BETWEEN TWO KNEES (2022)Yale Repertory Theatre

2022 S EASO N

A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre!

I had the enormous pleasure of seeing the world premiere of Between Two Knees—the first play written by the intertribal sketch comedy troupe the 1491s—at the Oregon Shakespeare Festival (OSF) in the summer of 2019 and have wanted to bring it to Yale Rep ever since.

Naively, I thought we could accomplish that goal within eighteen months, but the pandemic ensued, and here we are nearly three years later.

This play stands as one of my all-time favorite pre-pandemic theatergoing experiences: I was surprised and laughed as hard and as often as in any theater I can remember. Oh, and I learned a lot too: it is the maximalist comedic bent of the authors to deconstruct more than a hundred years of received history, re-centering Native American experiences often erased from incomplete narratives and unexamined assumptions on which the United States has been built.

If this is your first encounter with the 1491s (as it was mine), I encourage you later to check out their YouTube page and the Hulu series Reservation Dogs, which like their play, are remarkable examples of the range of Native creativity and the sometimes shocking, sometimes subversive power of comedy.

Following on the heels of Mary Kathryn Nagle’s Manahatta in 2020, Between Two Knees is only the second play by Native writers produced by Yale Rep in our near six-decade history: a bracing reminder of our need to continue the project of transforming Yale Rep into a more inclusive theater for all artists and audiences.

I am especially grateful to our esteemed colleagues at OSF for joining us to present this work; to The Roy Cockrum Foundation, whose generosity has made this production possible; and to you for supporting these artists and their stories by being here today. In the skilled hands of director Eric Ting (returning to New Haven where he staged many wonderful productions at Long Wharf Theatre during his tenure there as Associate Artistic Director), the team of inventive artistic and technical collaborators, and this virtuosic acting ensemble, Between Two Knees is a singular theatrical experience.

This is also the final production of our abbreviated but joyful 2022 season. We will return in the fall for a season of four plays running October through May: Edward Albee’s Who’s Afraid of Virginia Woolf?; the world premiere of The Brightest Thing in the World by Leah Nanako Winkler; Mojada by Luis Alfaro; and the ripple, the wave that carried me home by Christina Anderson. You can learn more about these plays, and the artists who will bring them to life, on our website (yalerep.org).

Thank you again for joining us today. As always, you can share your thoughts about Between Two Knees or any of your experience at Yale Rep by writing to me at james.bundy@yale.edu. I love hearing directly from you and I look forward to seeing you again in the fall!

Sincerely, James Bundy Artistic Director

A hotel setting new expectations for comfort and service

1157 Chapel Street | New Haven, CT 06511 | 203.503.3900 2

MAY 12–JUNE 4, 2022 YALE REPERTORY THEATRE James Bundy, Artistic Director | Florie Seery, Managing Director AND THE OREGON SHAKESPEARE FESTIVAL PRESENT

By The 1491s Directed by Eric

Ting

Choreographer

Production Dramaturg

Ty Defoe

Julie Felise Dubiner

Original Choreography

Technical Director

Shaun Taylor-Corbett

Cameron Camden

Scenic Designer

Vocal and Dialect Coach

Regina García

Grace Zandarski

Costume Designer

Fight Director

Lux Haac

Rod Kinter

Lighting Designer

Intimacy Director

Elizabeth Harper

Kelsey Rainwater

Sound Designer

Casting Director

Jake Rodriguez

Tara Rubin, C.S.A.

Original Songs

Associate Director

Ryan RedCorn

R. Réal Vargas Alanis

Projection Designer

Stage Manager

Shawn Duan

Amanda Nita Luke

The World Premiere of Between Two Knees was originally produced at Oregon Shakespeare Festival Commissioned as part of American Revolutions: the United States History Cycle by Oregon Shakespeare Festival, Artistic Director Bill Rauch, Executive Director Cynthia Rider; and New Native Theatre, Artistic Director Rhiana Yazzie.

This production is made possible by a generous grant from The Roy Cockrum Foundation.

Wig and Hair Designer

Younghawk Bautista Yale Repertory Theatre thanks our 2022 season funders:

Season Sponsor: The Study at Yale

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Dramatis Personae* Edward Astor Chin................................................Ensemble member playing drum, Chinese Guy, Mother Superior, Large Man, Army Man 2, George Washington, Korean War Vet, Rando, The Vietnam War as Interpretive Dance, Story Larry, FBI 2

Rachel Crowl ...........................................................Ensemble member playing a gourd, Ensemble member à la Vanna White, Soldier, Priest, New Age Priest, Second Wife, Army Man 1, Cop, Piano Player, Singer, Stephanie Hendricks, FBI 1

Derek Garza..............................................................Younger Isaiah, Eddie Justin Gauthier........................................................Larry, Jesus Larry, FDR Larry, Deer Larry, Bartender Larry, Emcee Larry, Doctor Larry, Drill Sergeant Larry, Peddler Larry, Hooker Larry, The Greatest Warrior of All Time Larry, Cowboy Larry, News Anchor Larry, Space Larry

Yale University acknowledges that Indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring and continuing relationship that exists between these peoples and nations and this land.

