bAttLe oF bLAcK AND DoGS AprIL 16 to mAY 8
Joseph Stella, Battle of Lights, Coney Island, Mardi Gras (detail), 1913–14. Oil on canvas. Yale University Art Gallery, Gift of Collection Société Anonyme
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SPEND LESS, gET OUT MORE! YALE REP 2010–11 SEASON WORLD PREMIERE MusIcaL
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DIREcTED by annE kauffMan
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A DELICATE BALANCE DIREcTED by jaMEs bunDy
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by kIRsTEn GREEnIDGE DIREcTED by Evan yIOnOuLIs November 26 to december 18, 2010
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January 28 to February 19, 2011
ROMEO AND JULIET
DIREcTED by shana cOOPER March 11 to april 2, 2011
by InGMaR bERGMan DIREcTED by RObERT WOODRuff april 15 to May 7, 2011
From the breathtaking heights of Ibsen’s The Master Builder, to the war-torn Liberia of Danai Gurira’s astonishing Eclipsed; from the soaring melodies that shot through Andy Warhol’s Factory in POP!, to Mandy Patinkin’s passionate performance in Compulsion and the inspired shenanigans of The Servant of Two Masters, this has been a remarkable celebration and rich exploration of humanity’s flaws, foibles, tragedies, and triumphs. Whether you’ve joined us all season long, or if this is your first visit to Yale Rep, thank you for sharing the journey with us.
PHOTO BY JOHN GROO
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Welcome to Battle of Black and Dogs, the final production of Yale Rep’s 2009–2010 season!
The work of French playwright Bernard-Marie Koltès is produced regularly across Europe, but has had little exposure here in the U.S. I am delighted at this opportunity to introduce New Haven audiences to this remarkable writer, who left behind about a dozen plays when he died at the age of 41 in 1989. I am thrilled also to welcome back Robert Woodruff, one of America’s most daring and distinguished directors. As you may know, he made an electrifying Yale Rep debut last season with Notes from Underground, which will be presented at California’s La Jolla Playhouse next season. Robert will be back at Yale Rep next year to direct the U.S. premiere of Autumn Sonata by Ingmar Bergman. Our 2010–2011 season will also include two world premieres: the musical We Have Always Lived in the Castle by Adam Bock and Todd Almond, based on Shirley Jackson’s novel, and Bossa Nova, a poignant and powerful new play by Kirsten Greenidge; two Pulitzer Prize-winning masterpieces: Edward Albee’s A Delicate Balance and August Wilson’s The Piano Lesson; and the greatest love story of all time: Shakespeare’s Romeo and Juliet. Please join us! Subscriptions—starting at less than $30 per ticket—are now available (ordering details are on the page opposite this note). You can choose the plays you’d like to see with our new 4-play package, or you can join us for the entire season and enjoy all six productions. In the meantime, visit us online at yalerep.org and facebook.com/yalerep for the latest updates about next season, including casting and creative team news—and help us spread the word to your family and friends. And of course, I look forward to receiving and responding to your emails about Battle of Black and Dogs (my email address is email@example.com). Thank you again for being here today. I look forward to seeing you again in September for another season of thrilling and surprising theatre at Yale Rep! Sincerely,
James Bundy Artistic Director The casT of The ServanT of Two MaSTerS, phoTo by RichaRd TeRmine, 2010. pLays, daTes, and aRTisTs sUbJecT To chanGe.
A P R I L 1 6 T O M AY 8 , 2 0 1 0
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
BATTLE OF BLACK AND DOGS By BERNARD-MARIE KOLTÈS Directed by ROBERT WOODRUFF Translator and Composer Scenic Designer Costume Designers Lighting Designer Sound Designer Production Dramaturg Fight Director
MICHAËL ATTIAS RICCARDO HERNANDEZ TOM McALISTER ILONA SOMOGYI STEPHEN STRAWBRIDGE CHAD RAINES AMY BORATKO RICK SORDELET
TARA RUBIN LAURA SCHUTZEL
This translation was originally commissioned by In Parentheses and Dangerous Ground Productions for the Koltès Festival New York 2003, with the support of Étant donnés, The French-American Fund for the Performing Arts. SEASON MEDIA SPONSOR
CAST (IN ORDER OF SPEAKING)
ANDREW ROBINSON ALBERT JONES TRACY MIDDENDORF TOMMY SCHRIDER
Horn Alboury LÃ©one Cal
SETTING CONSTRUCTION SITE RUN BY A FOREIGN COMPANY IN A WEST AFRICAN COUNTRY, ANYWHERE FROM SENEGAL TO NIGERIA
TAPPING HIS ROOTS:
FINDING BERNARD-MARIE KOLTÈS’S SOURCE AND SOURCES
To Bernard-Marie Koltès, a person’s biography was more complicated than just a mere listing of facts, dates, and places. He had a complicated relationship with his own origins and even his own language and constantly reimagined his own roots. In 1983, the year that Battle of Black and Dogs had its first major production in France, Koltès wrote to a friend about an impending African voyage: “I’m leaving for Senegal (to go back to see the place where my roots should be, to discover once again that they are not there, and then come back here once more to take the time to reinvent for myself their being there).” Koltès rejected every label that was attached to him, and he sought out places where he would be the outsider or the other. He felt more at home in Paris’s suburbs, filled with African immigrants, than he did in the city’s center. His aesthetic taste and style defied boundaries: he loved to fuse
popular culture with the fine arts. He adored the American cinema and its actors: Robert DeNiro in Taxi Driver and Raging Bull, Marilyn Monroe in The Misfits, James Dean in East of Eden and Rebel Without a Cause, and Marlon Brando in Apocalypse Now. He was attracted to the physicality of boxing and of kung-fu movies; one of his favorite films was The Last Dragon. Rap or Bob Marley’s reggae rhythms might play in his apartment one day, Chopin or Bach the next. Though he felt a kinship to French playwrights like Marivaux and Racine, he devoured the writings of Faulkner, Melville, Conrad, and Steinbeck and sometimes wished he, too, could write in English. Born in 1948, he grew up in Metz, a barracks town in eastern France near the German border. In the 1950s, his hometown became the site of religious and political strife: violence between longtime French citizens and recent Arab immigrants escalated as colonial wars burned through Africa. Koltès’s father, a professional soldier, fought in many of these wars and spent most of the decade in Algeria, away from his family. Every day, Koltès walked through Metz’s Arab neighborhood to reach his Jesuit school, and he witnessed the riots and street violence that erupted regularly there.
