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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Tom Stoppard’s Arcadia and the opening of Yale Rep’s 2014–15 season! Tom Stoppard’s plays are among the most beloved and most frequently produced contemporary plays of both this century and the last. Most recently at our theatre, Rough Crossing, his rollicking adaptation of Molnár’s Play at the Castle, delighted audiences in 2008. Yet this production of Arcadia marks the first time that the play has been professionally staged in Connecticut, and so I am especially delighted that you are here today to share the work of this tremendously gifted company of actors and the creative team with whom I have been collaborating for the last several months. Arcadia is a deep and deeply generous work, spinning and weaving science and art, a whodunit and a romance, historical time and theatrical time, with jokes. The play is profoundly concerned with the way we seek to understand our lives, our loves, and our universe: as one character says, “It’s wanting to know that makes us matter.” Tom’s genius is his ability to theatricalize this subject matter as an event—in the imaginative leaps made by actors and audiences together, “the unpredictable and the predetermined unfold together to make everything the way it is.” I look forward to sharing with you the other unpredictable and predetermined theatrical adventures to unfold later this season. Our OBIE Award winning Resident Director Liz Diamond will stage Bertolt Brecht’s The Caucasian Chalk Circle with a creative team that also includes Pulitzer Prize winning composer David Lang in the spring of 2015. And Yale Rep is honored to present three world premieres by extraordinary playwrights: Branden Jacobs-Jenkins, a 2014 OBIE Award winner for Best New American Play; Danai Gurira—author of Eclipsed, which won the 2010 Outstanding Production of a Play Award from the Connecticut Critics Circle; and Sheila Callaghan, whose Elevada was recently shortlisted for the Susan Smith Blackburn Prize. These writers are the bright present and future of the American theatre: like Christopher Durang, Amy Herzog, Tarell Alvin McCraney, Sarah Ruhl, and August Wilson—five of the ten most produced playwrights in America in 2014–15—you can see their work first at Yale, by joining us as a Yale Rep subscriber throughout the year! As always, I look forward to hearing what you think about the play or any of your experiences at Yale Rep: my email address is email@example.com. Sincerely,
James Bundy Artistic Director 3
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OCTOBER 3–25, 2014
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
TOM STOPPARD JAMES BUNDY DIRECTED BY
Composer Choreographer Scenic Designer Costume Designer Lighting Designer Sound Designer Dialect Coach Production Dramaturg
MATTHEW SUTTOR EMILY COATES ADRIAN MARTINEZ FRAUSTO GRIER COLEMAN CAITLIN SMITH RAPOPORT TYLER KIEFFER STEPHEN GABIS RACHEL CARPMAN
TARA RUBIN CASTING
Arcadia is presented by special arrangement with Samuel French, Inc. YALE REP IS SUPPORTED IN PART BY THE CONNECTICUT DEPARTMENT OF ECONOMIC AND COMMUNITY DEVELOPMENT.
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in order of appearance Thomasina Coverly Septimus Hodge Jellaby Ezra Chater
REBEKAH BROCKMAN TOM PECINKA MICHAEL RUDKO JONATHAN SPIVEY
Bernard Nightingale Valentine Coverly Gus Coverly, Augustus Coverly
STEPHEN BARKER TURNER MAX GORDON MOORE BRADLEY JAMES TEJEDA
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Poetical Science Lord Byron’s daughter, Ada Lovelace, a brilliant mathematician and a predictor of modern computer science, once wrote to her mother, “If you can’t give me poetry, can’t you give me ‘poetical science’?” As Lovelace saw, poets have always had access to ideas scientists take years to prove. Byron himself imagined a cold, dark end of the world in his poem “Darkness,” which was written years before the laws of thermodynamics were set down by physicists. Romantic poetry grew out of, and in reaction to, the codifying of the universe undertaken by scientists like Sir Isaac Newton during the Enlightenment—a view of our world that didn’t significantly change until the twentieth century, when quantum physics and chaos theory reshaped our understanding of the universe yet again. On the next few pages, over 2,000 years of human thought are manifested in texts and allowed to overlap. In the theatre all these ideas can exist simultaneously, and time may defy the laws of physics, shuttling from past to present with grace. Arcadia revels in this complex simultaneity, and since, as Thomasina explains in a poetical rendering of the second law of thermodynamics, we “cannot stir things apart,” the two times are ultimately inextricable: we cannot understand one without the other.
—RACHEL CARPMAN, PRODUCTION DRAMATURG 9
The Genius of the Place In 1809, a war was being fought on the lawns of the British aristocracy. Eighteenth-century Neoclassicism and nineteenth-century Romanticism clashed in a flurry of leaves and twigs, as the British shaped the earth itself to conform to the dominant aesthetics of the day. The eighteenth-century Enlightenment returned to the ancient Grecian ideals of logic and order, both in thought and in design. In Britain, landscape architect Lancelot “Capability” Brown embodied the eighteenth-century vision of Grecian Arcadia—which the British associated with idyllic, pastoral living—in his garden plans. Brownian landscapes, many of which are still intact outside the stately homes of the English countryside, featured wide-open, sweeping lawns that stretched out to the horizon; clumps and scatterings of trees; serpentine lakes; and classical temples peeking out of the woods. At the turn of the nineteenth century, the rational nature of the Enlightenment had begun to frustrate artists and intellectuals, who believed beautiful and overwhelming experiences were inherently irrational. This gave rise to the Romantic era, a period of thought and art that favored feeling and emotion rather than cold logic. One particularly British flavor of Romanticism edged into the Gothic, which evoked a delicious sense of terror. In landscape design, the Gothic aesthetic was called “the picturesque.” The previous century’s open lawns were planted with trees, quiet steams turned into turbulent cataracts, and classical temples crumbled into medieval ruins. —RC
in all; Consult the genius of the place or fall; That tells the waters or to rise, heav’ns to scale, Or helps th’ ambitious hill the e vale; Or scoops in circling theatres th ning glades, Calls in the country, catches opeshades from Joins willing woods, and varies shades, intending lines; Now breaks, or now directs, th’ u work, designs. Paints as you plant, and, as yo
M EPISTLES —ALEXANDER POPE, FRO 31) PERSONS: EPISTLE IV (17
ABOVE: ENGRAVED PLATE FROM FRAGMENTS ON THE THEORY AND PRACTICE OF LANDSCAPE GARDENING BY HUMPHRY REPTON, 1816.