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Shyla Lefner..............................................................Ensemble member carrying a cutout image of a bison à la The Lion King, Younger Irma, Irene

Wotko Long..............................................................Ensemble member playing a flute, Pale Face, Witko, Nun 1, Nunja, Guy looking for buffalo head, Nun 1, Less Large Man, Older Isaiah, Timothy Klaus, Old Timer From Maine, Clinic Patient

Shaun Taylor-Corbett..........................................Ensemble Member with an eagle hidden in his costume, Eagle Handler, Pale Face, Nunja, William Wolf, Medium Sized Man, Guitar Player, FBI 3

Sheila Tousey...........................................................Injured Mother, Ghost of the Injured Mother, Nun 2, Nunja, Older Irma, Klaus’s Wolf Associate, Vietnamese Woman, Clinic Patient, Flight Attendant

Eagle**..........................................................................Eagle Prop**............................................................................Baby and other baby, Story Eddie Wolf**............................................................................Wolf *We reserve the right to change, cut, add, or otherwise mess with the character list well after this program has gone to press. This is a new play, folks. **Other animals might be real, but probably not the baby.

All patrons must wear masks at all times while inside the theater. Our staff, backstage crew, and artists (when not performing on stage) will also be masked at all times.

The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited.

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Yale Rep acknowledges the importance of honoring and recognizing the sustained sovereignty of Native Nations and the continued survival of the Native communities in Connecticut and at Yale University.

The Native American community at Yale includes students, staff, and faculty from dozens of tribal nations, many of whom are active in several professional, student, and campus organizations. Student activism in the late 1980s laid the foundations for the contemporary campus community and launched the establishment of the Association of Native Americans at Yale (ANAAY) and the Native American Cultural Center (NACC). The extended NACC community works to raise awareness of Native concerns on campus; to support Native students, staff, and faculty; and to partner with Connecticut tribal nations upon whose ancestral homelands Yale was founded.

Organizations at Yale University Native American Cultural Center Yale Indigenous Performing Arts Program Yale Group for the Study of Native America Yale Indigenous Graduate Network Yale Native American Law Students Association Yale Center for the Study of Race, Indigeneity, and Transnational Migration Yale Native Crossroads at Yale Divinity School Native & Indigenous Students at Yale (NISAY), formerly known as the Association of Native Americans at Yale (ANAAY) Indigenous Leaders of Yale (ILY) If you wish to make a donation to the Native American Cultural Center at Yale, please visit forhumanity.yale.edu. After selecting “Give Now,” click on “College & Schools;” you can select “Other” and write in “Native American Cultural Center” to direct the gift.

Though there are many resources to learn more about history of the people who are the traditional stewards of what is now known as Connecticut, Yale Rep would like to direct you to these two museums.

Mashantucket Pequot Museum & Research Center (Mashantucket, CT) The Mashantucket Pequot Museum & Research Center, part of the government of the Mashantucket Pequot Tribal Nation, is a non-profit educational institution that seeks to further knowledge and understanding of the richness and diversity of the indigenous cultures and societies of the United States and Canada.

The Tantaquidgeon Museum (Uncasville, CT) The Tantaquidgeon Museum was founded in 1931 by the Tantaquidgeon family to preserve Mohegan culture, artifacts, and history, and now stands as the oldest Native-owned-and-operated museum in America with the Mohegan Tribe currently maintaining the collection and sponsoring special events.

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This map does not represent the official boundaries of any Indigenous nations and is far from a complete or perfect representation of the rich history and enduring survival of these nations. Five indigenous Indian tribes are recognized by statute in the state of Connecticut: the Schaghticoke, Paucatuck Eastern Pequot, Golden Hill Paugussett, Mashantucket Pequot, and Mohegan; only the latter two have been granted federal recognition. To learn more, please go to native-land.ca as well as each tribal nation’s websites and other resources.

NIPMUC

POCUMTUC MOHICAN

PODUNKS MASSACOES

LENAPE

reenwich

Hartford

POQUONOOK

Kent Danbury

Tolland

TUNXIS

Waterbury

SCHAGHTICOKE PAUGUSSETT WAPPINGER PEQUONNOCK

Bridgeport

WANGUNKS

NARRAGANSETT MOHEGAN

Middletown

QUINNIPIAC

New HavenHAMMONASSETS

Uncasville

PEQUOT

New London

WESTERN NEHÂNTICK

North Stonington EASTERN NEHÂNTICK

Comedy as “We wash his ears so that he will not hear people lecture him on what should be considered racist or offensive when they themselves have only a minimal understanding of how uncensored humor borne from trauma is actually beneficial to community healing!”