Abandoning his journalistic studies in Strausbourg, twenty-year-old Koltès set out to travel the world in 1968, the year that revolution engulfed Europe and America. Amidst this backdrop of political upheaval and personal liberation, Koltès saw his first play: Seneca’s Medea. Maria Casares’s performance in the title role inspired him to write for the theatre; his admiration of her skill ran so deep that he vowed that she would star in his plays. (She did perform in his play Quay West, in a part written for her.) His first theatrical works were adaptations of novels and poems, including Gorky’s My Childhood, Dostoevsky’s Crime and Punishment, and Song of Songs. By the late 1970s, he wrote his first original dramatic pieces: The Night Just Before the Forests, which he called a soliloquy play; and an early draft of Sallinger. A decade later, in 1978, Battle of Black and Dogs began to take shape during Koltès’s trip to Western Africa. There he visited friends who were working on a construction site in Nigeria, and the landscape and characters of Battle emerged. Koltès completed Battle of Black and Dogs almost a year later in Guatemala. He appreciated the experience of writing in a country where French wasn’t the primary language; he said that “when you take a long trip to a foreign country where you don’t know the language, you find it changes your own language and
the structure of your thoughts.” An early version of Battle was broadcast on French radio, but the first major production of the play wasn’t until 1983 after Koltès began working with director Patrice Chéreau, who became one of the writer’s most significant collaborators. After Chéreau’s production of Battle in Nanterre, Koltès became increasingly well-known in European theatre circles. However, throughout the 1980s, as he wrote all of his major plays, he was secretly battling AIDS. He kept his personal life extremely private, not wanting his sexuality to define him as a playwright. He never wanted any of his works to be defined by one element, whether it be his homosexuality or his politics; he hated the labels “gay theatre” and “political theatre.” Even after his death, in 1989 at the age of 41, his small canon of work continues to defy labels and geographical boundaries. The French claim his work, but a theatre in Atlanta hosts an annual Koltès symposium that features tours showcasing the “Koltèsian” character of the American metropolis. And a statue of him stands outside the Mini Theatre in Ljulbjana, Slovenia, far from his French birthplace, and even farther from his imagined Senegalese homeland. The roots have spread.
—AMY BORATKO, PRODUCTION DRAMATURG
ABOVE: BERNARD-MARIE KOLTÈS IN 1984. PHOTO COURTESY OF SOPHIE BASSOULS/SYGMA/CORBIS.
FROM THE SOURCE AND HIS SOURCES I had seen and known Negroes since I could remember. I just looked at them as I did at The French language, like French rain, or furniture, or food or sleep. But after culture in general, only interests that I seemed to see them for the first time me when it’s been altered. A French not as people, but as a thing, a shadow in language that has been revised and which I lived, we lived, all white people, all corrected, colonized by a foreign other people. I thought of all the children culture, has a new dimension and coming forever and ever into the world, white, gains richness, expressions, in the with the black shadow already falling upon them before they drew breath. And I seemed same way that an ancient statue to see the black shadow in the shape of a that has lost its head and arms is cross. And it seemed like the white babies more beautiful precisely because of were struggling, even before they drew the absence. breath, to escape from the shadow that was not only upon them but beneath them too, as —BERNARD-MARIE KOLTÈS IN A if they were nailed to the cross. I saw all the FEBRUARY 19, 1983, INTERVIEW little babies that would ever be in the world, WITH ALAIN PRIQUE the ones not yet even born—a long line of them with their arms spread, on the black crosses. I couldn’t tell them whether I saw it or dreamed it. But it was terrible to me. I cried at night. At last I told father, tried You taught me language, and my profit on’t to tell him. What I wanted to tell him Is I know how to curse. The red plague rid you was that I must escape, get away from For learning me your language. under the shadow, or I would die. “You cannot,” he said. “You must struggle, —CALIBAN, THE TEMPEST, rise. But in order to rise, you must raise ACT I, SCENE II the shadow with you. But you can never lift it to your level. I see that now, which I did not see until I came down here. But escape it you cannot. The curse of the I have always rather detested theatre black race is God’s curse. But the curse of because theatre is the opposite of life; the white race is the black man who will but I always come back to it and I love it be forever God’s chosen own because He once cursed Him.” because it is the one place where you say: —A PASSAGE FROM WILLIAM FAULKNER’S LIGHT IN AUGUST (1932). KOLTÈS ADMIRED FAULKNER’S WRITING, AND HE USED THIS QUOTE IN A 1983 LETTER TO FRANÇOIS REGNAULT.
this is not life. —BERNARD-MARIE KOLTÈS IN HIS AFTERWORD TO BATTLE OF BLACK AND DOGS
Oh, if you could see like I see, walking under the bougainvilleas, the one I see from my window walking, barely covered by a shirt (in the sun his skin and his eyes glow like the radiant statues of the virgins of Lourdes at night!), on your evening walks, you too would hold in your hands the mauve and red branch of the bougainvillea, and you would caress it with your lips; these flowers are so beautiful; they have no fragrance. And so, the only perception which prevents this trip from completely draining me from my substance and reducing everything to an image on a slide projector, is the very same one which arouses the perversion that, under other skies, compels me to lurk in the depths of the drugstore Saint-Germain—oh sweet and cruel perception, twice as cruel here for being forbidden…why do I today have to pay the price for a hundred years of stupid history? Where do I file for redemption? What testimony do I bring? If the forbidden did not run so deep that neither the Negro, nor the White, who sit, one morning, next to each other, in the doorway, and smile at each other, can do anything about it and know it, I would like at least that a mirror offer him my gaze, as I imagine his, cast from this doorway out onto the pool a few meters ahead, around which four or five fat red blotchy women surrender themselves to the hideous worship of their ridiculous bodies.