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CAST RENÉ AUGESEN* (HANNAH JARVIS) previously appeared at Yale Rep in A Streetcar Named Desire, A Woman of No Importance, and The Beaux’ Stratagem. She was a core acting company member at American Conservatory Theater in San Francisco for twelve seasons, where she appeared in more than three dozen productions, including The Homecoming, Scapin, Hedda Gabler, Round and Round the Garden, Clybourne Park (west coast premiere), A Doll House, The Caucasian Chalk Circle, Cat on a Hot Tin Roof, November, Edward Albee’s At Home at the Zoo, The Rivals, The Real Thing, ’Tis Pity She’s a Whore, Rock ’n’ Roll, and the world premiere of Dead Metaphor by George F. Walker. In New York, she has appeared in Spinning into Butter (Lincoln Center Theater), Macbeth with Alec Baldwin and Angela Bassett (The Public Theater), It’s My Party… with F. Murray Abraham and Joyce Van Patten (ArcLight Theatre), and Overruled (Drama League). Her other regional theatre credits include the world premieres of The Beard of Avon and The Hollow Lands at South Coast Repertory, as well as productions at Great Lakes Theater Festival, Baltimore’s Center Stage, the Los Angeles Shakespeare Festival, and Stage West. Film and television: The Battle Studies, Law & Order, Guiding Light, Another World, and Saint Maybe (Hallmark Hall of Fame). As a 2011 Ten Chimneys Foundation Lunt-Fontanne Fellow, she was recognized for her extraordinary contributions to her community and to the overall quality of the American theatre. She is a graduate of Yale School of Drama.
REBEKAH BROCKMAN* (THOMASINA COVERLY) is making her Yale Rep debut. Her regional credits include Our Town (Actors Theatre of Louisville); Arcadia, the world premiere of Dead Metaphor, A Christmas Carol, Elektra with Olympia Dukakis, the US premiere of Happy to Stand (American Conservatory Theater); Romeo and Juliet, Blithe Spirit (California Shakespeare Theater); The Winter’s Tale and The Comedy of Errors (Kingsmen Shakespeare Company). Other theatre credits: Women of Ireland tour; Romeo and Juliet, A Midsummer Night’s Dream, and Nevermore (Shakespeare Theatre of New Jersey’s Educational Touring Company). She was nominated by the Bay Area Theatre Critics Circle for Best Supporting Actress. Film: Untitled Civil War Project directed by Steven Spielberg and starring Tom Hanks. Education: MFA, American Conservatory Theater, and Rince na Tiarna School of Irish Dance. rebekahbrockman.com
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
JULIAN GAMBLE* (RICHARD NOAKES) Broadway credits include The Seagull, Democracy, The Invention of Love, The Iceman Cometh, A Month in the Country, and Dinner at Eight. Off-Broadway credits include The Master Builder, You Never Can Tell, The Flame Keeper, and Call the Children Home. He has also appeared in the national tour of Twelve Angry Men, as well as over 120 productions at regional theatres across the country. Film and television: Blood Ties, For Ellen, Taking Chance, First Born, Quiet Killer; and guest star and recurring roles on The Blacklist, Forever, The Leftovers, Law & Order, Law & Order: SVU, Law & Order: Criminal Intent, Third Watch, Rubicon, Delocated, Willy, H.E.I.R., Perry Mason, Lifestories, Dallas, One Life to Live, Days of Our Lives, and Remember WENN.
FELICITY JONES* (LADY CROOM) previously appeared at Yale Rep in The Fairytale Lives of Russian Girls, Hamlet, American Night: The Ballad of Juan José, The Winter’s Tale, The Master Builder, A Woman of No Importance, Lulu, and The Ladies of the Camellias. Her New York stage credits include the Broadway production of Metamorphoses, and Off-Broadway: The Captain’s Tiger (Manhattan Theatre Club), Measure for Measure (The Public Theater), and As You Like It (The Acting Company). Regional credits include The Homecoming, ’Tis Pity She’s a Whore, Lady Windermere’s Fan (Center Stage); The Diary of Anne Frank (Westport Country Playhouse); Enrico IV (American Conservatory Theater); The Odyssey (Goodman Theatre); and Cymbeline (Hartford Stage, McCarter Theatre). She is an associate with Lattawork Productions, performing her one-woman school show Me Pluribus Unum. She was an Associate Artist for ten years at Theatre de la Jeune Lune, where she co-wrote and performed in such works as Crusoe, Friday and the Island of Hope, The Green Bird, and Children of Paradise: Shooting a Dream (the last two also seen here at Yale Rep). Film and television credits include Julie & Julia, The Carrie Diaries, Wonderland, Deadline, Ed, and Law & Order. She is a 2014 Lunt-Fontanne Fellow.
