’s, a restaurant Cynthia Lee Jenner Allison Hall Johnson Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Carol Kaplan Lloyd A. Kaplan James D. Karr

Dr. and Mrs. Michael Kashgarian Bruce Katzman Edward A. Kaye Richard Kaye Jay Keene Arthur J. Kelley, Jr. Abby Kenigsberg Roger Kenvin Bettyann Kevles Peter Young Hoon Kim Carol Souscek King Shirley Kirschner Raymond Klausen Richard Klein Stephen Kovel Brenda and Justin Kreuzer Joan Kron Jonathan Krupp Mitchell Kurtz William Kux Howard and Shirley Lamar Marie Landry and Peter Aronson James Larkin David Jeremy Larson Michael John Lassell Sylvia Lavietes James and Cynthia Lawler Gerard Leahy Wing Lee Charles E. Letts III Emily Leue Bradford Lewis Irene Lewis Malia Lewis Jeremy Licht Drew Lichtenberg Alan Lichtenstein Martha Lidji Jerry Limoncelli Bertram Linder Chuck and Helana Litty Benjamin Lloyd Bruce Lockwood Edgar Loessin Robert Hamilton Long II Sara Low Henry Lowenstein Derek Lucci Paul David Lukather Thomas Lynch

Nancy Lyon Andi Lyons Janell M. MacArthur Elizabeth M. MacKay Lizbeth Mackay Jonathan Macey Wendy MacLeod Alan Mokler MacVey Linda Maerz and David Wilson Peter Andrew Malbuisson Orla and Mithat Mardin Elizabeth Margid Jonathan Marks Timothy and Leslie Marsh Maria Mason and William Sybalsky Carole A. Masters James and Margaret Mathis Beverly May Amy Lipper McCauley Alice McConnell Robert A. McDonald Brian McEleney Thomas McGowan April McGrath Deborah McGraw Robert J. McKinna Patricia McMahon Bruce W. McMullan Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Carol Mikesell Brina Milikowsky Jonathan Miller Lesley Miller Robert J. Miller Sandra Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Jennifer Moeller Richard R. Mone Tom Moore George Morfogen

Anne Morrison Grafton V. Mouen Gayther Myers, Jr. Rachel Myers Tina C. Navarro Regina and Thomas Neville Ruth Hunt Newman Ronald Dean Nolen Grace O’Brien Dwight R. Odle Fran and Ed O’Neill Sara Ormond Kendric T. Packer Dr. Ismene Petrakis William Peters Roberta Pilette David Pomeran Nancy B. Porter Michael B. Posnick Gladys Powers Robert Provenza Jeffry Provost Alvin S. Prusoff and Dr. Deborah DeRose Margaret Adair Quinn Faye and Ashgar Rastegar Ronald Recasner James and Cynthia Reik Mary B. Reynolds Peter S. Roberts Lori Robishaw Howard Rogut Joanna Romberg Fernande E. Ross Andrew Rubenoff Dr. Ortwin Rusch Raymond Rutan Edward and Alice Saad Steven Saklad Clarence Salzer Robert Sandberg Robert Sandine and Irene Kitzman Frank Sarmiento Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger

Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Georg Schreiber Jennifer Schwartz Forrest E. Sears Paul Selfa Subrata K. Sen Sandra Shaner Morris Sheehan Paul R. Shortt Mark Shufro Lisa-Marie Shuster Carol M. Sica Lorraine Siggins and Braxton McKee E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Amanda Spooner Louise Stein Neal Ann Stephens John Stevens Jaroslaw Strzemien Mark Sullivan Thomas Sullivan Sy Sussman Jane V. Suttell David Loy Sword Eleanor K. Tignor Eric Ting David F. Toser Russell L. Treyz Richard B. Trousdell Deborah Trout Marge Vallee Joan Van Ark Carrie Van Hallgren Hyla and Barry Vine Arthur Vitello Eva Vizy Fred Voelpel Elaine and Patrick Wackerly Mark Anthony Wade Andrea S. Walker Charles and Patricia Walkup Erik Walstad

Barbara Wareck and Charles Perrow Joan Waricha Steven I. Waxler Gil Wechsler Robert Wechsler Rosa Weissman Vera Wells Susan Wheeler Peter White Lisa A. Wilde Robert Wildman Marshall Williams David Willson The Winokur Family Foundation Carl Wittenberg Stephen Wolff Yun C. Wu David York Arthur and Ann Yost Donald and Clarissa Youngberg Patricia and John Zandy Catherine Zuber

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

This list includes current pledges, gifts, and grants received from July 1, 2011, through June 30, 2012. For more information about making a donation to Yale Repertory Theatre, please contact Susan Clark at 203.432.1559 or susan.clark@yale.edu.

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YALE REPERTORY THEATRE WORLD PREMIERE

MARIE ANTOINETTE

BY DAVID ADJMI DIRECTED BY REBECCA TAICHMAN A CO-PRODUCTION WITH AMERICAN REPERTORY THEATER

OCTOBER 26 TO NOVEMBER 17

yalerep.org YALE SCHOOL OF DRAMA

IPHIGENIA AMONG THE STARS ADAPTED FROM EURIPIDES BY BENJAMIN FAINSTEIN CONCEIVED AND DIRECTED BY JACK TAMBURRI

OCTOBER 30 TO NOVEMBER 3

drama.yale.edu YALE REPERTORY THEATRE WORLD PREMIERE

DEAR ELIZABETH

BY SARAH RUHL

A PLAY IN LETTERS FROM ELIZABETH BISHOP TO ROBERT LOWELL AND BACK AGAIN

DIRECTED BY LES WATERS

NOVEMBER 30 TO DECEMBER 22

yalerep.org

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