But: the table where I write is in front of a glass wall that looks out onto a shadowy patio. There in the shadow, as if blocking the entrance—knees bent up against belly, one arm props the head while the other lazily brushes away a few mosquitoes—there sleeps the future revolution. The oil wells make gigantic red skies in the sky. The huge buildings of the multinationals crush Lagos and Port Harcourt. General Olusegun Obasanjo, chief of state, is considering making soldiers supervisors in the high school to “re-establish order.” But the average age is fifteen. Unions are forming. The black worker looks at his white employer with different eyes, it is said; and, at last, the maximum degree of proliterianization has been reached, an immense sense of power emanates from the groups of workers, during their break, sitting in a circle in their machines. Each camp is as precisely drawn as on a diagram of the class struggle, and one cannot walk through a site without a profound sense of an imminent revolution, a violent one no doubt, under the red skies of the oil wells. But: here’s the joke. I know, for having seen it done, that I only need reach out my hand and tap on the window pane for It, the revolution, to rise abruptly, push open the glass door, and say: “Yes, Master?” And the mere thought of this possibility fills me with dread of this slumbering body.
—AN EXCERPT OF A 1978 LETTER KOLTÈS WROTE FROM AHODA TO HIS MENTOR HUBERT GIGNOUX, DESCRIBING HIS TRIP TO WEST AFRICA. TRANSLATED BY MICHAËL ATTIAS. 11
THE NOTEBOOKS LES CARNETS Koltès’s notebooks for Battle of Black and Dogs (Combat de nègre et de chiens) are often published alongside the playtext. This collection, organized in twenty entries—one for each scene in the play, contains images and character histories that provide insight on the play. Below are a few excerpts of the notebooks.
10 THE SITE, LIT BY LIGHTNING An inverted field out to infinity—where plants grow their roots upwards towards the sky and bury their foliage down deep. A small white dog scrambles in a panic between the legs of an enormous buffalo who huffs and puffs and tramples the ground, while, all around, gurgling mud bubbles up between smoking clumps of black earth.
12 THE DREAM OF THE HOUSE BACK HOME IN THE COUNTRY, ACCORDING TO HORN They all dream of France, but they all stay. They all talk about a house in the country, and spend years drawing the blueprints, but you couldn’t drag one of them out of here even if there were two of you. Sure, they bitch, sure they do, but I know one thing: wherever there’s cash, once a person gets a taste, no kick in the ass will ever make him budge from his spot. And in Africa, there is cash to be made. So with all their talk of France and the countryside, I’ve never gotten a single postcard from any one of those dreamers.
17 LEONE’S CONCEPT OF REINCARNATION My personal belief is that in your first life you’re a man, like that horrible guy, Cal; men like that understand so little, they’re stupid and thick, it’s got to be their first life, the scoundrels! I believe that only after many laughably limited lives as a man, brutal and brawling as all men’s lives are, only then can a woman be born. And only after many women’s lives, many unfulfilled dreams and meaningless adventures, and many tiny deaths, only then can a Negro be born, in whose blood more of life and death, more acts of brutality and failure, more tears flow than in any other blood. And what about me, how many more times will I have to die, how many more memories and meaningless experiences will I have to stack up within me? When is the life I will finally fully live?
20 CAL In his innermost self: a large green bird flies over the prairie, holding in its claws a puppy with women’s eyes, panting close to its ear. HORN In his innermost self: an old woman, unknown, dressed all in black, face in shadow, comes regularly every night and sits by his side until morning, never saying a word, never making a sound; he could swear he doesn’t know who she is. —TRANSLATED BY MICHAËL ATTIAS
CAST ALBERT JONES (ALBOURY) is making his Yale Rep debut. New York credits include the Broadway production of Henry IV (Lincoln Center Theater); and Off-Broadway: Oroonoko (Theatre for a New Audience, AUDELCO Award nomination), Pericles (Theatre for a New Audience at BAM), Iphigeneia at Aulis and Richard III (The Pearl Theatre Company). Regional theatre credits include A Midsummer Night’s Dream (Shakespeare on the Sound); The Brothers Size (City Theatre); A Raisin in the Sun (Hartford Stage); Intimate Apparel (Intiman Theatre); The Piano Lesson (Cleveland Play House); Flag Day (Contemporary American Theater Festival); Much Ado About Nothing (Portland Center Stage); Arms and the Man (Barrington Stage Company); Edward II, The Threepenny Opera (American Conservatory Theater); As You Like It and Scapin (California Shakespeare Festival). Film and television credits include Salt, Cadillac Records, The Magnificent Cooly-T, American Gangster, The Bourne Ultimatum, Proud (Tribeca Film Festival, 2005), Army Wives, Law & Order (original series, SVU, and Criminal Intent), Rescue Me, Kidnapped, and Love Money. Mr. Jones received his MFA from the American Conservatory Theater.
