Thomas Lawrence regency power & brilliance
February 24–June 5, 2011
APRIL 15 TO MAY 7
Organized by the Yale Center for British Art and the National Portrait Gallery, London. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support is provided by the David T. Langrock Foundation.
ya l e c e n t e r f o r b r i t i s h a r t 1080 Chapel Street, New Haven, Connecticut 06520 Tuesday–Saturday 10–5, Sunday 12–5 877 brit art | yale.edu/ycba | Admission is free Thomas Lawrence, Arthur Atherley (detail), 1792, oil on canvas, Los Angeles County Museum of Art, Gift of Hearst Magazines, ©2009 Museum Associates/LACMA/Art Resource, NY
June 23 - August 12
Join us this summer for an immersive celebration of Shakespeare’s plays: food, drink, three unique productions in rotating repertory, and a series of free workshops and discussions that expose the boundless theatricality of the Bard’s enduring texts. YALE CABARET 217 PARK ST. NEW HAVEN, CT
LIKE IT July 1 - August 14
RO E MARK’D QUEEN
adapted from Henry V, Henry VI (Part 1, 2, and 3), and Richard III
JUly 7 - August 13 1
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2011–12 SEASON THREE SISTERS
By Anton Chekhov A New Version by Sarah Ruhl Directed by Les Waters A co-production with Berkeley Repertory Theatre
SEPTEMBER 16 TO OCTOBER 8, 2011
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OCTOBER 21 TO NOVEMBER 12, 2011
A DOCTOR IN SPITE OF HIMSELF
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NOVEMBER 25 TO DECEMBER 17, 2011
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THE WINTER’S TALE
By William Shakespeare Directed by Liz Diamond
MARCH 16 TO APRIL 7, 2012 World Premiere
THE REALISTIC JONESES *Single ticket purchases only. One ticket per subscription. Plays, dates, and artists subject to change. LeRoy McClain in The Piano Lesson. Photo by Joan Marcus, 2011.
By Will Eno Directed by Sam Gold
APRIL 20 TO MAY 12, 2012
A P R I L 1 5 T O M AY 7 , 2 0 1 1
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS THE U.S. PREMIERE OF
AUTUMN SONATA BY INGMAR BERGMAN DIRECTED BY ROBERT WOODRUFF
BASED ON A LITERAL TRANSLATION BY WENDY WECKWERTH Music Director Scenic Designer Costume Designer Lighting Designer Sound Designer Projection Designer Production Dramaturgs
MICHAËL ATTIAS RICCARDO HERNANDEZ CANDICE DONNELLY JENNIFER TIPTON CHAD RAINES PETER NIGRINI AMY BORATKO HANNAH RAE MONTGOMERY
TARA RUBIN LAURA SCHUTZEL
ORIGINAL MUSIC BY MICHAËL ATTIAS Autumn Sonata is presented by special arrangement with Dramatists Play Service, Inc., New York.
SEASON MEDIA SPONSOR
CAST (IN ORDER OF APPEARANCE)
OLEK KRUPA REBECCA HENDERSON CANDY BUCKLEY
MERRITT JANSON PAUL BRANTLEY
Viktor Eva Charlotte Helena Leonardo
AUTUMN SONATA IS PERFORMED WITHOUT AN INTERMISSION.
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INGMAR BERGMAN’S DOUBLE LIFE
Woody Allen once called Ingmar Bergman “probably the greatest film artist since the invention of the motion picture camera.” Famous for evocative and intense films like The Seventh Seal (1957), Persona (1966), Cries and Whispers (1972), and Fanny and Alexander (1982), Bergman’s genius for screenwriting and directing inspired his fifty cinematic classics—and influenced a generation of fellow filmmakers, from Robert Altman to Pedro Almodóvar.
From the 1950s through the 1970s, Bergman lived his double life. In the winters, he worked as director-inresidence or artistic director at the Gothenberg City Theater, Malmo City Theater, or the Dramaten (Sweden’s national theatre), then slipped off in the summers to shoot his latest picture. But even when seduced by the screen, he never forsook his other artistic love. Bergman pulled the performers who became his onscreen regulars, like Max von Sydow or Liv Ullman, from the casts of his theatrical productions. His screenplays read like plays, replete with detailed stage directions rather than descriptions of camera movements, and metaphors about theatre and performance fill the dialogue. From his first internationally successful film, 1955’s Smiles of a Summer Night, to what he once called his last film, Fanny and Alexander, Bergman’s protagonists repeatedly refer to themselves as actors in their own lives, always assuming shifting personas.
Although Bergman admitted that by his early twenties he’d become a “genuine movie addict,” theatre had been his primary passion since childhood. Born the son of a Lutheran pastor in Uppsala, Sweden, in 1918, Bergman claims to have stopped believing in God at age eight. By age eleven, he found something else to put his faith in: drama. He spent his afternoons mounting August Strindberg’s plays on a toy puppet stage that he’d built himself, designing his own scenery and voicing all the parts. Bergman would become a man divided: he described theatre as his “wife” and film his “mistress.”