—Irma, Between Two Knees Years ago, there was a study, maybe it was done at Yale? Maybe it was Harvard?

Princeton? University of Phoenix? Anyway. There was a study. It’s likely that the writer of this section didn’t read the study but simply read a Yahoo! news article about it, but that’s not what’s important. Anyway. The study.

So. They took a bunch of people to the movies. One group saw a movie about something sad and tragic. It was something about injustice, and it was, like, really tragic. Probably had some white guy hero or something. The other group saw a movie about the same sad, tragic injustice—but this one was a comedy. Afterwards the folks running the study talked to each group. The ones who saw the sad movie just felt sad and wanted to go home and be sad and eat some comfort food like chips or cookies or leftover pasta. The ones who saw the comedy felt energized—like they had to do something to change the situation. They started GoFundMes and petitions and ran off to serve in the diplomacy corps and stuff like that. They might have been stress eating, but they also wanted to save the world.

That’s the power of comedy.

For many years in the American theater, new comedies have struggled to find their place. The decline of the development and production of new comedies coincides with a shrinking of the audiences for theater, but it’s unclear if Yale or Harvard or Princeton or the University of Phoenix has done a study on this. Causation. Causality.

All that.

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Resistance Good comedy is inherently dangerous. It is challenging; it will cause discomfort or offense to make its point. What we are reclaiming here is the idea of comedy as resistance. When we look at Aristophanes’ Lysistrata or Molière’s Tartuffe or jump into the movies, like Mel Brooks and Richard Pryor’s Blazing Saddles, we can see how comedy has been used to skewer warmongers or religious hypocrites or racism or so many other things worthy of skewering. The 1491s entered this continuum with their sketch work, and through this play and their various television projects, including the wildly successful Reservation Dogs. These works and Between Two Knees, in particular, are a reclamation.

It’s not that comedy can’t simply be fun, but Between Two Knees is a version of comedy that takes back power that has been lost or stolen. It is a way of looking right in the eyes of the people who tried to kill you and laughing at them. To use humor as a weapon to defuse and disarm, sure, but mostly to seize back whatever power you can from those who want you to be quiet or gone. It is an act of defiance.

It declares for those who have survived, who are the children and grandchildren of survivors, who survive and thrive in a culture that will not be silenced—it declares a state of being alive, of living-ness. It declares, “We are still here.” We are shaped by our tragedies, and we must face our tragedies, but comedy reminds us that we are more than our tragedies.

“...it’s ok! We’re gonna make this fun.

We gonna talk about war and genocide and PTSD and molestation. So it’s ok to laugh.”

—Larry, Between Two Knees

Laugh. Really what it really comes down to is: do you want to save the world?

—Julie Felise Dubiner, Production Dramaturg

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A Seriously Scholarly Ar The word colonialism refers to the violent process whereby one people subordinate another through violence and occupation.

The inheritance of these processes is very much alive in our skin and flesh today, and we must constantly remember that the United States of America was built by stealing the land of Native communities, a theft followed by genocide and violence, as well as the exploitation of Black labor. But the legitimization of the colonial project must also come with a Weltanschaang that justifies an oppression based on race, gender, sexual orientation, and class. This permeates all bodies in a colonized system, as well as the institutions and laws that sustain it, and it is absorbed by its victims in the form of internalized oppression.

We must be wary that the language of the oppressor tends to turn into the norm when speaking about marginalized communities, and we must allow space for self-determination going forward.

The 1491s are Dallas Goldtooth (Mdewakanton Dakota-Diné), Sterlin Harjo (Seminole-Muscogee), Migizi Pensoneau (Ponca-Ojibwe), Ryan RedCorn (Osage Nation), and Bobby Wilson (Sisseton-Wahpeton Dakota). Together they offer a subversive deconstruction of the Pessimismus der Unterdrückten. To do so, they dislocate the relationship between the signifier and the signified proposed

by Ferdinand de Saussure, appropriating 10

Derridean procedures to American popular culture in order to dismantle its effects by acknowledging, à la Michel Foucault, that power has multiple sources and plural effects. Their work relies, as Slavoj ŽiŽek would recognize, in the official ideology of society, and in his tradition they read between the lines of discourse to dissect its flaws. The Ideological State Apparatus, invoking the Althusserian nomenclature, is attacked by people who have not controlled their own representation in the last centuries, therefore forced, as Muñoz argues that marginalized communities often are, to disidentify in order to create a sense of self, or even worse, to internalize the gaze of the oppressor when thinking about the self. James Baldwin claims that we only exist in the eye of the beholder, and when that gaze can only see a community in abject terms, the impression on the soul can have long-lasting effects.