ANNELISE LAWSON (CHLOË COVERLY) is a second-year MFA candidate at Yale School of Drama, where her credits include In Arabia We’d All Be Kings. Other credits include Middletown, A Map of Virtue, Summer Shorts: A Festival of New Voices (Yale Summer Cabaret); The Crazy Shepherds of Rebellion (Yale Cabaret); The Madness of Edgar Allan Poe (First Folio); Peter Pan’s Shadow Parts 1 & 2 and The Grisly/ Glorious Adventures of Christopher Robin, Winnie-the-Pooh, & Billy Moon (Dream Theatre Company). Annelise has a certificate in acting from the Moscow Art Theatre Summer Academy and a BA in theatre studies and psychology from Carleton College. 17
CAST MAX GORDON MOORE* (VALENTINE COVERLY) Recent credits include Time and the Conways (The Old Globe); Don Juan in Hell (Project Shaw); The Master Builder with John Turturro (BAM); Relatively Speaking (Broadway); Man and Superman, It’s A Wonderful Life (Irish Repertory Theatre); and The American Song Project (Flea Theater). Regional theatre includes Tragedy: A Tragedy (Berkeley Rep); The Seagull (Cleveland Playhouse); Richard III, As You Like It, The Merry Wives of Windsor, and The Merchant of Venice (California Shakespeare Theater); Bach at Leipzig (A Contemporary Theatre); John Bull’s Other Island (Geva Theatre); Pleasure and Pain (Magic Theatre); Private Jokes, Public Places (Aurora Theatre); Learned Ladies, The Two Gentlemen of Verona (Texas Shakespeare Festival); and Family Alchemy (Traveling Jewish Theatre). Film and television: Gods Behaving Badly, The Terrors of Basket-Weaving, and The Good Wife. MFA, Yale School of Drama, and a proud recipient of the Herschel Williams Prize in Acting.
TOM PECINKA (SEPTIMUS HODGE) is making his Yale Rep debut. He is a third-year MFA candidate at Yale School of Drama, where he performed in Bird Fire Fly, Peter Pan, Platonov, and Measure for Measure. Other credits include The Soldier’s Tale (Yale in New York series at Carnegie Hall); The Germ Project (New Georges); Losing Tom Pecinka (HERE Arts); Exquisite Corpse (Clubbed Thumb); There Will Be Snacks, The Watermelon Wars (Incubator Arts Project); Dar and Matey’s Christmas SpectaculARGH! (Vampire Cowboys); Richard 3 (New York International Fringe Festival); The Martian Chronicles (Fordham Alumni Company); As You Like It (Shakespeare on the Sound); The Cat and the Canary (Berkshire Theatre Festival); The Two Gentlemen of Verona (Shakespeare on the Sound); and Design for Living (Berkshire Theatre Festival). Tom is the recipient of the Jerome L. Greene Scholarship and is a graduate of Fordham University.
GRAHAM ROWAT* (CAPTAIN BRICE) is making his Yale Rep debut. He has appeared on Broadway in Mamma Mia!, Guys and Dolls (2009), LoveMusik, Dracula, and Beauty and the Beast. Off-Broadway credits include The Blue Flower (Second Stage), The Boys in the Band (Transport Group), and The Minister’s Wife (Lincoln Center Theater). He has appeared nationally and abroad in Irving Berlin’s White Christmas (San Francisco, Detroit, Toronto) and Les Misérables (US and China). Regional theatre credits include A Little Night
Music (Berkshire Theatre Festival), The Game (Barrington Stage), Saved (Kansas City Rep), and A Funny Thing Happened on the Way to the Forum (Williamstown Theatre Festival). TV: The Good Wife, Law & Order, As the World Turns. Recordings: LoveMusik (Broadway Cast Recording), Life Begins at 8:40, Sweet Bye and Bye (PS Classics), and multiple audiobooks. Mr. Rowat is husband to actress Kate Baldwin and father to Colin. grahamrowat.com @grahamny
MICHAEL RUDKO* (JELLABY) previously appeared at Yale Rep in Tartuffe and A Woman of No Importance. His Broadway credits include Romeo and Juliet, Mary Stuart, The Best Man, Timon of Athens, and Serious Money. Off-Broadway credits include productions at Theatre for a New Audience, the Public Theater, and the Transport Group. Internationally, he has appeared in Richard III (Bridge Project/Old Vic/BAM), We Are Not These Hands (Düsseldorfer Schauspielhaus), True West (Donmar Warehouse), Antony and Cleopatra and Julius Caesar (Globe Theatre, London). Regional credits include ART, Arena Stage, California Shakespeare Theater, Center Stage, Dallas Theater Center, Folger Theatre, Geva Theatre Center, Mark Taper Forum, McCarter Theatre, The Old Globe, Shakespeare Santa Cruz, Shakespeare Theatre Company (DC), Shakespeare Theatre of New Jersey, and The Wilma Theater.
JONATHAN SPIVEY* (EZRA CHATER) is making his Yale Rep debut. His New York credits include the Broadway production of Act One directed by James Lapine (Lincoln Center Theater), Myra (American Globe), and The Medicine Showdown (Flying Carpet). Regional credits include Death of a Salesman directed by Pam MacKinnon; The Tempest directed by Adrian Noble; As You Like It, Richard III, Much Ado About Nothing, Inherit the Wind, Amadeus (The Old Globe); Pump Boys and Dinettes (Cape Playhouse, Geva Theatre); Dogpark (Milwaukee Rep); Cyrano de Bergerac, Souvenir, Anything Goes (Virginia Rep); Around the World in Eighty Days (Sierra Rep); Black Gold (Phoenix Theatre); The Merchant of Venice (Richmond Shakespeare); Room Service, The Foreigner, and She Loves Me (Hope Summer Rep). As a jazz pianist and writer, Jonathan recently workshopped his oneman show about lyricist Lorenz Hart. He has an MFA in acting from The Old Globe/ University of San Diego.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CAST BRADLEY JAMES TEJEDA (GUS COVERLY, AUGUSTUS COVERLY) is a second-year MFA candidate at Yale School of Drama, where his credits include Bird Fire Fly. Other work includes We Fight We Die, The Defendant (Yale Cabaret), and King John (Marin Shakespeare Company). Born and raised in San Antonio, Texas, he holds a BA in theatre arts from the University of the Incarnate Word.