Of course, it’s not easy to inhabit a world where nothing, not even self, is certain. In his autobiography, The Magic Lantern, Bergman confesses that acting honestly both in art and life was “hard for an old, inveterate fantasy martyr and liar who…never hesitated to give truth the form he felt the occasion demanded.” So it’s no coincidence that Bergman’s cinematic characters also complain of feeling fragmented, split between supposed reality and illusionistic self-deception. They often stare into mirrors, straining to see reflections of their true selves—but while they may catch a glimpse, that
ABOVE: INGMAR BERGMAN IN 1979. PHOTO BY JOHN BRYSON (SYGMA/CORBIS).
truth eludes them like ghosts. God becomes non-existent and Death an ever-present figure of fear. Disease, more than just a physical ailment affecting one body, can transform into a spiritual affliction for an entire family. To borrow a term from existentialist philosophers Sartre and Kierkegaard, they’re infected with a lack of authenticity; they can’t remain totally faithful to one real identity. It’s also no accident that masks appear often in Bergman’s mise-en-scène. If his characters could break down performative barriers to show what lies behind their social masks, perhaps they could achieve authenticity after all. Over the years, Bergman has certainly been assigned an artistic mask. He’s stereotyped as an austere auteur, his work parodied as starkly philosophical to the point of impenetrability. Undoubtedly aware of this image, he commented in 2004 that he found his films “depressing.” But he’s also the filmmaker who won his first major award at Cannes for “Best Poetic Humor,” and wry warmth suffuses
even his darkest scripts. Bergman didn’t balk at defying expectations: his films might approach the brink of existential despair, but he wasn’t afraid to inject a sudden note of hope as well. Ingmar Bergman would consummate his passion for both movies and theatre all the way until his death in 2007. The 1990s found him still devoting himself to Ibsen and Strindberg dramas, and his last film, 2003’s Saraband, found him still behind the camera at age 84. While theatre was Bergman’s first love, his flirtation with cinema has proved an affair to remember. His silver screen masterpieces live on, celebrated for their indisputably authentic originality, power, and vision. He may have felt divided, but Ingmar Bergman played the parts of both theatre and film director to near perfection. Ang Lee is right to remark: “For me the filmmaker Bergman is the greatest actor of all.” —HANNAH RAE MONTGOMERY, PRODUCTION DRAMATURG
ABOUT AUTUMN SONATA Released in 1978, Autumn Sonata is far from Ingmar Bergman’s most famous film, often overlooked by fans and scholars alike. The film occupies the same quietly powerful space in the director’s oeuvre as his early-1960s trilogy of “chamber films” or 1973’s Scenes from a Marriage. What sets this meditative mother-daughter sonata apart is less subject and style than the circumstances leading up to production. Falsely accused of tax evasion in 1976, Bergman fled Sweden into self-imposed exile, vowing never to make another movie in his native country. He brought the company of Autumn Sonata to Norway, where they rehearsed his script in a studio for weeks before shooting. Set in a remote parsonage on Norway’s western coast, the film features a small cast of characters who, like Bergman, find themselves in a sort of exile—attempting to escape pasts that plague them. —HRM 9
Notes of (and on)
AUTUMN SONATA Music is instrumental to Ingmar Bergman’s Autumn Sonata. He studded his script with musical references— the title, Charlotte’s profession as a pianist, and allusions to numerous composers—but he also allowed musical structures to inform the dramaturgy of this work. Below is a key to some of the musical references in and influencing Bergman’s script. SONATA A sonata usually centers on the interplay between two instruments—often, a piano and a stringed instrument, but it can also be a solo or a trio. CHAMBER MUSIC To call a piece “chamber music” usually suggests an intimate piece for four instruments. Here, Bergman works with his four instruments: Eva, Charlotte, Viktor, and Helena.
CHAMBER PLAY Bergman draws not only from music, but from theatre, in his use of the chamber form. August Strindberg, another of Sweden’s famous sons, revolutionized playwriting at the beginning of the 20th century. Strindberg’s chamber plays feature small casts, domestic settings, and dynamic landscapes. An accomplished theatre director, Bergman found great inspiration in Strindberg’s work. One of Strindberg’s most famous chamber plays is his 1907 The Ghost Sonata, but his play The Pelican, with its complex familial relationships, treads on similar subjects as Autumn Sonata. KÄBI LARETEI Laretei, a concert pianist, was married to Bergman from 1959-1969. Autumn Sonata’s Charlotte shares some similarities to Laretei, who played piano for the soundtrack to both Autumn Sonata and Fanny and Alexander.
CHOPIN’S OPUS 28, NO. 2 Both Eva and Charlotte take a turn at interpreting Chopin’s prelude. In his analysis of this prelude, music scholar Lawrence Kramerdescribes the piece as “a gradually unfolding antagonism between melody and harmony, a process that begins with the immediate contrast between the smooth, sinuous right hand part and the square, abrasive accompaniment.” BEETHOVEN’S HAMMERKLAVIER The Hammerklavier (which literally means “hammer-keyboard”) refers to the composer’s Piano Sonata no. 29 in B Flat Major. The sonata is considered one of Beethoven’s most challenging works—noted for its complexity and vastness, a rigorous exploration of tension and conflict.