The 1491s are actively countering the Weltschmerz that characterizes the victims of colonial violence by reclaiming the control of the representation. Their early work, in the form of YouTube videos and live shows, created a liminal space that denied the observer any sort of anagnorisis, because the peripeteia is not offered in this fictional reality. The spectator must decodify their symbols to achieve their own personal and communitarian transformation, through a remarkable use

ticle About the 1491s of Verfremdungseffekt that Brecht would openly celebrate. We could even suggest, although with reservations, that their devices push forward the work of the German master, earning a fundamental space in the North American and Western canon. Between Two Knees, indeed, deals with a very specific history, but by relocating the gaze, it achieves a universality that demands our praise.

We have now run through all the German and Greek both the dramaturgs on this show actually know but steadfastly refuse to translate for you and have almost run out of space in this program book. But we negotiated for extra program space, so please turn the page to read more about the 1491s and for an exquisitely prepared timeline of Native history that we’ve labored over.

—Julie Felise Dubiner with Sebastián Eddowes-Vargas (notes continue)

fig. 1: The 1491s: Ryan RedCorn (Osage Nation), Sterlin Harjo (SeminoleMuscogee), Dallas Goldtooth (Mdewakanton Dakota-Diné), Migizi Pensoneau (Ponca-Ojibwe), and Bobby Wilson (Sisseton-Wahpeton Dakota) 11

And, just as importantly, if you want to read more about the 1491s, there are a bunch of videos online that are super fun. Here are the websites,

THE 1491S CHANNEL If you only watch one, we recommend this. But we also include fancy German words, so why are you still trusting us?

And if you scan this QR code it will take you to the FX on Hulu site for Reservation Dogs, the television show created by Harjo that all the 1491s are all working on now.

This one will take you to the 1491s website. All of these are much more fun than the serious, scholarly article you just read.

Also, in this video you can see them playing with themselves.

Click here and find out what your 1970 text book didn't teach you.

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CAST BIOS Ensemble:

Edward Astor Chin* has appeared in The Headlands (Lincoln Center Theater), Vietgone (Alley Theatre), Small Mouth Sounds (national tour), Veil Widow Conspiracy (New York Theatre Workshop/National Asian American Theatre Company), True West (Curious Frog), The Brig (Living Theatre). Other credits include productions at Roundabout, Ars Nova, Ma-Yi, Woodshed, ACT, Long Wharf, Barrington, Philadelphia Company, Northern Stage. Film and television: Lincoln Rhyme, Manifest, Elementary, Jessica Jones, Person of Interest, Limitless, Feed the Beast, Mysteries of Laura, Set it Up (Netflix). Upcoming: City on a Hill season 3 and Maria Schrader’s She Said this fall.

Ensemble:

Rachel Crowl* is an actor, musician, and photographer based wherever the next gig takes her.

In two seasons at Oregon Shakespeare Festival: Duke Senior and Ensemble in As You Like It; Ensemble in Between Two Knees; Music Captain for As You Like It and Between Two Knees; Pistol, Sir Thomas Grey, Governor of Harfleur, Chorus, and Ensemble in Henry V (mid-May to October 2018); Marcade, Musician, and Ensemble in Love’s Labor’s Lost. Other theater: Fool 1 in The Swindlers (Baltimore Center Stage); Witch/Murderer/Gentlewoman

in Macbeth (Stars in the House). Film: And Then There Was Eve and The Smiley Face Killers. In another life she did a whole lot of theater Off-Broadway.

Young Isaiah, Eddie, Ensemble: Derek Garza* is a First Nations/ Latino (Tribal affiliation: Wichita/ Comanche) DC-based actor with his M.F.A. in acting from Penn State University. He recently finished two seasons at the Oregon Shakespeare Festival where he was seen in Othello, Romeo and Juliet, As You Like It, and the world premiere of Between Two Knees. Other theaters include North Carolina Stage Company, Theatre for a New Audience, Native Earth, American Repertory Theater, TimeLine Theatre, Victory Gardens, Chicago Dramatists, Video Cabaret, and Steppenwolf to name a few. Derek can also be seen in television and films such as ABC’s Betrayal; NBC’s Chicago Fire, PowerBook II: Ghost, and Canal Street. derekgarza.com Larry:

Justin Gauthier* A proud citizen of the Menominee (Omāēqnomenēw) Nation of Wisconsin, writer/actor Justin “Jud” Eagle Gauthier studied at the Institute of American Indian Arts in Santa Fe, New Mexico, where he earned an M.F.A. in screenwriting. Jud provides audiences across the nation a wholly unique worldview as an indigenous cultural ambassador with

undeniable pop culture acuity. Jud would like to say wāēwāēnan (thank you) to all his family, friends, cast mates, crew, and audiences for helping him to become a better storyteller.