STEPHEN BARKER TURNER* (BERNARD NIGHTINGALE) previously appeared at Yale Rep in the world premieres of Compulsion and The Evildoers. New York credits include Rajiv Joseph’s The North Pool (Vineyard Theatre), Michael Frayn’s Benefactors (The Keen Company); Race (Classic Stage); All My Sons (Roundabout Theatre); Richard III, All’s Well That Ends Well, Measure for Measure (New York Shakespeare Festival); A Letter From Ethel Kennedy (MCC Theater); and Lips (Primary Stages). Regional credits include the premieres of Dead Accounts, The Scene, and The Novelist, all by Theresa Rebeck; Gina Gionfriddo’s After Ashley (Humana Festival), among others. Film and television: Seducing Charlie Barker (based on Rebeck’s The Scene), Cosmopolitan, We Pedal Uphill, Blair Witch 2, Warrior Class, Body of Proof, Blue Bloods, all three Law & Order franchises, Sex and the City, Hack, Swift Justice, One Life to Live, and All My Children, among others.
CREATIVE TEAM JAMES BUNDY (DIRECTOR) Please see page 24. RACHEL CARPMAN (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where her credits include Measure for Measure, I’m Sorry I Brought Up God, and Have You Been There?. Other dramaturgy credits include Pierrot Lunaire, Dilemma!, and Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); A Dixon Family Album (Williamstown Theatre Festival); Ma Rainey’s Black Bottom (Huntington Theatre Company); His Girl Friday and The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe (Trinity Repertory Company). Most recently she served as the 2014 Festival Dramaturg for the Williamstown Theatre Festival and has interned for Roundabout Theatre Company, Huntington Theatre Company, and Trinity Repertory Company. She holds a BA in English from Wesleyan University. 20
EMILY COATES (CHOREGRAPHER) directs the dance studies curriculum at Yale University. A dancer, writer, and choreographer, she has performed internationally with New York City Ballet, Mikhail Baryshnikov’s White Oak Dance Project, Twyla Tharp Dance, and Yvonne Rainer. Career highlights include dancing three duets with Baryshnikov in works by Mark Morris, Karole Armitage, and Erick Hawkins. At NYCB, she was among the last generation of dancers to work closely with Jerome Robbins. Her choreographic work has been presented at the Baryshnikov Arts Center, Jacob’s Pillow, Cornell, Harvard, St. Mark’s Church, Performa, Ballet Memphis, and Carnegie Hall, among others. She has contributed essays to Performing Arts Journal, Theater magazine, and the Huffington Post. With particle physicist Sarah Demers, she is currently co-authoring a book on physics and dance, forthcoming from Yale University Press. She graduated magna cum laude with a BA in English and holds an MA in American Studies from Yale University.
GRIER COLEMAN (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed the costumes for Bird Fire Fly and Peter Pan. Previous credits include A Midsummer Night’s Dream, The Enchanted, The Girl From Maxim’s, Ionescopade, Under Milk Wood (The Juilliard School); Macbeth, Much Ado About Nothing, As You Like It, Love’s Labour’s Lost, Woyzeck, Sonia Flew, Alice: The Looking Glass Girl, Yikes!, and Triangle, an original piece based on the Triangle Shirtwaist Factory fire (New York University); Have I None, We Know Edie La Minx Had a Gun, and all of what you love and none of what you hate (Yale Cabaret); and The Two Gentlemen of Verona (Shakespeare on the Sound). She has worked as a crafts artisan for The Public Theater, Ringling Bros. Circus, Hair (Broadway and London tours), Disney on Ice, and Utah Shakespeare Festival, and as a stylist for Live! with Regis and Kelly. Grier holds a BFA from the University of North Carolina. She is the recipient of the Donald and Zorka Oenslager Scholarship in Stage Design and the Zelma Weisfeld Scholarship and is a Shubert Scholar. griercoleman.com
ADRIAN MARTINEZ FRAUSTO (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Bird Fire Fly and Hedda Gabler. Originally from Mexico City, Adrian studied interior architecture at CENTRO de Cine Diseño y Television before moving to scenic design. He assisted scenic designer Sergio Villegas during the Mexican Independence Bicentennial and Revolution Centennial celebrations. He also assisted scenic designer Edyta Rzewuska on a number of plays and operas. Adrian was the lead designer in the XXV Alarcónian Theatrical Festival in the city of Taxco, Guerrero. Some of his credits include Dutchman directed by Katherine McGerr and The Small Room at the Top of the Stairs directed by Cole Lewis at Yale Cabaret.