The great composers found in Bergman’s work—Bach, Beethoven, Chopin, Ravel, and Schumann, among others—have influenced the soundscape of Yale Rep’s production. But, in addition to these classic musicians, whose sonatas, piano solos, and concertos are nestled in Charlotte’s bag of sheet music, director Robert Woodruff and music director Michaël Attias have also been influenced by twentieth-century melodies and harmonies. Morton Feldman’s compositions, part of the school of indeterminacy in music and peer of innovative avant-garde composer John Cage, inspired the musical world of this production. Feldman once described his often-atonal work as “vibrating stasis” and found kinship with the works of Abstract Expressionist painter Mark Rothko. As Bergman’s words leap from the screen into new life on the stage, the sounds that emanate from the parsonage’s pianos and radios now must find harmony with a distinctly different kind of music. —AMY BORATKO, PRODUCTION DRAMATURG
CAST PAUL BRANTLEY (LEONARDO) is a composer, cellist, and music director. His compositions have been performed at Bridgehampton Chamber Music Festival and St. Bartholomew’s and by the Philharmonic Orchestra of the Americas (Town Hall), Left Bank Ensemble (The Kennedy Center), Ethel (Kimmel Center for the Performing Arts), Excelsior Trombone Ensemble (Performance Today), Goliard Ensemble, Manhattan School of Music Symphony, Belladona, L’Opera du Village, and SONYC (The Kitchen). His theatre composition credits include The Swan (La MaMa E.T.C.); Our Country’s Good, The Maid’s Tragedy (Syracuse Stage); Beauty and the Beast (Syracuse Opera); and Evolution d’Amour (Nashville Ballet). Paul has performed as cellist with Trey Anastasio, recorded for Béla Fleck and James Morrison, toured with Jimmy Page and Robert Plant, gigged with Chester Thompson, produced for Roy “Futureman” Wooten, conducted for David Binney, and arranged for Ethel, Todd Rundgren, and Christian Scott. Residencies include MacDowell Colony, Banff Centre, and Gabriel Fauré Conservatoire. Publishers: Oxford University Press, Bill Holab Music. Paul teaches conducting at Manhattan School of Music. paulbrantley.com
CANDY BUCKLEY* (CHARLOTTE) previously appeared in the Yale Rep production of Landscape of the Body. Her Broadway credits include Cabaret, After the Fall, Thoroughly Modern Millie, and Ring Round the Moon. Off-Broadway: Shockheaded Peter, Make Me, Knives and Other Sharp Objects, Valhalla, Funnyhouse of a Negro, Wise Guys, Defying Gravity, View of the Dome, Two Noble Kinsmen, Communicating Doors, Bernarda Alba, and The Petrified Prince (Drama Desk Award nomination). Her regional theatre credits include God of Carnage, The Little Dog Laughed (Hartford TheaterWorks); Six Degrees of Separation, Travesties (Williamstown Theatre Festival); A Delicate Balance (Guthrie Theater); Doctor Cerberus (South Coast Rep); The Lady in Question (Bay Street Theatre); Scramble (Westport Country Playhouse); Silence, Cunning, Exile (Seattle Rep); Much Ado about Nothing (Alliance Theatre); Sweeney Todd (Casa Mañana); All the King’s Men (Trinity Rep and Arena Stage, Helen Hayes Award nomination). Candy spent four seasons at American Repertory Theatre, where her many appearances included Macbeth, Misalliance, The Father, and Hedda Gabler; and eleven seasons at Dallas Theater Center, where she appeared in The Cherry Orchard, The Threepenny Opera, and Lady Audley’s Secret, among others. She holds the Princess Grace Statue for Achievement in Theater. Recent film and television credits include Home, starring Marcia Gay Harden, and Gossip Girl.
REBECCA HENDERSON* (EVA) is making her Yale Rep debut. Most recently she was seen in Harold Pinter’s The Collection and A Kind of Alaska at the Atlantic Theater Company. Her other New York credits include Sheila Callaghan’s Roadkill Confidential (Clubbed Thumb); The Retributionists (Playwrights Horizons); Spin, U.S. Drag, Vengeance (stageFARM); Canary (Rattlestick Playwrights Theater); Three Sisters (Nature Theater of Oklahoma); Scapin and The Misanthrope (Classic Stage Company). Regional: bobrauschenbergamerica (American Repertory Theatre). Film and television work includes CBS’s The Good Wife (recurring), Compliance, Meskada, Loss Control, Little Horses, and A Lone Star State. MFA, Columbia University.
MERRITT JANSON* (HELENA) made her Yale Rep debut in the world premiere of Notes from Underground and also appeared in the production at La Jolla Playhouse and Theatre for a New Audience, in association with Baryshnikov Arts Center. Her other theatre credits include Libby in Paradise Lost, Junia in Britannicus (IRNE nomination), and Bear Girl/ Mute Girl in The Onion Cellar (American Repertory Theatre); Chevalier in The Deception (La Jolla Playhouse, Theatre de la Jeune Lune); Viola in Twelfth Night, Desdemona in Othello (Shakespeare & Company); the title role in Eurydice (The Wilma Theater); and Emilia in The English Channel (Vineyard Playhouse). Her film credits include Mail Order Wife and Otto and Anna. A.R.T./MXAT Institute at Harvard University, MFA.