Young Irma, Irene, Ensemble: Shyla Lefner* (of Choctaw, Pamunkey descent) returns to Yale Rep, where she was seen in Manahatta. Recent credits include The Cymbeline Project, Alice in Wonderland, Henry V, Between Two Knees, and The Way the Mountain Moved (Oregon Shakespeare Festival); The Door You Never Saw Before (Geffen Playhouse); Fairly Traceable, Off the Rails, The Frybread Queen (Native Voices at the Autry); Readings and workshops: Sovereignty (Theatre for a New Audience); Wonderland (Dramatists Guild); (w)holeness (Oregon Shakespeare Festival); Ackia: The Complete Epic (Idyllwild Native Arts Festival); Ungipamsuuka: My Story, Our Voices Will Be Heard (La Jolla Playhouse). Stand-up: Hollywood Improv, The Comedy Store, Ice House, and LA Skins Fest Native Sketch Comedy Showcase. Affiliations: Native Voices Artists Ensemble.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

CAST BIOS Older Isaiah, Ensemble: Wotko Long Stephen Wotko Long is recognized as a song keeper of the Mvkoke language. He has also appeared in the documentary This May Be the Last Time directed by Sterlin Harjo. Played a homeless native man in the film called Mekko. Who with a friend tried to find their way back to the traditional ways. Was recognized as a living legend from the Mvskoke nation.

And is now recently in the series called Reservation Dogs directed by Sterlin Harjo and Taika Waititi, with the help of the 1491s comedy team. Mvto William, Ensemble/Original Choreography:

Shaun Taylor-Corbett*

I’Pyooksisstsiiko’om is proud to be a mixedrace artist of Amskapi Pikunni (Blackfeet), Scandinavian, and Black heritage as well as being a member of the Kaa Nux Im mii Taaks (Blackfeet Crazy Dog Society). Shaun was in the original production of In the Heights on Broadway and closed the show in the role of Sonny. He played Frankie Valli in the Second National Tour of Jersey Boys, Juan in Altar Boyz Off-Broadway, and Usnavi and Sonny in In the Heights on the First National Tour as well as in the Broadway company. He is a Bedlam Theatre Company member (The Crucible, Hedda Gabler, The Winter’s

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Tale, Bedlam: the Series). His original Indigenous musical, Distant Thunder, received its first production in March 2022 with Lyric Theatre of Oklahoma at First Americans Museum. The show is based on Shaun’s deep connection with the Blackfeet community in Browning, Montana. Other credits include three seasons at Oregon Shakespeare Festival.

Shaun co-narrated There There by Tommy Orange, which was nominated for an Audie Award in 2019, and recently narrated The Only Good Indians by Stephen Graham Jones, also nominated for an Audie. Television/film: Hi-5, Discovery Kids, Supremacy, Gamer’s Guide, All My Children.

Older Irma, Ensemble: Sheila Tousey* (Stockbridge-Munsee/ Menominee) is a writer, director, and actress with many film, television and theater credits to her name including appearances in Signature Theater and Magic Theater’s The Late Henry Moss by Sam Shepard; Marie in Joanne Akalaitis’s Woyzcek at The Public Theater, and in the Guthrie Theater in Marsha Norman’s adaptation of Louise Erdrich’s The Master Butchers Singing Club. She was a Drama Desk Nominee for acting and is also a company member at the Oregon Shakespeare Festival. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

CREATIVE TEAM BIOS Playwrights: The 1491s are an intertribal Indigenous sketch comedy troupe. Dallas Goldtooth (Mdewakanton Dakota-Diné), Sterlin Harjo (Seminole-Muscogee), Migizi Pensoneau (Ponca-Ojibwe), Ryan RedCorn (Osage Nation), and Bobby Wilson (Sisseton-Wahpeton Dakota) originally combined their talents to create comedic videos for YouTube.

Their first video, a Twilight parody called “New Moon Wolf Pack Auditions,” went viral in 2009 as have many of their subsequent videos. The 1491s have traveled the country and the world sharing their satirical, stereotype-busting humor through live performances, panels, discussions, and appearances on major media outlets including The Daily Show on Comedy Central, Al Jazeera, and National Public Radio. They have also used their talents to address social and legislative issues, such as the full inclusion of Indigenous women in the Violence Against Women Act. Wig and Hair Designer:

Younghawk Bautista’s unique approach to hair and beauty is a hybrid of classic shapes combined with modern styling techniques to produce work that evokes a timeless, chic appeal— an approach fueled by iconic images from film and fashion and the arts. His impressive resume of experience is rooted in specific training with Goldwell Color, L’Oréal, Wella, Bumble and Bumble, and Vidal Sassoon. His level of education has formed his well-rounded approach to hairdressing, pleasing many clients and creative collaborators alike throughout his career. His most recent

work has included a role as an Educator of Barbering and Cosmetology at the renowned Arrojo Cosmetology School in NYC. He was also a hair team member for Motown: The Musical on tour and Wicked on Broadway.