CREATIVE TEAM STEPHEN GABIS (DIALECT COACH) Previous Yale Rep productions include These Paper Bullets!, Stones in His Pockets, A Woman of No Importance, Safe in Hell, The People Next Door, The Clean House, The Ladies of the Camellias, and The Way of the World. His Broadway and Off-Broadway credits include Hedwig and the Angry Inch; Outside Mullingar; The Winslow Boy; Transport; Loot; Juno and the Paycock; Once; The Book of Mormon; Tribes; Man and Boy; The 39 Steps; Lombardi; Lend Me a Tenor; A View from the Bridge; Becoming Dr. Ruth; Look Back in Anger; The Weir; The Freedom of the City; Memphis; Jersey Boys; A Day in the Death of Joe Egg; Bluebird; Through a Glass Darkly; The Shaggs; Kin; By the Way, Meet Vera Stark; The Lieutenant of Inishmore; Brighton Beach Memoirs; When the Rain Stops Falling; The Emperor Jones; Doubt; Frozen; Port Authority; Dublin Carol; and Stuff Happens. Selected film and TV credits include Boardwalk Empire, Prime Suspect, Million Dollar Baby, Bernard and Doris, Salt, Across the Universe, Mildred Pierce, The Notorious Bettie Page, and Confessions of a Dangerous Mind.
TYLER KIEFFER (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama and is serving as an Artistic Director at Yale Cabaret this season. His credits include Peter Pan, Vieux Carré, and Cloud Nine. He also served as the production sound engineer for the 2013 Carlotta Festival of New Plays. Tyler hails from the New Orleans area and holds a BA in theatre from Louisiana State University.
JAMES MOUNTCASTLE* (STAGE MANAGER) Please see page 25. CAITLIN SMITH RAPOPORT (LIGHTING DESIGNER) is a lighting designer for theatre, dance, opera, circus, and many things in between. She is a third-year MFA candidate at Yale School of Drama, where her credits include THUNDERBODIES, Hedda Gabler, The Visit, and Romeo and Juliet. Other recent collaborations include The Dwight/Edgewood Project, Yale Cabaret, Strong Coffee Stage, Berkshire Fringe Festival, SUNY College at Oneonta, Nimble Arts Circus, Sandglass Puppet Theater, New World Theater, and the National Asian American Theater Festival. She holds a BA in theatre and English from the University of Massachusetts, Amherst.
TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Bullets Over Broadway; Aladdin; A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.
TOM STOPPARD (PLAYWRIGHT) was born in Zlin, Czechoslovakia, in 1937 and moved to England, via Singapore and India, with his family in 1946. He began his working life in 1954 as a junior reporter on the Western Daily Press. In 1967 Stoppard’s first full-length play, Rosencrantz and Guildenstern Are Dead, was staged by the National Theatre. This play was followed by other award winning works, including Jumpers, Every Good Boy Deserves Favour (with André Previn), Travesties, Night and Day, The Real Thing, Hapgood, Arcadia, Indian Ink, The Invention of Love, The Coast of Utopia (a trilogy), and Rock ’n’ Roll. His many stage adaptations and translations include Undiscovered Country (Schnitzler), On the Razzle (Nestroy), Rough Crossing (Molnár), The Seagull (Chekhov), Henry IV (Pirandello), Heroes (Sibleyras), Ivanov (Chekhov), and The Cherry Orchard (Chekhov). Tom Stoppard has also written for radio, television, and film. His screen credits, as writer and co-writer, include Brazil, Empire of the Sun, Enigma, and Shakespeare in Love (winner of an Academy Award for Best Original Screenplay). His most recent work includes, for screen, Anna Karenina; for television, Parade’s End (a five part series); and for radio, Darkside. He also directed his own screenplay of Rosencrantz and Guildenstern Are Dead (1990), which won the Golden Lion at the Venice Film Festival. Stoppard received a knighthood in 1997 and in 2000 was awarded the Order of Merit by Her Majesty the Queen.
MATTHEW SUTTOR (COMPOSER) New Zealand-born composer Matthew Suttor is Professor and Director of the Laurie Beechman Center for Theatrical Sound Design and Music at Yale School of Drama. Often combining acoustic forces with music technology, Matthew Suttor has composed operas, dance works, and music for all kinds of theatrical productions as well as chamber music, sacred pieces, sound installations, and scores for television. Suttor’s work in opera and dance includes Don Juan in Prague, in collaboration with director David Chambers, for the Bard SummerScape Festival and revised for the Mozart Prague Festival, the Guggenheim Works and Process series, and the BAM Next Wave Festival; his opera, The Trial of the Cannibal Dog, premiered at the International Festival of the Arts, Wellington, New Zealand, and was broadcast by Radio New Zealand; and I Find Comfort in Thunder for the Folkwang Tanzstudio, Essen, toured Germany. Concert works, installations, and television scores include Syntagma, commissioned by the Yale Institute of Sacred Music; La Prose du Transsibérien, for narrator and chamber ensemble, and HxWxL both commissioned by the Beinecke Library; The Eastman School of Musiccommissioned Buntpapier; and Real Pasifik broadcast on Television New Zealand. Yale Rep productions include The Intelligent Design of Jenny Chow, All’s Well That Ends Well, and The Winter’s Tale. A Fulbright Scholar, Suttor received a doctorate in composition from Columbia University. 23
YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his thirteenth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 12 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, eight of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 40 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.