OLEK KRUPA* (VIKTOR) Theatre credits include A Bright Room Called Day, The Ballad of Soapy Smith, American Notes, My Uncle Sam (The Public Theater); Soul of a Jew, The Time of the Cuckoo (Lincoln Center Theater); The Deep Blue Sea (Roundabout Theatre Company); The Irresistible Rise of Arturo Ui, The Tower of Evil (Classic Stage Company); Division Street (Second Stage Theatre); Energumen (Soho Rep); The Yellow House (La MaMa E.T.C.); Oedipus (The Wilma Theater); Casablanca, Dracula, A Country Doctor, Hunting Cockroaches (River Arts Repertory); Figaro Gets a Divorce (La Jolla Playhouse); as well as The Master and Margarita and Beauty and the Beast in his native Poland. His extensive film and television credits include X-Men: First Class, Salt, Whatever Works, Burn After Reading, The Italian Job, Behind Enemy Lines, Home Alone 3, Miller’s Crossing, 9 ½ Weeks, Blue Bloods, Life on Mars, Deadline, Law & Order, Law & Order: SVU, Law & Order: Criminal Intent, Oz, and New York Undercover. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CREATIVE TEAM MICHAËL ATTIAS (MUSIC DIRECTOR) is a New York City-based saxophonist/ composer. He has performed concerts in clubs and festivals throughout the United States, Europe, the Middle East, and Japan with musicians such as Paul Motian, Anthony Braxton, Anthony Coleman, Oliver Lake, and many others. A recording artist and leader of several ensembles, he has composed and designed for dance, theatre, and film, both in the U.S. and Europe. His collaborations with Robert Woodruff include Theatre for a New Audience’s production of Edward Bond’s Chair (The Duke on 42nd Street); Yale Rep’s world premiere of Notes from Underground, for which he designed sound, composed music, and in which he also performed (also seen at La Jolla Playhouse and Theatre for a New Audience, in association with Baryshnikov Arts Center); and Yale Rep’s Battle of Black and Dogs by Bernard-Marie Koltès, for which he served as translator and composer.
INGMAR BERGMAN (AUTHOR) found bleakness and despair, as well as comedy and hope, in his indelible explorations of the human condition. Widely considered one of the greatest directors in motion picture history, Mr. Bergman made about fifty films over more than forty years. He centered his work on two great themes: the relationship between the sexes and the relationship between mankind and God. His films include Prison, Summer Interlude, Waiting Women, Sawdust and Tinsel (originally released in the United States as The Naked Night), A Lesson in Love, Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, The Virgin Spring (Academy Award, Best Foreign Film, 1960), Through a Glass Darkly (Academy Award, Best Foreign Film, 1961), Winter Light, The Silence, Cries and Whispers, Scenes from a Marriage, Autumn Sonata, and Fanny and Alexander (Academy Award, Best Foreign Film, 1984).
AMY BORATKO (PRODUCTION DRAMATURG) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of We Have Always Lived in the Castle, Battle of Black and Dogs, Compulsion, Notes from Underground, A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama), as well as Voice and Vision’s ENVISION Retreat at Bard College. She has been a teaching fellow at Yale College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama.
CANDICE DONNELLY (COSTUME DESIGNER) Credits include Hughie, Search and Destroy, Our Country’s Good, Mastergate, Fences (Broadway); As You Like It, The Skin of Our Teeth, Fires in the Mirror, Love’s Fire (The Public Theater); Hurrah at
Last (Roundabout Theatre Company); Talking Heads (Minetta Lane Theatre); Moon Over Miami, What the Butler Saw, Fences, Chopin in Space (Yale Rep); The Wiz, The Importance of Being Earnest, A Little Night Music (CENTERSTAGE); Elektra (Getty Museum); She Loves Me (Westport Country Playhouse); Endgame (Brooklyn Academy of Music); ’Tis Pity She’s a Whore, Happy End, The Circle (American Conservatory Theater); The Blonde, the Brunette, and the Angry Redhead (Cincinnati Playhouse); Buffalo Gal, A Body of Water (Primary Stages); Haroun and the Sea of Stories, La Finta Giardiniera (New York City Opera), as well as productions at the Guthrie Theater, Long Wharf Theatre, Williamstown Theatre Festival, Alley Theatre, Mark Taper Forum, Berkeley Rep, and American Repertory Theatre, among others. Film and television: I Love You, I Love You Not; Frogs for Snakes; Fresh Kill; Dolley Madison; Alexander Hamilton; Benjamin Franklin; Liberty! The American Revolution; Central Park; Swinging with Duke; and Twilight: Los Angeles. Candice is a graduate of Yale School of Drama.
RICCARDO HERNANDEZ (SCENIC DESIGNER) Broadway credits include this season’s The People in the Picture; Caroline, or Change; Elaine Stritch at Liberty (also National Tour, London); Topdog/Underdog (also London); Bells Are Ringing; Parade (Tony, Drama Desk nominations); Bring in ’Da Noise, Bring in ’Da Funk (also National Tour, Japan); and The Tempest. His Yale Rep credits include 2008’s The Evildoers and last season’s Battle of Black and Dogs. Recent credits include Il Postino (Los Angeles Opera; Theater an der Wien, Vienna); Philip Glass’s Appomattox, directed by Robert Woodruff (San Francisco Opera); Anna Deavere Smith’s Let Me Down Easy (Second Stage Theatre, PBS Great Performances); Lost Highway (London’s English National Opera/Young Vic); The Seagull (American Repertory Theatre); Julius Caesar (also at A.R.T., Festival Automne Paris); and Ethan Cohen’s Offices and Almost an Evening (Atlantic Theater Company). He has designed over 200 productions in the U.S. and internationally at The Public Theater, Lincoln Center Theater, Brooklyn Academy of Music, New York Theatre Workshop, Manhattan Theatre Club, Guthrie Theater, Goodman Theatre, American Repertory Theatre, Mark Taper Forum, Lyric Opera of Chicago, New York City Opera, Houston Grand Opera, Florida Grand Opera, Santa Fe Opera, London’s National Theater, Old Vic, Royal Court, Centre Dramatique Orleans (France), and Det Norske Teatret (Oslo). He is a graduate of Yale School of Drama and a visiting lecturer at Princeton University. HANNAH RAE MONTGOMERY (PRODUCTION DRAMATURG) served as dramaturg on The Servant of Two Masters at Yale Rep last season. Hannah is a third-year MFA candidate at Yale School of Drama, where she has worked as a dramaturg on The Seagull and as a mentor with the Dwight/Edgewood Project. She is a recent graduate of Mount Holyoke College, where her dramaturgy credits included Suzan-Lori Parks’s national 365 Days/365 Plays festival. A Colorado native, she has acted since age 15
CREATIVE TEAM seven on professional stages in Boulder and Denver and appeared this past fall in Vaska Vaska, Glöm and Future Oprah Lovesong at Yale Cabaret. Hannah has had several staged readings of her original plays at Denver’s Curious Theatre Company as part of the Curious New Voices program and the Playwright Showcase of the Western Region and was a finalist in the Front Range New Playwrights’ Showcase.
Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. The Old Globe: Robin and the Seven Hoods, The First Wives Club, Sammy. Film: The Producers: The Musical. Members, Casting Society of America.
JENNIFER TIPTON (LIGHTING DESIGNER) is well-known for her work in dance, PETER NIGRINI (PROJECTION DESIGNER) previously designed the projections for Yale Rep’s world premiere of Notes from Underground, which was also seen at California’s La Jolla Playhouse and in New York at Theatre for a New Audience, in association with Baryshnikov Arts Center. His Broadway credits include Fela! (also in London), 9 to 5, and Say Goodnight, Gracie. Other credits include the Grace Jones Hurricane tour; Der Ferne Klang (Bard Summerscape); Haroun and the Sea of Stories (New York City Opera); Blind Date (Bill T. Jones/Arnie Zane Dance); Wings, The Elaborate Entrance of Chad Deity (Second Stage Theatre); Fetch Clay, Make Man (McCarter Theatre Center); The Orphan of Zhao (Lincoln Center Festival); Sweet Bird of Youth (Williamstown Theatre Festival); Dido and Aeneas (Handel and Haydn Society); and Biro (The Public Theater). For Nature Theater of Oklahoma: No Dice (2008 OBIE Award), Romeo and Juliet (Salzburger Festspiele), and Life and Times, Episodes 1 & 2 (Burgtheatre, Vienna), among others. Upcoming projects include Becoming Helen Keller for PBS American Masters.
CHAD RAINES (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Jib (sound design and composition), Orlando (sound design and composition), and Baal (composition). He designed the sound for Yale Rep’s production of Battle of Black and Dogs last season, for which he received the Outstanding Sound Design Award from the Connecticut Critics Circle. At Yale Summer Cabaret, he appeared as Hedwig in Hedwig and the Angry Inch and Tommy in The Who’s Tommy and also participated in Muse and Fly by Night. An associate sound designer at Yale Cabaret, his credits there include his original musical Missed Connections, in which he also performed, and sound design for Nijinsky’s Last Dance and Language of Angels. He also occasionally performs with the electro-pop group The Simple Pleasure.
TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep since 2004. Broadway: Promises, Promises; A Little Night Music; Billy Elliot (adult casting); Shrek; Guys and Dolls; The Little Mermaid; Mary Poppins; Jersey Boys; The Producers; Mamma Mia!; The Phantom of the Opera; The Country Girl; Young Frankenstein; The Farnsworth Invention; Rock ’n’ Roll; The History Boys (US casting); Les Misérables; Spamalot; The 25th Annual Putnam County Spelling Bee; The Pirate Queen; Good Vibrations; Bombay Dreams; Oklahoma!; Flower Drum Song; Imaginary Friends; Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs,
theatre, and opera. Her recent work in dance includes Paul Taylor’s Three Dubious Memories and Alexei Ratmansky’s The Nutcracker for American Ballet Theatre. Her recent work in theatre includes Tennessee Williams’s The Glass Menagerie at the Mark Taper Forum and the Wooster Group’s version of Williams’s Vieux Carré. Her most recent work in opera includes Daniel Cattan’s Il Postino, directed by Ron Daniels, at the Los Angeles Opera, and Aida, directed by David McVicar, at the Royal Opera House, London. Ms. Tipton teaches lighting at Yale School of Drama. Among many awards, she is the recipient of the Dorothy and Lillian Gish Prize in 2001 and the Jerome Robbins Prize in 2003. In 2008, she became a United States Artist “Gracie” Fellow and a MacArthur Fellow.
LINDSEY TURTELTAUB* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Seagull, Always Almost Something, The Tempest, and Man in Love. Other recent production credits include POP!, Battle of Black and Dogs, and Edward Albee’s A Delicate Balance at Yale Repertory Theatre; New Works-In-Progress 2010 at New York Theatre Workshop, featuring works by Motti Lerner, Harrison Rivers, and Joan Vail Thorne; Readings Festival 1 at New York Stage and Film, featuring new plays by Yussef El Guindi, Theresa Rebeck, Julian Sheppard, and Bryan Delaney; Love’s Labour’s Lost, Pericles on the High Seas, Gulliver’s Travels, and Carnage, A Comedy with The Actors’ Gang. She received her BA in theatre arts from UCLA.