TRACY MIDDENDORF (LÉONE) is making her Yale Rep debut. Her previous stage performances include Ah, Wilderness! at Lincoln Center Theater, directed by Daniel Sullivan; The Big Knife at Williamstown Theatre Festival, directed by Joanne Woodward; The Pavilion at Westport Country Playhouse; as well as Summer and Smoke and After the Fall at The Fountain Theatre in Los Angeles, both of which earned her Ovation and Drama Critics Circle Awards for best actress. Her television and film credits include The Mentalist, Lost, 24, Bones, House, Alias, CSI, Just Add Water, Boy Wonder, The Assassination of Richard Nixon, and a recurring role on Martin Scorsese’s upcoming HBO series Boardwalk Empire.
ANDREW ROBINSON (HORN) is making his Yale Rep debut. Since receiving his Fulbright Fellowship to study at LAMDA, he has acted in and directed theatre and film all over the country for 45 years. His Broadway credits include Any Given Day, Mary Stuart, Narrow Road to the Deep North, and Operation Sidewinder. Off-Broadway credits include Macbird, Futz, The Cannibals, Woyzeck, Subject to Fits; and he is a founding member of La MaMa Plexus. He is also a founding member of
the Matrix Theatre Company in Los Angeles, where he directed the award-winning productions of Endgame, The Homecoming, and Yield of the Long Bond. Other LA credits include In the Belly of the Beast (directed by Robert Woodruff), Aristocrats, The Genius, Wanderings of Odysseus (Mark Taper/Center Theatre Group); as well as productions at South Coast Rep, Pasadena Playhouse, and other theatres. Film credits include Dirty Harry, Charley Varrick, The Drowning Pool, and Hellraiser. His numerous television appearances include the title role in Liberace, and he has directed episodes of Deep Space 9 (also recurred as Garak), Voyager, and Judging Amy. He created and is currently Director of the University of Southern California’s MFA Acting Program.
TOMMY SCHRIDER (CAL) is making his Yale Rep debut. Off-Broadway credits include Close Ties (Ensemble Studio Theatre); Race (Classic Stage Company); Acts of Mercy, St. Crispin’s Day (Rattlestick Playwrights Theater); She Stoops to Conquer, Pigtown (Irish Rep); Indoor/Outdoor (Summer Play Festival); Greek Holiday (Abingdon Theatre Company); Septimus & Clarissa (Ripe Time/Red Bull); and I Lay Dying (Ohio Theatre/The Essentials). Regional theatre credits include The Importance of Being Earnest (South Coast Rep); The Caretaker, The Einstein Project, One Flew Over the Cuckoo’s Nest (Berkshire Theatre Festival); Victoria Musica (Cincinnati Playhouse); Love’s Labour’s Lost, Brendan (Huntington Theatre Company); Journey’s End (Westport Country Playhouse); The Blue Demon (Williamstown Theatre Festival); Hamlet (Syracuse Stage); This Is Our Youth (Philadelphia Theatre Company); and Appointment with a High Wire Lady (Andrew’s Lane, Dublin). Television credits include Medium, Numb3rs, Law & Order, Whoopi, and As the World Turns. He received his MFA from NYU Tisch School of the Arts Graduate Acting Program.
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MICHAËL ATTIAS (TRANSLATOR AND COMPOSER) is a New York City-based
diverse projects as the world premieres of Paula Vogel’s Desdemona: A Play About a Handkerchief (Circle Repertory Theatre/Bay Street Theatre), The Great Gatsby (Metropolitan Opera Company), and 1600 Pennsylvania Avenue (Broadway); as well as Muppet Babies on Tour, Live from Lincoln Center: Juilliard at 80 (PBS-TV), and Wayne’s World 2; and has had the pleasure of dressing such actors as Colleen Dewhurst, Christopher Walken, Blythe Danner, Richard Thomas, and Dianne Wiest, among others. New York and regional theatre credits include productions at The Public Theater, Playwrights Horizons, Manhattan Theatre Club, Williamstown Theatre Festival, Actors Theatre of Louisville, The Kennedy Center for the Performing Arts, Boston Lyric Opera, and Houston Grand Opera. Tom is a professor in the Technical Design and Production Department at Yale School of Drama.
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 US 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) and Yale Rep’s production of Dostoevsky’s Notes from Underground, for which he designed sound, composed music, and in which he also performed.
AMY BORATKO (PRODUCTION DRAMATURG) previously served as dramaturg on the Yale Rep productions of 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 is the Literary Manager at Yale Rep. 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.
RICCARDO HERNANDEZ (SCENIC DESIGNER) Broadway credits include 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. He designed Yale Rep’s world premiere of The Evildoers in 2008. Recent credits include Fetch Clay/Make Man (McCarter Theatre); Philip Glass’s Appomattox (directed by Robert Woodruff, San Francisco Opera), Let Me Down Easy, written and performed by Anna Deavere Smith (Second Stage); Lost Highway (London’s English National Opera/ Young Vic); Julius Caesar (American Repertory Theater, Festival Automne Paris); The Seagull (American Repertory Theater) and Alice Vs. Wonderland (Moscow MXAT Institute), both directed by János Szász; Ethan Cohen’s Offices and Almost an Evening (Atlantic Theater Company). He has designed over 200 productions in the US and internationally at New York Shakespeare Festival/The Public Theater, Lincoln Center Theater, BAM, New York Theatre Workshop, MTC, Guthrie Theater, Goodman, Mark Taper Forum, Lyric Opera of Chicago, New York City Opera, Houston Grand Opera, Los Angeles Opera, Florida Grand Opera, Santa Fe Opera, London’s National Theatre, Old Vic, Royal Court, Centre Dramatique Orleans France, and Det Norske Teatret Oslo. Upcoming: Il Postino (Los Angeles Opera, Vienna, and Paris). He is a graduate of Yale School of Drama.