Technical Director:

Cameron Camden is a fourth-year M.F.A. candidate in the Technical Design and Production Program at David Geffen School of Drama. He is excited to bring a show to the stage for Yale Rep after previously serving as the technical director for Testmatch which was canceled in 2020 due to the COVID pandemic. Credits at the Geffen School include Bodas de Sangre and Manning (Production Manager), Seven Spots On The Sun (Assistant Technical Direction), and the 2019 Carlotta Festival of New Plays (Festival Properties Manager).

He has previously worked at several theaters including The Juilliard School, Ohio Light Opera, and Potsdam Music Theatre. Cam is originally from Michigan and holds a B.A. in theater arts-technical direction from the University of Miami.

Choreographer: Ty Defoe (Giizhig), indigiqueer/2S+ citizen of the Oneida/Ojibwe Nations.

A director, writer, interdisciplinary artist, and Grammy Award winner.

Ty aspires to an interweaving and glitterizing approach to artistic projects with social justice, indiqueering, and environmental-ism. Ty’s global cultural arts highlights: the Millennium celebration in Cairo, Egypt; International Music Festival, Ankara, Turkey; and Festival of World Cultures in Dubai.

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CREATIVE TEAM BIOS Awards: Global Indigenous Heritage Festival Award, Jonathan Larson Award, First Peoples Cultural Capital Fellow, Helen Merrill Playwriting Award 2021, and finalist at the Cordillera International Film Festival for We Will Always Be Here.

Works created and authored: Trail and Tears (w/Dawn Avery), River of Stone, Red Pine, The Way They Lived, Ajijaak on Turtle Island, Hear Me Say My Name, The Lesson (w/Avi Amon and Nolan Doran), and Firebird Tattoo, among others.

Current release of VR and digital media projects ANAKWAD (w/Dov Heichemer and _alpha), CIRCLE, and Strong Like Flower (w/Katherine Freer). An artEquity facilitator, co-founder of Indigenous Direction (w/Larissa FastHorse). Member of All My Relations Collective, whose GIZHIBAA GIIZHIG | Revolving Sky was presented at The Public Theater’s Under the Radar Festival. Publications: Casting a Movement, Pitkin Review, Thorny Locust Magazine, HowlRound, and Routledge Press, The Methuen Drama Book of Trans Plays for the Stage. Degrees from CalArts, Goddard College, and NYU Tisch. Director: The Winer Bear (Perseverance Theater), A Midsummer Night’s Dream (Arizona Shakespeare Company). Movement Direction: Mother Road, directed by Bill Rauch (Oregon Shakespeare Festival); Manahatta, directed by Laurie Woolery (OSF and Yale Rep); and choreographer for Tracy Letts’s The Minutes (Broadway).

Ty appeared on the Netflix show Unbreakable Kimmy Schmidt and in Young Jean Lee’s Straight White Men, directed by Anna Shapiro (Broadway debut). Lives in NYC + loves the color clear. He|We, allmyrelations.earth, tydefoe.com 16

Projection Designer: Shawn Duan is a New York-based Projections/Media Designer. Recently in New York: Letters of Suresh (2nd Stage, Lortel Award), The Chinese Lady (Ma-Yi/ The Public, Lortel nomination). Other NYC credits: the MET Museum, New York City Opera, the Public Theater. Regional credits: Arena Stage, The Alliance, Berkeley Repertory, Dallas Theater Center, Denver Center for the Performing Arts, The Guthrie, The MUNY, Oregon Shakespeare Festival, Seattle Repertory, South Coast Repertory. Tour/Concert work include: An Evening with Pacino (US/international), HK Arts Festival, numerous US commercial entertainment tours and Las Vegas shows/concerts.

Film: VFX Supervisor for the indie feature 16 Bars.

Production Dramaturg: Julie Felise Dubiner is the Artistic Initiatives Consultant at McCarter Theatre and is a dramaturg, producer, and mentor. She has freelanced around the country and was on staff at American Revolutions/Oregon Shakespeare Festival, Actors Theatre of Louisville, and the Prince Music Theater. Among her dramaturgy credits are The Copper Children by Karen Zacarías, Between Two Knees by the 1491s, Sweat by Lynn Nottage, Indecent by Paula Vogel, and The Liquid Plain by Naomi Wallace. She is the co-creator of Rock & Roll: The Reunion Tour, co-author of The Process of Dramaturgy, and a contributor to Diversity, Inclusion, and Representation in Contemporary Dramaturgy, The Routledge Companion to Dramaturgy, Innovation in Five Acts, and other publications and podcasts.