WENDY WECKWERTH (LITERAL TRANSLATOR) divides her time among new play dramaturgy, teaching, and translation. For the past decade, she has served as dramaturg for the New York City-based Voice and Vision’s ENVISION Retreat, dedicated to developing theatre projects led by women. Since relocating to Minneapolis in 2009, she has frequently participated in workshops at The Playwrights’ Center. In recent years, she has been on the faculties of Dartmouth, Colby, and Mount Holyoke Colleges, and the Language & Thinking Program at Bard College. She holds an MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama, where she was the associate editor of Theater magazine. She has recently completed translations of Strindberg’s Erik XIV and Karl XII. Previous Yale Rep credits include dramaturgy for A Cup of Coffee and You Never Can Tell.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CREATIVE TEAM WALTON WILSON (VOCAL COACH) is Head of Voice and Speech at Yale School of Drama. He was trained and designated as a voice teacher by Master Teacher Kristin Linklater and was trained and certified as an associate teacher by Master Teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. His New York credits include The Violet Hour, Golden Child, and Victor/Victoria on Broadway; and the world premiere productions of The Laramie Project, Argonautika, and Endangered Species. Regional theatre credits include productions at Actors Theatre of Louisville, American Repertory Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach on Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/ Macbeth/Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.
ROBERT WOODRUFF (DIRECTOR) co-adapted and directed Yale Rep’s 2009 production of Notes from Underground, which was also seen at La Jolla Playhouse in California and in New York at Theatre for a New Audience, in association with Baryshnikov Arts Center, and directed last season’s Battle of Black and Dogs. He has directed over 60 productions across the U.S. at theatres including Lincoln Center Theater, The Public Theater, Brooklyn Academy of Music, American Conservatory Theater, Guthrie Theater, and Mark Taper Forum, among others. Recent credits include Madame White Snake, a new opera by Zhou Long for Opera Boston, which was also presented in Beijing; Orpheus X for Theatre for a New Audience; Ifigeneia in Aulis with Toneelgroep Amsterdam; and Philip Glass’s Appomattox for the San Francisco Opera. Internationally, his work has been seen at the Habimah National Theatre in Israel, Sydney Arts Festival, Los Angeles Olympic Arts Festival, Edinburgh International Festival, Hong Kong Festival of the Arts, Jerusalem Festival, and Spoleto Festival USA. Mr. Woodruff has taught at the University of California campuses at San Diego and Santa Barbara, New York University’s Tisch School of the Arts, and Columbia University. He is on the faculty of Yale School of Drama. In 1972, he co-founded the Eureka Theatre in San Francisco, where he served as Artistic and Resident Director until 1978. In 1976, Mr. Woodruff established the Bay Area Playwrights Festival, a summer forum for the development of new plays that is still flourishing. From 2002 to 2007, Mr. Woodruff was the Artistic Director of American Repertory Theatre. He was named a 2007 USA Biller Fellow by United States Artists, an arts advocacy foundation dedicated to the support and promotion of America’s top living artists.
YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his ninth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eight seasons, Yale Rep has produced more than twenty world, American, and regional premieres, five of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than two dozen artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, 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 18th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR) is in her sixth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an artist-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager 20
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 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 12 years old, and Katie, age 10.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor
Susan C. Clark, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Reynaldi Lolong, Development Assistant Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Niti Mehta, Information Technology Assistant
Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Associate Artists Daniel Cress, Senior Associate Director of Marketing 52nd Street Project, Kama Ginkas, Mark Lamos, Rachel Smith, Associate Director of Marketing MTYZ Theatre/Moscow New Generations Theatre, Susan Kim, Associate Director of Marketing Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya and Communications Jennifer Harrison Newman, Associate Director of Marketing Artistic Administration Sarah Stevens-Morling, Online Communications and Amy Boratko, Literary Manager Advertising Manager Kay Perdue Meadows, Artistic Associate Marguerite Elliott, Publications Manager Maya Cantu, Artistic Coordinator Lico Whitfield, Marketing Assistant Tanya Dean, Hannah Rae Montgomery, Literary Associates Rachel Harris, Graphic Design and Production Assistant Tara Rubin, CSA; Laura Schutzel, CSA; Casting Directors Scott McKowen, Punch & Judy Inc., Graphic Designers Dale Brown, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Joan Marcus, Production Photographer Casting Associates Janna J. Ellis, Associate Director of Audience Services Kaitlin Shaw, Casting Assistant and Tessitura Specialist Ruth M. Feldman, Director of Education and Laura Kirk, Assistant Audience Services Director Accessibility Services Tracy Baldini, Subscriptions Coordinator Teresa Mensz, Library Services Assistant London Moses, Audience Services Assistant Josie