TOM McALISTER (COSTUME DESIGNER) has been costume shop manager for Yale Repertory Theatre/Yale School of Drama for twenty-one years, supervising over 250 productions. In the course of his nearly forty-year career, he has worked on such 16
CHAD RAINES (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include Orlando (sound design and composition) and Baal (composition). He appeared as Tommy in The Who’s Tommy and played drums for Fly-By-Night: A New Musical, both at Yale Summer Cabaret. He also wrote and performed in Missed Connections, a new musical for Yale Cabaret. As associate sound designer for this year at Yale Cabaret, he sound designed Nijinsky’s Last Dance and Language of Angels. He occasionally performs with the electro-pop group, The Simple Pleasure.
TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep since 2004. Broadway: A Little Night Music, Billy Elliot (Adult Casting), Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. Film: The Producers: The Musical. Members, Casting Society of America.
ILONA SOMOGYI (COSTUME DESIGNER) Recent New York area productions include Clybourne Park (Playwrights Horizons); Crooked (Women’s Project); Jerry Springer: The Opera (Carnegie Hall); Almost an Evening, Scarcity (Atlantic Theater Company); The Piano Teacher (Vineyard Theatre); Fever Chart, Controversy at Vallalodid, Fucking A (The Public Theater); Emma (New York Musical Theatre Festival); The American Pilot (Manhattan Theatre Club); Hot ’n’ Throbbin’ (Signature Theatre Company); Savannah Bay (MCC); as well as God of Hell, Wit, Swimming with Watermelons, Unwrap Your Candy, Tabletop, and Hard Times. She also designed 17
Princess Wishes for Disney on Ice, currently on tour. Her many regional credits include Passion Play, As You Like It (Yale Rep); Noises Off, A Midsummer Night’s Dream (Hartford Stage); Lil’s 90th (Long Wharf Theatre); The Torchbearer, The Autumn Garden, Sweet Bird of Youth, Top Girls, On the Razzle (Williamstown Theatre Festival); Scramble, Vigil, and Sedition (Westport Country Playhouse). She was also associate costume designer for Spamalot, The Crucible, and Art on Broadway, and the Ringling Bros. and Barnum & Bailey Circus. Ilona is a graduate of Yale School of Drama and is currently a member of its faculty.
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 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.
RICK SORDELET (FIGHT DIRECTOR) 44 Broadway productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) has designed the lighting for productions on and off Broadway, at most leading regional theatre and opera companies across the US, and internationally in Bergen, Copenhagen, The Hague, Hong Kong, Lisbon, Munich, Sao Paulo, Stockholm, and Vienna. Recent work includes Athol Fugard’s Coming Home for Berkeley Rep and Long Wharf Theatre; School Boy Play for the Linz 09 Festival in Austria; Having Our Say (McCarter Theatre); At Home at the Zoo (American Conservatory Theater); Crime and Punishment (Berkeley Rep); The Glorious Ones, Bernarda Alba (Mitzi Newhouse Theatre at Lincoln Center); Prayer for My Enemy (Playwrights Horizons); Shipwrecked! (Primary Stages); and Souls of Naples (Mercadante, Naples, Italy, and Theatre for a New Audience). He has been nominated for or won the American Theatre Wing, Bay Area Theatre Critics Circle, Dallas-Fort Worth Theater Critics Forum, Helen Hayes, and Lucille Lortel awards. He is co-chair of the Design Department at Yale School of Drama and resident lighting designer at Yale Repertory Theatre.
WALTON WILSON (VOCAL COACH) is Head of Voice and Speech at Yale School
ROBERT WOODRUFF (DIRECTOR) co-adapted and directed Yale Rep’s 2009 production of Notes from Underground, which will be seen at La Jolla Playhouse next season. He has directed over 60 productions across the US 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 will play in Beijing in the fall of this year; 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.
JENNA WOODS (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include Man=Man, Romeo and Juliet, Baal, and Grace, or the Art of Climbing. Previous Yale Rep credits include the world premiere of POP! earlier this season and last season’s Notes from Underground. Jenna has toured with the national tours of The Music Man and Footloose (Props Supervisor) and the North American tour of Riverdance (Wardrobe Supervisor). Jenna holds a BFA in theatre design from the University of Kansas.
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 18
YALE REPERTORY THEATRE ARTISTIC DIRECTOR JAMES BUNDY is in his eighth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first seven seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three 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 twenty artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, and Death of a Salesman at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN 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.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fifth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an integrated, playwrightdriven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as 20
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.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER 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. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a directorat-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. 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.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been at Yale Rep since 2004. He has stage managed productions of The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 11 years old, and Katie, age 9.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Whitney Estrin, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development Associate DeDe Jacobs Komisar, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing and Communications Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, 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 Jacqueline Sappleton-Henry, Business Office Assistant Niti Mehta, Information Technology Assistant
Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Associate Director of Marketing Shin-Hyoung Shon, Associate Director of Marketing and Communications Devon Smith, Director of Analytics Rachel Smith, Associate Director of Marketing and Audience Services Artistic Administration Maggie Elliott, Marketing and Publications Manager Amy Boratko, Literary Manager Sarah Stevens-Morling, Online Communications and Alex Grennan, Kay Perdue Meadows, Artistic Coordinators Print Advertising Manager Brian Valencia, Walter Byongsok Chon, Karena Fiorenza Ingersoll, Marketing Assistant Hannah Rae Montgomery, Literary Associates Scott McKowen, Punch & Judy Inc., Graphic Designers Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors David Cooper, Photographer Eric Woodall, Merri Sugarman, Casting Associates Joan Marcus, Production Photographer Paige Blansfield, Rebecca Carfagna, Dale Brown, Janna J. Ellis, Associate Director of Audience Services Casting Assistants and Tessitura Specialist Ruth M. Feldman, Director of Education and Tracy Baldini, Laura Kirk, Assistant Audience Services Directors Accessibility Services London Moses, Audience Services Assistant Teresa Mensz, Library Services Assistant Courtney Engle, Ruth Kim, Tiffany Lin, Sue Malone, Josie Brown, Senior Administrative Assistant to the William Smith, Anya Van Wagtendonk, Joanna Wilson, Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for Box Office Assistants the Directing, Dramaturgy and Dramatic Criticism, Operations Playwriting, and Stage Management Department Mary Volk, Senior Administrative Assistant for the Diane Galt, Director of Facility Operations Rich Abrams, Operations Associate Design and Sound Design Departments Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, ADMINISTRATION Mark Roy, Custodians Michael Barker, Belina Mizrahi, Meghan Pressman, Associate Managing Directors Theater Safety and Occupational Health Elizabeth Elliott, Jennifer Harrison Newman, William J. Reynolds, Director of Theater Safety Assistant Managing Directors and Occupational Health Katie Liberman, Management Assistant Emalie Mayo, Senior Administrative Assistant Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer to the Managing Director Fred Grier, Customer Service and Safety Officer Tara Kayton, Company Manager Commissioned Artists David Adjmi, Todd Almond, Hilary Bell, Adam Bock, Bill Camp, Will Eno, Marcus Gardley, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Dan LeFranc, Liz Meriwether, Scott Murphy, Julie Marie Myatt, Jay Reiss, Sarah Ruhl, Octavio Solis, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Beck, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Robert C. Snipes, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electrician Painting Ru-Jun Wang, Painting Supervisor Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Jennifer Herbert, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Nishi L. Hamrick, Assistant to the Properties Master Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Lisa McDaniel, Ryan Gardner, Shop Carpenters Amy Jonas, Michael Backhaus, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Palmer Hefferan, Nicholas Pope, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator
ADDITIONAL STAFF FOR BATTLE OF BLACK AND DOGS
Luisa Proske, Assistant Director Maruti Evans, Assistant Scenic Designer Rebecca Welles, Assistant Costume Designer Travis McHale, Assistant Lighting Designer Nicholas Pope, Associate Sound Designer Erich Bolton, Sound Engineer Anne Erbe, Assistant Dramaturg Lindsey Turteltaub, Assistant Stage Manager Shaminda Amarakoon, Associate Production Supervisor Stephen C. Henson, Technical Director Michael Backhaus, Sandra J. Jervey, Assistant Technical Directors Joe Stoltman, Master Electrician Mikey Rohrer, Assistant Properties Manager Kit McKay, Assistant Company Manager Jaeeun Joo, House Manager Matthew Gutschick, Michael McQuilken, Kirsten Parker, Robert Shearin, Run Crew UNDERSTUDIES Brett Dalton, Cal Marcus Henderson, Alboury Ben Horner, Horn Emily Trask, Léone SPECIAL THANKS Alderman-Dow Iron & Metal Company, Anything But Costumes, Long Wharf Theatre Prop Shop, Doris Mirescu, Arthur Nauzyciel, Dr. James Speiser
The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
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.
Batlle of Black and Dogs, April 16 to May 8, 2010. Yale Repertory Theatre, 1120 Chapel Street.
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Anonymous John Badham John B. Beinecke Estate of Nicholas Ciriello Sterling and Clare Brinkley Philip A. Corfman, M.D. Edgar M. Cullman, Jr. Edgar M. Cullman III The Jerome L. Greene Foundation A.R. Gurney F. Lane Heard III David Johnson Danny Kaye and Sylvia Fine Kaye Foundation Jay Keene Neil Mazzella David Milch H. Thomas Moore Estate of Tad Mosel Walter F. Parkes The Estate of Mark Richard The Estate of Barbara E. Richter Robina Foundation Michael and Riki Sheehan The Shubert Foundation Jennifer Tipton Edward Trach Esme Usdan Zelma Weisfeld
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Nina Adams and Moreson Kaplan Amy Aquino and Drew McCoy Mr. and Mrs. B. Ashfield Mary Ellen and Thomas Atkins Alexander Bagnall John Lee Beatty Jack W. Belt Catherine Black Susan Brady and Mark Loeffler Alice B. and James T. Brown Martin Caan and Carol Petschek Donald Cairns Ian Calderon Joy G. Carlin Cosmo Catalano, Jr. Jenny and Ricardo Chavira John Conklin Robert Cotnoir Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Drew S. Days III and Ann R. Langdon Ramon L. Delgado Cory and Bob Donnalley Charitable Foundation Elizabeth Doyle Mary Elder Eric Elice Jenifer Endicott Roberta Enoch and Steven Canner Peter Entin Abigail Evans Teresa Eyring Michael T. Fulton and Catherine Hernandez Stephen L. Godchaux David Goldman and Debbie Bisno James W. Gousseff Wray Steven Graham Rob Greenberg D. Keith Hargreaves Karsten Harries Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Kathryn Hirsch Donald Holder Kathleen Houle Barnet K. Kellman