Scenic Designer: Regina García is a Chicago-based scenic designer from Puerto Rico. She has long standing relationships with the renowned Latinx teatros including Repertorio Español, Puerto Rican Traveling Theater, Teatro Vista, and Pregones Theater.

She has also completed projects for the Oregon Shakespeare Festival, American Players Theatre, Steppenwolf Theatre, and most recently Cincinnati Playhouse in the Park, among others; upcoming shows at Chicago Children's Theatre and the Guthrie. Regina is a Fellow of the NEA/ TCG Career Development Program for Designers and the Princess Grace Awards, USA; a regional associate member of the League of Professional Theatre Women; and company member with Rivendell Theatre Ensemble, Chicago, and Boundless Theatre Company, San Juan/New York. She is the Head of the Scenic Design program at The Theatre School, DePaul University and a founding organizational member of La Gente: The Latinx/é Theatre Production Network. garciaportfolio.com Costume Designer: Lux Haac is a New York-based costume designer working in theater, film, opera, and dance. Recent credits include Songs About Trains (Radical Evolution/Working Theater/New Ohio Theatre); Yoga Play, Ragtime (PlayMakers Repertory Company); Miss Bennet: Christmas at Pemberley (Arizona Theatre Company); Kamloopa (WAM Theatre); I and You, Annapurna (Syracuse Stage); The Thanksgiving Play (Repertory Theatre of St Louis); Hear Me Say My Name (Discovery Theater/National Museum of the American Indian); Eureka Day (Colt Coeur/Walkerspace); Between Two Knees

(Oregon Shakespeare Festival); Native Gardens (Syracuse Stage, Geva Theatre Center, Portland Center Stage); Ajijaak on Turtle Island (IBEX Puppetry/New Victory Theater); and Well Intentioned White People (Barrington Stage Company). Lux is a member of USA 829, All My Relations Collective, and Wingspace Theatrical Design. M.F.A.: NYU/Tisch. luxhaac.com Lighting Designer:

Elizabeth Harper Credits include Ma Rainey’s Black Bottom, Blues for an Alabama Sky (Mark Taper Forum); Indecent, Rattlesnake Kate (Denver Center for the Performing Arts); Office Hour starring Sandra Oh (South Coast Repertory Theatre); The Cake (La Jolla Playhouse); Who’s Afraid of Virginia Woolf?, Sell/Buy/Date, Play Dead directed

by Teller (The Geffen Playhouse); Rock of Ages (5th Avenue Theatre). World premieres include works by Academy Award winner Lucy Alibar, Kemp Powers, Julia Cho, and Michael Mitnick. Elizabeth is the assistant professor of lighting design at the University of Southern California.

Fight Director: Rod Kinter is honored to be continuing this journey with these incredible artists.

A NYC-based fight director, Rod’s credits include the Broadway and first national tour of The Lightning Thief: the Percy Jackson Musical; Live from Lincoln Center: Porgy and Bess (New York City Opera); nine seasons as the Resident Fight Director at the Pearl Theatre; and shows at The Lucille Lortell, Lynn Redgrave, The Mint, The Minetta Lane, Signature, and the East 13th Street Playhouse. Rod was the Resident Fight Director for New York City Opera from 1995 to 2010. Regional credits: ART, The Cleveland Playhouse, 17

CREATIVE TEAM BIOS Oregon Shakespeare Festival, Utah Shakespeare Festival, Hudson Valley Shakespeare Festival, The McCarter, The Barter Theatre, Glimmerglass Opera, Chautauqua Opera, and Shakespeare on the Sound. Rod is on faculty at AMDA teaching Stage Combat. rodkinter.com Stage Manager:

Amanda Nita Luke* she/her (Choctaw/ Cherokee) has worked on the Stage Management teams of Kamloopa (WAM Theatre), Manahatta (Yale Repertory Theatre), Soledad (AICH), Ady (AICH), Arbeka (Native Voices), We Will Always Be Here (Cooper Union), Radio Island (Powerhouse Theater), The Metromaniacs (Redbull Theater), Sense and Sensibility (The Old Globe), Peter Pan (Syracuse Stage), Baskerville (Syracuse Stage), The Underpants (Syracuse Stage), and The Bomb-itty of Errors (Redhouse Arts Center).

This summer Amanda is a part of the producing team for Live in America, producing a 2Spirit/Indigiqueer PopUp Powwow in Bentonville, Arkansas.

Member, Actors’ Equity Association.

Intimacy Director:

Kelsey Rainwater is an intimacy coach, fight director, and actress based out of the ancestral lands of the Munsee Lenape people. Kelsey’s most recent work was seen in Choir Boy at Yale Rep, the premiere of In the Southern Breeze at Rattlestick Playwrights Theater, David Geffen School of Drama’s She Kills Monsters, and Mason Gross School of the Arts’ Damocles and Smart People.