Brown, Senior Administrative Assistant to the Sam Bolen, Amanda Culp, Courtney Engle, Gabe Levey, Artistic Director and Associate Artistic Director Tiffany Lin, Jeffrey Reinhardt, Emily Sanna, Laurie Coppola, Senior Administrative Assistant for William Smith, Joanna Wilson, Box Office Assistants the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Operations Mary Volk, Senior Administrative Assistant for the Diane Galt, Director of Facility Operations Design and Sound Design Departments Rich Abrams, Operations Associate Paul Catalano, Arts and Drama Zone Superintendent ADMINISTRATION VonDeen Ricks, Custodial Team Leader Martha O. Jurczak, Associate Managing Director Marcia Reily, Building Attendant Matthew Gutschick, Assistant Managing Director Lucille Bochert, Vermont Ford, Warren Lyde, Mark Roy, Jennifer Lagundino, Management Assistant Custodians Emalie Mayo, Senior Administrative Assistant to the Managing Director Theater Safety and Occupational Health Katie Liberman, Company Manager William J. Reynolds, Director of Theater Safety and Occupational Health Development and Alumni Affairs Jacob Thompson, Security Officer Deborah S. Berman, Director of Development and Ed Jooss, Audience Safety Officer Alumni Affairs Fred Grier, Customer Service and Safety Officer Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Elizabeth Elliott, Jennifer Harrison Newman, Associate Directors of Development Barry Kaplan, Senior Staff Writer
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien Pavuk, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, 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 Jason Wells, Linda Young, Head Electricians Jacqueline Deniz Young, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Scenic Charge Angie Meninger, Scenic Artist Keri Kriston, Assistant Scenic Artist April Nichole Chateauneuf, Allison Jackson, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant C. Nikki Mills, Assistant to the Properties Master Bill Batschelet, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Brandon Fuller, Ryan Gardner, Shop Carpenters Michael Backhaus, Kenyth X. Thomason, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Orlando Chavez, Assistant to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator Amy Jonas, Assistant to the Stage Carpenter
ADDITIONAL STAFF FOR AUTUMN SONATA
Margot Bordelon, Assistant Director Maruti Evans, Assistant Scenic Designer Michael Floyd, Assistant Costume Designer Jesse Belsky, Hyun Seung Lee, Yi Zhao, Assistant Lighting Designers Daniel Vatsky, Associate Projection Designer Lee Micklin, Assistant Stage Manager Russ Lossing, Piano Instructor Joe Stoltman, Associate Production Supervisor Kate Wicker, Technical Director Robert Shearin, Karen Walcott, Assistant Technical Directors Jacqueline Deniz Young, Master Electrician Orlando Chavez, Sound Engineer Eric C. Lin, Projection Engineer Christopher Ash, Projection Programmer Nicole Bromley, Assistant Properties Manager Jonathan Wemette, Assistant Company Manager Michael Bateman, House Manager Lileana Blain-Cruz, Laura J. Eckelman, Caitie Hannon, Chris Henry, Alexandru Mihail, Jayoung Yoon, Run Crew
SPECIAL THANKS Isaiah Cross, Emma Kennedy, Marissa Neitling, William Pelto, Ron Van Lieu, Maxim Mobility, LLC
Cover photo by Matthew Murphy.
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.
Autumn Sonata April 15 to May 7, 2011 Yale Repertory Theatre, 1120 Chapel Street
ABOUT YALE REP Yale Repertory Theatre is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory.
COMMISSIONED ARTISTS DAVID ADJMI TODD ALMOND HILARY BELL ADAM BOCK BILL CAMP LEAR DEBESSONET
YALE CENTER FOR NEW THEATRE
Established in 2008, the Yale 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. A key component of the Center’s work is the support of productions of Yale-commissioned works at theatres other than Yale Rep—over the next four years, over $600,000 will be committed to this project. The Yale Center for New Theatre also facilitates residencies of playwrights and composers at Yale School of Drama.
To date, the Yale Center for New Theatre has supported the work of more than two dozen commissioned artists as well as the world premieres and subsequent productions of six new American plays and musicals. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Yale Center for New Theatre to receive its world premiere at Yale Rep. Last fall, 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, with further support from the Center.
MARCUS GARDLEY DANAI GURIRA ANN MARIE HEALY AMY HERZOG NAOMI IIZUKA BRANDEN JACOBS-JENKINS DAN LEFRANC ELIZABETH MERIWETHER SCOTT MURPHY JULIE MARIE MYATT DAVID LEFORT NUGENT LINA PATEL JAY REISS SARAH RUHL
The Yale Center for New Theatre has also supported Yale Rep’s world premiere productions of the musical POP! by Maggie-Kate Coleman and Anna K. Jacobs; Compulsion by Rinne Groff, co-produced with The Public Theater and Berkeley Repertory Theatre; the Yale-commissioned musical We Have Always Lived in the Castle by Adam Bock and Todd Almond; and Bossa Nova by Kirsten Greenidge. Additionally, the Center supported the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3.
OCTAVIO SOLIS LUCY THURBER ALICE TUAN PAULA VOGEL KATHRYN WALAT ANNE WASHBURN MARISA WEGRZYN ROBERT WOODRUFF
OPPOSITE PAGE: MANDY PATINKIN IN COMPULSION, 2010. THIS PAGE: BILL CAMP IN NOTES FROM UNDERGROUND, 2009. PHOTOS BY JOAN MARCUS.
MAKE YOUR DONATION GO TWICE AS FAR! This year, an anonymous donor will match one to one— up to $1 million—all new and increased donations made to the Yale Repertory Theatre Annual Fund by June 30, 2011. Make a gift this year and double its impact. To make a donation, please call Jennifer Harrison Newman, Associate Director of Development, at 203.432.5650, or email email@example.com. You can also give online at yale.rep.org/donate.