VICTORIA NOLAN (MANAGING DIRECTOR) is in her 22nd year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing OffBroadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/ Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her tenth year as Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre, an artist-driven initiative that supports the creation of new work for the American stage through commissions, residencies, workshops, and productions. Since its founding in 2008, the Binger Center has supported the work of more than 40 commissioned artists and underwritten the world premieres and subsequent productions 24
of 18 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg for more than 40 new plays at SCR. Prior to that, she served as production dramaturg at American Repertory Theater, collaborating with directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey. She adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama. BRONISLAW SAMMLER (HEAD OF PRODUCTION) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I, II, & III. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he cofounded 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 House that will not Stand, A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 15 years old, and Katie, age 13. 25
ARCADIA STAFF ARTISTIC
Luke Harlan, Assistant Director Izmir Ickbal, Jean Kim, Assistant Scenic Designers Sylvia Xiaomeng Zhang, Assistant Costume Designer Elizabeth Green, Assistant Lighting Designer Brian Hickey, Assistant Sound Designer and Engineer Rick Sordelet, Fight Consultant Shannon L. Gaughf, Assistant Stage Manager
Lee O’Reilly, Associate Production Manager Kenyth Thomason, Technical Director Ian Elijah Hannan, Thomas Harper, Jonathan Seiler, Assistant Technical Directors Rosalie Bochansky, Draftsperson Mitchell Cramond, Assistant Properties Master Nadir Balan, Properties Assistant Nikki Fazzone, Judianne Wallace, Drapers Michael Best, Master Electrician Soule Golden, Flo Low, Helen Muller, Christopher Ross- Ewart, Elizabeth Stahlman, Avery Trunko, Run Crew
Adam Frank, House Manager
Garrett Arney, percussion Mark Dancigers, guitars Henry Kramer, piano Alan Ohkubo, cello Nathan Roberts, guitars, hurdy gurdy Suliman Tekalli, violin
Yahya Abdul-Mateen II, Bernard Nightingale Sebastian Arboleda, Richard Noakes Celeste Arias, Hannah Jarvis Baize Buzan, Thomasina Coverly Ricardo Dávila, Ezra Chater Edmund Donovan**, Septimus Hodge Dylan Frederick, Jellaby Eston J. Fung, Augustus, Gus Coverly George Hampe**, Valentine Coverly Jonathan Higginbotham, Captain Brice Sydney Lemmon, Chloë Coverly Elizabeth Stahlmann**, Lady Croom ** Appears courtesy of Actors’ Equity Association.
American Conservatory Theater prop shop, Huntington Theatre prop shop, Daniel Jordan, Nick Lloyd and Firehouse 12, Long Wharf Theatre prop shop, Anne Tofflemire Arcadia October 3–25, 2014 University Theatre, 222 York Street 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.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Helen C. Jaksch, Kelly Kerwin, Literary Associates Tara Rubin, C.S.A.; Laura Schutzel, C.S.A.; Lindsay Levine, C.S.A.; Kaitlin Shaw C.S.A.; Eric Woodall, C.S.A.; Scott Anderson, Casting Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments
Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Work-Study Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Brandon Fuller, Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Samantha Catanzaro, Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director
Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Emily Baldasarra, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Master Properties Assistant Bill Batschelet, Properties Stock Manager Ashley Flowers, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Christina King, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Jessica Hawkins, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer
General Management Louisa Balch, Sarah Williams, Associate Managing Directors Libby Peterson, Stephanie Rolland, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Gretchen Wright, Company Manager Jason Najjoum, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Eric Gershman, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Katherine Ingram, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications
Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Jonathan Rohner, Business Manager Cristal Coleman, Joanna Romberg, Business Office Specialists Ashlie Russell, Jennifer Truong, Business Office Assistants Janna J. Ellis, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura Marketing, Communications, and Audience Services Daniel Cress, Interim Director of Marketing Steven Padla, Interim Director of Communications Anh Lê, Associate Director of Marketing Lulu Tang, Marketing Assistant Marguerite Elliott, Publications Manager Paul Evan Jeffery, Art and Design Joan Marcus, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Janie Alexander, Charles Cowen, Nathaniel Dolquist, Paul Hanna-Cook, Katie Metcalf, Andrew Moore, Peter Schattauer, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate Joe Proto, Arts and Graduate Studies Superintendent Sherry Stanley, Team Leader Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians Technology, Media, and Web Services Sarah Stevens-Morling, Director of Technology, Media, and Web Services Daryl Brereton, Associate Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers
Winner! 2014 Outstanding Production of a Play CONNECTICUT CRITICS CIRCLE
These Paper Bullets! adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014.
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 40 commissioned artists and underwritten the world premieres and subsequent productions of 18 new American plays and musicals at Yale Rep and theatres across the country—including this season’s War by Branden Jacobs-Jenkins, Familiar by Danai Gurira, and Elevada by Sheila Callaghan. For more information, including a complete list of Yale Rep commissioned artists, please visit yalerep.org/center. Photos by T. Charles Erickson, Joan Marcus, Carol Rosegg, and Richard Termine.
The House that will not Stand by Marcus Gardley; Yale Rep and Berkeley Repertory Theatre, world premiere, 2014.
“One of ten reasons for theatre lovers to leave New York in 2014!” TIME MAGAZINE
Winner! 2013 Outstanding Production of a Play CONNECTICUT CRITICS CIRCLE
Marie Antoinette by David Adjmi; Yale Rep and American Repertory Theater, world premiere, 2012; Soho Rep., New York premiere, 2013.
“An ecstasy of theatrical surprises!” NEW HAVEN ADVOCATE
Top Ten Plays of the Year, 2011 and 2013! THE NEW YORK TIMES
Belleville by Amy Herzog; Yale Rep, world premiere, 2011; New York Theatre Workshop, New York premiere, 2013.
In a Year with 13 Moons adapted by Bill Camp and Robert Woodruff from the film and screenplay by Rainer Werner Fassbinder; Yale Rep, world premiere, 2013.
“An occasion worth celebrating! A pleasurable rush virtually unmatched by anything this season.” THE NEW YORK TIMES
The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014.
FOR YOUR INFORMATION
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: firstname.lastname@example.org
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Associate Director of Audience Services, at 203.432.1522 or email@example.com.
BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. RESTROOMS Restrooms are located in the lower level of the building. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED. 30
Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons.
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) 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.
Arcadia War Familiar The Caucasian Chalk Circle Elevada
OCT 18 DEC 6 FEB 14 APR 4 MAY 9
OCT 25 DEC 13 FEB 21 APR 11 MAY 16
c2 is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
EDUCATION PROGRAMS As a part of Yale Rep’s commitment to our community, we provide two significant annual educational outreach programs. WILL POWER! offers specially-priced tickets and early school-time matinees for middle and high school students for one of Yale Rep’s productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; Alyssa Anderson; The Anna Fitch-Ardenghi Trust, Bank of America, Trustee; Susan C. Clark; CT Humanities; Bob and Priscilla Dannies; The Frederick A. DeLuca Foundation; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; Beth Morrison; Arthur and Merle Nacht; NewAlliance Foundation; Barret O’Brien; Bryce Pinkham; Jorge Rodríguez; Robbin A. Seipold; Sandra Shaner; Target®; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; Jonathan Wemette; and Becca Wolff LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!, DWIGHT/EDGEWOOD PROJECT (DEP) WORKSHOP, AND A DEP PERFORMANCE, 2014.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Box 63 American Bar and Grill Café Romeo Katalina Bakery
Kelly’s GastroPUB GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing
ROÌA Savour Catering The Study at Yale Willoughby’s Coffee and Tea
This list includes current pledges, gifts, and grants received from July 1, 2013, through September 1, 2014.
YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino John Lee Beatty Sonja Berggren Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson
Edgar M. Cullman III Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger
David Marshall Grant Ruth Hendel David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Catherine MacNeil- Hollinger Elizabeth Margid Drew McCoy
Tarell Alvin McCraney David Milch Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre: LEADERSHIP SOCIETY ($50,000 and above)
Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder Edgar M. Cullman, Jr. Edgar M. Cullman III Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Edward Trach Kara Unterberg Esme Usdan
GUARANTORS ($25,000–$49,999) Anonymous The Alec Baldwin Foundation CT Humanities Council, Inc.
Educational Foundation of America Heidi Ettinger Ruth and Steve Hendel National Endowment for the Arts James Munson Eugene Shewmaker Jeremy Smith G. Erwin Steward
Nina Adams and Moreson Kaplan Americana Arts Foundation Mary L. Bundy John Conklin The Cornelius-Schecter Family Fund Michael Diamond Christopher Durang Albert R. Gurney Catherine MacNeil- Hollinger Rocco Landesman Sarah Long Lucille Lortel Foundation Donald Lowy Neil Mazzella The Adam Mickiewicz Institute Carol Ostrow Joan Pape The Seedlings Foundation Ted and Mary Jo Shen Trust for Mutual Understanding Carolyn Seely Wiener
The Josef and Anni Albers Foundation Deborah Applegate and Bruce Tulgan Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carmine Boccuzzi and Bernard Lumpkin Jim Burrows The Noël Coward Foundation Scott Delman Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Donald Granger Mabel Burchard Fischer Grant Foundation Ellen Iseman Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht NewAlliance Foundation Michael and Riki Sheehan Philip J. Smith Warner Bros. Entertainment Gary and Jo Williams
PRODUCER’S CIRCLE ($2,500-4,999)
Anna Fitch Ardenghi Trust, Bank of America, Trustee John Badham Janice Johnson Barnum Donald Brown Ben Cameron Sasha Emerson
Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan Diana and David Jacobs The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation William Ludel Jenny Mannis and Henry Wishcamper DW Phineas Perkins Ben and Laraine Sammler Joel and Joan Smilow
DIRECTOR’S CIRCLE ($1,000–$2,499)
Amy Aquino and Drew McCoy The Loreen Arbus Foundation Alexander Bagnall Jody Locker Berger Deborah S. and Bruce M. Berman Jeffrey A. Bleckner Edward Blunt Thomas Bruce Ian Calderon James Bundy Joan D. Channick Sue Ann Gilfillan and Tony Converse Peggy Cowles Michael S. David Ramon Delgado The Frederick A. DeLuca Foundation The Cory & Bob Donnalley Charitable Foundation Glen R. Fasman Melanie Ginter and John Lapides Stephen Godchaux Betty Goldberg
James W. Gousseff Judith Hansen Karsten Harries and Elizabeth Langhorne Richard Harrison Carol Thompson Hemingway Mary and Arthur Hunt James Earl Jewell Rolin Jones Reed and Elizabeth Hundt Alan Kibbe Jane Kaczmarek Dr. Gary and Hedda Kopf Mildred Kuner Michele Lee George N. Lindsay, Jr. Jane Lyman Robert Marx Peter Marshall Thomas Masse and Dr. James Perlotto Dawn G. Miller Donna Mills David and Leni Moore Family Foundation Garrett and Mary Moran Gregory Murphy Victoria Nolan and Clark Crolius Chris Noth Richard Ostreicher F. Richard Pappas Lucy and Piers Playfair Kathy and George Priest Fred A. Rappoport Dr. Michael Rigsby and Prof. Richard Lalli Joumana Rizk Gordon Rogoff Liev Schreiber Marie S. Sherer Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Kenneth J. Stein Shepard and Marlene Stone Lee Stump Arlene Szczarba Matthew Suttor Target John Henry Thomas Patricia Thurston Joan van Ark Courtney B. Vance Carol M. Waaser Cliff Warner George Zdru