Charles Kimbrough Francis N. Levy Kenneth Lewis Chih-Lung Liu Brian Mann John McAndrew Susie Medak Stephen Mendillo David E. Moore Arthur Oliner James M. Perlotto, M.D. Lawrence Perry and Rebecca Wayland Thomas J. Peterson Carol A. Prugh John Rhee Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward Shirin Devrim Trainer John M. Turturro and Katherine Borowitz Carol M. Waaser Carolyn S. Wiener Steven Wolff Stephen Zuckerman
Actors’ Equity Foundation Anonymous Susan and Bruce Ackerman Mary B. Arnstein James Robert Bakkom Raymond Baldelli and Ronald Nicholes Robert Baldwin Richard E. Bianchi Robert Bienstock Tom Broecker Mark Brokaw Claudia Brown Bruce and Janet Bunch Thomas Buttke and Judith Waters Michael Cadden Anne and Guido Calabresi William Caruth David M. Conte Marycharlotte Cummings John W. Cunningham Richard Sutton Davis Charles Dillingham Constance Dimock Dennis Dorn Elizabeth English David Freeman Meredith Freeman Joseph Gantman Cleveland Gardner Stuart and Beverly Gerber Julie Grant Robert J. Greenberg Elizabeth Greene Michael Gross
Dick and Norma Grossi Regina Guggenheim William B. Halbert Scott Hansen Walter and Betty Harris Douglas Harvey Barbara Hauptman Nicole and Larry Heath Peter Hentschel and Elizabeth Prete Jennifer Hershey-Benen June and George Higgins Catherine MacNeil Hollinger Abraham Maimon Elizabeth Holloway John Robert Hood Christine Jahnke Rolin Jones Cynthia Kaback Edward Kaye Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner Harvey Kliman and Sandra Stein John and Evelyn Kossak Foundation David Kriebs Frances Kumin William Kux James Lapine Michael John Lassell Richard and Elaine Lau Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Carol and Arthur Mikesell Jeffrey Milet Daniel Mufson Victoria Nolan and Clark Crolius Dwight Odle Louise Perkins and Jeff Glans Laura Perlow Stephen Pollock Alec and Drika Purves Asghar and Faye Rastegar Ronald Recasner Bill and Sharon Reynolds Ross Sumner Richards Harry M. Ritchie Dawn Robertson Laila Robins Lori Robishaw Steve Robman Dorothy Rostov Dr. Ortwin Rusch Alvin Schecter Larry Schwartz and Russ Rosensweig Alexander Scribner
Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane David Soper and Laura Davis Erich William Stratmann Paul Charles Tigue III Suzanne Tucker David J. Ward Vera Wells Dana Westberg Judith and Guy Yale Evan Yionoulis Catherine Zuber
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CONTRIBUTORS Nigel W. Daw Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin Jose A. Diaz George Di Cenzo Thomas Di Mauro Francis Dineen Gene Diskey Melinda DiVicino Alexander Dodge Dennis Dorn Franchelle S. Dorn Merle Dowling JoAnne E. Droller, R.N. D. William Duell John A. Duran Karen and Edwin Duval East Coast Management & Consulting, LLC Mr. and Mrs. David Ebbin Douglas Edwards Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Marc and Heidi Eisenberg Nancy Reeder El Bouhali Janann Eldredge Debbie Ellinghaus Jack and Lucina Embersits Elizabeth English Dirk Epperson David Epstein Edith Dallas Ernst Howard and Jackie Ertel Frank and Ellen Estes Dan and Elizabeth Esty Jerry N. Evans Eva Ewing John D. Ezell Michael Fain Kristan Falkowski Jon Farley Ann Farris Paul and Susan Fiedler Dennis Flynn Joel Fontaine Anthony Forman Keith Fowler Walter M. Frankenberger III Abigail Franklin Brackley Frayer Karen Freedman Linda and Gary Friedlaender Reynold Frutkin Randy Fullerton Richard Fuhrman John Gaddis and Toni Dorfman
David Gainey Jim and Eunice Galligan Shawn Marie Garrett Steven Gefroh Mary Louise Geiger Eugenie and Bradford Gentry Robert Gerwien Paul and Liz Giamatti Patricia Gilchrist Robert and Anne Gilhuly Morfydd and Gilbert Glaser Robert Glen William Glenn Neil Gluckman Susan Gobel Lindy Lee Gold Norma and Myron H. Goldberg Robert Goldsby Jess Goldstein David Gorton Lori S. Gorton Naomi S. Grabel Christopher Grabowski Charles F. Grammer Kris and Marc Granetz Katharine Grant Bigelow Green Anne K. Gregerson Joe Grifasi Karen Grimmell Alan A. Grudzinski John Guare Eugene Gurlitz Dr. Ronald and Maria Hagadus Phyllis O. Hammel Alexander Hammond Ann T. Hanley Jerome R. Hanley David W. Hannegan Scott Hansen Harold Harlow John Harnagel Charlene Harrington Lawrence and Roberta Harris Lyndsay N. Harris Walter and Betty Harris James T. Hatcher Ihor Hayda James Hazen Patricia Helwick Elba and Juan Hernandez Jennifer Hershey-Benen Greg and Elaine Herzog Dennis F. Hickey Roderick Lyons Hickey III Bente and Walter Hierholzer
Christopher Higgins Hill Regional Career High School Mr. and Mrs. Edward F. Hirsch, Jr. Elizabeth Holloway Amy Holzapfel Agnes Hood James Guerry Hood Carol V. Hoover David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Mary and Arthur Hunt Peter H. Hunt Timothy and Diane Hunt John Huntington Raymond P. Inkel Patricia Ireland Candace Jackson Ihor Hayda Mr. and Mrs. Herrick Jackson Kirk Jackson Peter and Catherine Jackson John W. Jacobsen Christine and Matt Jacobs-Wagner Joanna and Lee Jacobus Paul Jaeger Chris Jaehnig Drs. Donald and Diana Jaffe Mr. and Mrs. Robert Jaffee, Sr. Jim and Cynthia Jamieson Jeffrey’s, a restaurant Cynthia Lee Jenner Kristen Johnsen-Neshati Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Gregory Kandel Carol Kaplan Lloyd A. Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Nancy Lee Kathan Bruce Katzman Edward A. Kaye Asaad Kelada Arthur J. Kelley, Jr. Abby Kenigsberg Bettyann Kevles Alan Kibbe Colette Ann Kilroy Peter Young Hoon Kim Carol Souscek King
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Peter Mason Richard Mason Carole A. Masters Gayle Maurin Beverly May Mary McCabe Tarell Alvin McCraney John and Rebecca McCullough Robert A. McDonald Brian McEleney Thomas McGowan Deborah McGraw Robert J. McKinna Ann and Chad McLaughlin Patricia McMahon Bruce W. McMullan Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Brina Milikowsky George Miller and Virginia Fallon Jonathan Miller Robert J. Miller Saul and Sandy Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Lawrence Mirkin Stanley and Phyllis Mishkin Thomas Reed Mohan Richard R. Mone Donald W. Moreland George Morfogen Paul and Maureen Moses Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr. David Nancarrow James Naughton Tina C. Navarro William Ndini Tobin Nellhaus Christianna Nelson Regina and Thomas Neville Martha New Ruth Hunt Newman Dr. Nickolas Nickou William and Barbara Nordhaus Mimi and Harold Obstler Dwight R. Odle Janet Oetinger Ann Okerson Richard Olson