TO YALE SCHOOL OF DRAMA AND YALE REPERTORY THEATRE LEADERSHIP SOCIETY ($50,000 and above) Anonymous Anonymous John Badham John B. Beinecke* Nicholas Ciriello Sterling and Clare Brinkley* Edgar M. Cullman, Jr. Edgar M. Cullman III Scott M. Delman* A.R. Gurney F. Lane Heard III David Johnson Adrian and Nina Jones* Tim Jones and Annie Cardelús* Donald B. Lowy Neil Mazzella* Andrew W. Mellon Foundation Estate of G.C. Niemeyer Robina Foundation Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Edward Trach* Esme Usdan* GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder* Educational Foundation of America Heidi Ettinger* National Endowment for the Arts National Endowment for the Arts, Arts Midwest, Shakespeare in American Communities Edward John Noble Foundation BENEFACTORS ($10,000–$24,999) Americana Arts Foundation* Anonymous Mary L. Bundy* CECArts Link Michael Diamond Edgerton Foundation Ruth and Steve Hendel* Catherine MacNeil Hollinger* Lucille Lortel Foundation Renova Sonja and Patrick Seaver*
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*Donors who have generously participated in the Annual Fund Matching Challenge. 27
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Roberta Pilette Stephen B. Pollock Lisa Porter Nancy B. Porter* Michael B. Posnick Jeffrey Powell Robert Provenza* Alvin S. Prusoff and Dr. Deborah DeRose William Purves Sarah Rafferty* Faye and Ashgar Rastegar Ronald Recasner Ralph Redpath Gail Reen James and Cynthia Reik Sandra and Gernot Reiners Mary B. Reynolds* Ross Sumner Richards* Daniel and Irene Rissi Brian Robinson* Lori Robishaw Howard Rogut Joanna Romberg Philip Rosenberg* Russ Rosensweig* Fernande E. Ross John M. Rothman Jean and Ron Rozett* Jed Rubenfeld* Julia Meade Rudd Kevin Rupnik Dr. Ortwin Rusch* Frederick Russell John and Jeanette Ryan* Dr. and Mrs. Herbert S. Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Clarence Salzer Robert Sandberg* Robert Sandine and Irene Kitzman Jack and Letha Sandweiss Frank Sarmiento* Peggy Sasso* Cary Scapillato Joel Schechter Anne Schenck Henry and Cora Scherer Kenneth Schlesinger* Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt* William Schneider*
Sanford and Carol Schreiber* Jennifer Schwartz Alexander Scribner Kathleen McElfresh Scott Forrest E. Sears* Paul Selfa* Subrata Sen* Shawn Senavinin* Paul H. Serenbetz Sandra Shaner Morris Sheehan Paul R. Shortt* Mark Shufro Carol M. Sica Lorraine Siggins and Braxton McKee Lee Skolnick Betsy and William Sledge* Helena L. Sokoloff* Suzanne Solensky and Jay Rozgonyi* Alan Solomon E. Gray Smith, Jr.* Marian and Howard Spiro Regina Starolis Louise Stein* Neal Ann Stephens John Stevens Joseph C. Stevens Marilyn and Robert Stewart Mark Sullivan Thomas Sullivan Richard Guy Suttor David Loy Sword Douglas Taber* Jane Savitt Tennen* Muriel W. Test Paul J. Tines Eric Ting David F. Toser* Albert Toth Tahlia Townsend Howard B. Treat Jr. Russell L. Treyz Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Cheever and Sally Tyler* Marge Vallee Joan Van Ark Flora Van Dyke Michael Van Dyke
Carrie Van Hallgren* Hyla and Barry Vine Arthur Vitello* Fred Voelpel Fred Volkmar Elaine and Patrick Wackerly Andrea S. Walker* Charles Walkup Elizabeth Walsh Erik Walstad* Barbara Wareck and Charles Perrow Steven I. Waxler Gil Wechsler* Rosa Weissman* Thomas Werder Charles Werner* Raymond Werner J. Newton White Peter White Joan Whitney Richard Kent Wilcox* Lisa A. Wilde Robert Wildman David Willson Catherine M. Wilson Marshall Williams Carl Wittenberg Michael Wolak Yun C. Wu Arthur and Ann Yost* Zhong Yun and Qun Lin IN-KIND GIFTS Mr. and Mrs. Kenneth Krupsky 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
*Donors who have generously participated in the Annual Fund Matching Challenge. This list includes current pledges, gifts, and grants received from January 1, 2010, through February 28, 2011. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or firstname.lastname@example.org 29
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FOR YOUR INFORMATION
how to reach us
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or email@example.com.
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: firstname.lastname@example.org
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.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency-only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED.
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 14,300 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 monthlong, after-school playwriting program designed to strengthen their self-esteem and creative expression.
Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation and the Carol L. Sirot Foundation. Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.
restrooms Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.
YALE REP’S EDUCATION PROGRAMS
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.
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2010.
Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Estate of Cynthia K. Barrington; Deborah S. Berman; Bob and Priscilla Dannies; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Jane Marcher Foundation; Frances L. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; and Yale Cabaret.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom Hull’s Arts Supply and Framing Koji Mionetto New Haven Register
Ocean Thin Films Scoozzi Trattoria and Wine Bar The Study at Yale, a Boutique Hotel Thames Printing Company, Inc. Willoughby’s Coffee and Tea WSHU Public Radio Group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from January 1, 2010‚ through February 28, 2011. 33
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Black Identities in American Art from the Yale University Art Gallery
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Kerry James Marshall, Untitled, 2009. Acrylic on PVC. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, b.a. 1979. © Courtesy of the artist and Jack Shainman Gallery, New York