Actors’ Equity Foundation Mr. and Mrs. B. N. Ashfield Emily Bakemeier Robert L. Barth John Lee Beatty Irving and Jackie Blum Michael Bombara Mark Brokaw James T. and Alice B. Brown Judith H. Brown Dr. Michael Cappello and Kerry Robinson Joy G. Carlin Joyce Carmen Jim Chervenak Paul Cleary Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Robert Dealy Bernard Engel Roberta Enoch and Steven Canner Peter Entin Teresa Eyring Debbie Bisno and David Goldman Rob Greenberg Jess Goldstein Regina Guggenheim William B. Halbert Katherine W. Haskins Barbara Hauptman Jane C. Head Donald Holder John Robert Hood Barnet Kellman Alan Kibbe Charles Long and Roe Curtis Linda Lorimer and Charles Ellis Chih-Lung Liu Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Brian Mann Vanessa Marshall John McAndrew Tarell McCraney George Miller and Virginia Fallon Daniel Mufson Janice Muirhead Arthur Oliner Louise Perkins and Jeff Glans Amy Povich
Brittany Behrens and William Rall Bill and Sharon Reynolds Kimberly Rosenstock Abigail Roth Alvin Schechter Mr. and Mrs. Michael Schmertzler Sandra Shaner Cheever and Sally Tyler Zelma Weisfeld Vera Wells Steven Wolff Evan Yionoulis Albert Zuckerman Steve Zuckerman
Victor and Laura Altshul Frances Ashley Mary Ellen and Thomas Atkins Clayton Mayo Austin Sandra and Kirk Baird James Bakkom Robert Baldwin Lee-ann Boatwright Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Cyndi Brown William J. Buck Jonathan Busky Dr. Adalgisa Caccone and Prof. Jeffrey Powell Anne and Guido Calabresi Lawrence Casey Cosmo Catalano, Jr. Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Aurélia and Ben Cohen William Connolly Stephen Coy John W. Cunningham Charles Dillingham Dennis Dorn Terrence Dwyer Pat Egan Dustin Eshenroder Susan and Fred Finkelstein Joel Fontaine Anthony Forman Walter M. Frankenberger III Joseph Gantman Bruce Graham Anne K. Gregerson Eduardo Groisman Douglas Harvey
Barbara Hauptman Michael Haymes and Logan Green Dr. Lothar Hennighausen Jeffrey Herrmann Jennifer Hershey-Benen Kathleen Houle Joanna and Lee A. Jacobus Elizabeth Johnson Abby Kenigsberg Ashley Kennedy Harvey Kliman and Sandra Stein David Kriebs Bernard Kukoff Frances Kumin William Kux Maryanne Lavan Kenneth Lewis Peter Andrew Malbuisson Elizabeth Margid Deborah McGraw Barry Nalebuff and Helen Kauder James Naughton Jane Nowosadko William and Barbara Nordhaus Maulik Pancholy Cesar Pelli Andy Perkins Stephan Pollack Michael Potts Meghan Pressman Bennett Pudlin Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Faye and Asghar Rastegar Jonathan and Sarah Reed Barbara and David Reif Daniel and Irene Mrose Rissi Steve Robman Howard Rogut Russ Rosensweig Jean and Ron Rozett Edgar and Marion Russell Edward and Alice Saad Suzanne Sato Joel Schechter Dr. Mark Schoenfeld Gale Sherwin Mark and Cindy Slane Mary C. Stark Regina Starolis James Steerman Ted Stein Bernard Sundstedt Matthew Suttor David Sword
Contributors to Yale School of Drama and Yale Repertory Theatre Jack Thomas and Bruce Payne Patricia Thurston Suzanne Tucker Paul Walsh William and Phyllis Warfel Nathan Wells Dana Westberg Henry Winkler Alex Witchel Judith and Guy Yale Yale School of Drama, Acting Class of 2014
Anonymous Paola Allais Acree Aged In Wood, LLC Michael Albano Sarah Jean Albertson Christopher Akerlind Narda Alcorn Ian and Rachel Alderman Richard Ambacher Glenn R. Anderson Susan and Donald Anderson Leif Ancker William Atlee Angelina Avallone Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Michael Baron and Ruth Magraw Robert Barr Edward and Barbara Barry Sarah Bartlo William and Donna Batsford Richard Baxter Nancy and Richard Beals John Beck James Bender Deborah Berke Melvin Bernhardt Donald and Sandra Bialos Ashley Bishop Anders Bolang Debra Booth Paul Bordeau Marcus and Kellie Bosenberg Amy Brewer and David Sacco Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Cyndi Brown Julie Brown Stephen and Nancy Brown
Robert Brustein James Burch Susan Wheeler Byck Michael Cadden Kathryn A. Calnan Ivan and Frances Capella Lisa Carling Anna Cascio Sami Joan Casler Patricia Cavanaugh Suellen G. Childs Susan and Fred Clark Katherine D. Cline Robert S. Cohen Dennis and Wendy Cole Mr. and Mrs. Thomas Colville Patricia J. Collins Judith Colton Forrest Compton Kristin Connolly David Conte Kathleen and Leo Cooney Greg Copeland Aaron Copp Robert Cotnoir Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley Sean Cullen Marycharlotte Cummings Scott Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Belene and Neil Day Katherine Day Mr. and Mrs. Paul DeCoster Aziz Dehkan and Barbara Moss Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Mr. and Mrs. Peter Dickinson Melinda DiVicino Merle Dowling Ms. JoAnne E. Droller R.N. and Stephen M. Soboleski Jeanne Drury Mr. George and Diane Dumigan John Duran Rosemary Duthie Laura Eckelman R. Kemerer and Phoebe Edwards Fran Egler Nancy Reeder El Bouhali Janann Eldredge
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Arcadia, by Tom Stoppard, directed by James Bundy. Yale Repertory Theatre, 2014.