Fran and Ed O’Neill Sara Ormond Lori Ott Kendric T. Packer Joan D. Pape Dr. and Mrs. Michael Parry Usha Pasi Mary L. Pepe John L. Peschel William Peters Zane Pihlstrom Andrew Plummer Stephen B. Pollock Lisa Porter Michael B. Posnick Amy Povich Gladys S. Powers Robert Provenza Alvin S. Prusoff and Dr. Deborah DeRose William Purves Michael Quinn Sarah Rafferty Faye and Ashgar Rastegar Ronald Recasner Ralph Redpath Sandra and Gernot Reiners Joe Reynolds Mary B. Reynolds Ross Sumner Richards Lisa Steele Roach Brian Robinson Lori Robishaw Douglas Rogers Howard Rogut Joanna Romberg Melina Root Fernande E. Ross John M. Rothman Ron and Jean Rozett Julia Meade Rudd Kevin Rupnik Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV John Barry Ryan Helen and Herbert Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Robert Sandberg Christopher Carter Sanderson Robert Sandine and Irene Kitzman Jack and Letha Sandweiss Frank Sarmiento Peggy Sasso Cary Scapillato Joel Schechter
Anne Schenck Henry Scherer Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Georg Schreiber Jennifer Schwartz Kimberly A. Scott Forrest E. Sears Subrata Sen Paul H. Serenbetz John Victor Shea Morris Sheehan Paul R. Shortt Carol M. Sica Lorraine Siggins and Braxton McKee Michael Vaughn Sims William Skipper Lee Skolnick William and Betsy Sledge Teresa Snider-Stein Suzanne Solensky and Jay Rozgonyi E. Gray Smith, Jr. Marian and Howard Spiro Mary C. Stark Charles Steckler James Beach Steerman Louise Stein Neal Ann Stephens John Stevens Joseph C. Stevens Marilyn and Robert Stewart Jaroslaw Strzemien Thomas Sullivan Richard Guy Suttor Tucker Sweitzer David Loy Sword Jack Sydow E. Richmond and Sue Talbot Paul J. Tines Eric Ting David F. Toser Albert Toth Tahlia Townsend Howard B. Treat Jr. Russell L. Treyz James Triner Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Melissa Turner Cheever and Sally Tyler Russell Vandenbroucke Joan Van Ark
Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry Vine Fred Voelpel Fred Volkmar Elaine and Patrick Wackerly Charles Walkup Elizabeth Walsh Barbara Wareck and Charles Perrow Anne C. Washburn Steven I. Waxler Gil Wechsler Betsy and Harry Welch Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson David Willson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman
EMPLOYER MATCHING GIFTS
Aetna Foundation Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation
This list includes current pledges, gifts, and grants received from July 1, 2008‚ through April 5, 2010. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or email@example.com.
YALE REP’S EDUCATION PROGRAMS
FOR YOUR INFORMATION how to reach us
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 firstname.lastname@example.org
Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 10,000 Connecticut students and educators. The Dwight/Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/Grant Community schools to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergencyonly 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.
ACCESSIBILITY SERVICES Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), 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’s accessibility services are supported in part by the Frederick A. DeLuca Foundation, The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.
audio description (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Open Captioning and Audio Description performances are at 2PM. AD pre-show description begins at 1:45PM.
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
SPONSORSHIP corporate sponsors Mionetto USA
Scoozzi Trattoria and Wine Bar
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.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2009.
Battle of Black and Dogs
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
Yale Rep’s education programs are supported in part by Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Bank of America; Deborah S. Berman; Bianca F.-C. Calabresi; the Carolyn Foundation; Bob and Priscilla Dannies; the Frederick A. DeLuca Foundation; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Frances L. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target Stores; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; and Yale Cabaret.
Chestnut Fine Foods Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate
New Haven Register The Study at Yale, a Boutique Hotel Thames Printing Company, Inc. Willoughby’s Coffee and Tea WSHU Public Radio Group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2008‚ through April 5, 2010.
Supporting creative expression in personal and professional work around the block and across the world. Since 1947. Hull’s Art Supply & Framing 1144 Chapel Street 203.865.4855 Hull’s Fine Framing & More One Whitney Avenue 203.907.0320
LocAteD next Door to YALe rep 1104 chapel Street 203-776-8268
TRATTORIA & WINE BAR Innovative Italian cuisine Zagat Guide Award of Distinction Mezzo Prezzo Tuesdays—half price wines by the bottle Sunday brunch with live Jazz Knowledgeable, attentive staff
A proud supporter of Yale Repertory Theatre © 2009 Yellow Book USA, Inc. All rights reserved. Yellowbook™ is a trademark of Yellow Book USA, Inc.
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architecture as mathematical practice in england, 1500–1750
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February 18–May 30, 2010 Organized by the Museum of the History of Science, University of Oxford, and the Yale Center for British Art
yal e c e nte r for b ritish a rt 1080 Chapel Street, New Haven, Connecticut Tuesday–Saturday 10–5, Sunday 12–5 | admission is free 877 brit art | yale.edu/ycba Christopher Wren, Study design for the dome of St. Paul’s Cathedral, in two half-sections, each incorporating the curve of a cubic parabola (detail) ca. 1690, pen and brown ink over graphite. British Museum, Department of Prints and Drawings, © The Trustees of the British Museum