Some of her other credits include The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; A Raisin in the Sun (canceled due to COVID) at Yale Rep; Blues for An Alabama Sky with the Keen Company; and Bess Wohl’s film Baby Ruby. She is a Lecturer in Acting at David Geffen School of Drama, coteaching stage combat and intimacy, and is Resident Fight and Intimacy Director for Yale Rep. Sound Designer:

Jake Rodriguez is a sound designer and composer based in the San Francisco Bay Area. Work at theaters: Woman Laughing Alone with Salad, The Events (Shotgun Players); Sweat, Vietgone (American Conservatory Theater); A Thousand Splendid Suns (American Conservatory Theater, Theatre Calgary, Grand Theater, The Old Globe); Mr. Burns, a post-electric play (American Conservatory Theater, Guthrie Theater); Everybody (California Shakespeare Theatre); Angels in America, An Octoroon (Berkeley Repertory Theatre); we, the invisibles (Actors Theatre of Louisville); The Christians (Playwrights Horizons, Mark Taper Forum); Girlfriend (Kirk Douglas Theatre), others. Awards: recipient of the 2004 Princess Grace Award for Sound Design. Other: Creator of Cricket, a mobile theatre sound design and playback software program; acoustic adviser. Education: sound design internship, American Conservatory Theater; San Francisco State University School of Theatre and Dance.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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Casting Director:

Tara Rubin, C.S.A. has been casting at Yale Rep since 2004. Selected Broadway/National Tours: Six, Ain’t Too Proud, King Kong, Summer: The Donna Summer Musical, The Band’s Visit, Prince of Broadway, Indecent, Bandstand, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Falsettos, Disaster!, School of Rock, Les Misérables, The Heiress, The Phantom of the Opera, Billy Elliot, Shrek, Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys.

Off-Broadway: Gloria: A Life, Smokey Joe’s Café, Jersey Boys, Here Lies Love.

Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. tararubincasting.com Director:

Eric Ting is the Artistic Director of California Shakespeare Theater. His Off-Broadway credits include work at Manhattan Theatre Club, Soho Rep, Public Theater, Brooklyn Academy of Music. Regional: Oregon Shakespeare Festival, California Shakespeare Theater, Denver Center Theatre Company, Seattle Repertory Theatre, Berkeley Rep, Long Wharf Theatre, Cincinnati Playhouse, Mark Taper Forum, Philadelphia Theatre Company, Goodman Theatre, Williamstown Theatre Festival, Alliance Theatre, Victory Gardens Theater, American Repertory Theater, Shakespeare Santa Cruz, Round House Theatre.

International: Singapore Repertory Theatre, Singapore International Festival of Arts, NYU Abu Dhabi

Performing Arts Center, Holland Festival. Awards: OBIE Award, TBA Awards, Connecticut Critics Circle Awards. He is a proud board member of Stage Directors & Choreographers Society.

Associate Director:

R. Réal Vargas Alanis (P'urhépecha

| Tlahualil | They/Them, Elle/Elles, Inde/Ima) is an indigenous, 2-Spirit, queer, entrepreneur from the barrio of Winton, CA (Yokut) – creating art, doing magic, and officiating weddings.

Réal is the current Artistic Director of the Arts and Advocacy Organization In The Margin; leading an ensemble of intersectional QT,BIPOC artists focusing on new works centering social justice uplifting marginalized stories, while incorporating artistic skill sets to aid in front line activism. Réal was among the inaugural cohort of the National New Play Network’s Bridge Program and was an Executive Producer for The New American Theatre Festival developing ten new works. Réal also runs their family business Sexii Tacos: “Where the Tacos are Sexii and so are you!”. Selected credits: A Little Bit of Gay: A Standup Piece by a Homo (Latinx Theatre Commons) | Director - Exhaustion: Arroyo by W. Fran Astorga (Latinx Theatre Commons) | Playwright/Associate Director - Braided (Theatre of Yugen | Theatreworks | Cal Shakes | IN THE MARGIN); CoPlaywright - La Demanda: A Call to Action (IN THE MARGIN, B St., NNPN) | Associate Director - Missing by Marie Clements and Brian Current, Dir. Shannon Davis (Anchorage Opera) | Actor La Comedia of Errors adapted

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CREATIVE TEAM BIOS

by Bill Rauch and Lydia G. Garcia, Dir. Bill Rauch (Oregon Shakespeare Festival) IG: @realvalanis @sexiitacos @inthemargin_itm Vocal and Dialect Coach: Grace Zandarski is a faculty member of the Acting Department at David Geffen School of Drama, where she has taught Voice since 2002, specializing in Advanced Vocal Technique. She has coached numerous Yale Rep and Geffen School productions including An Enemy of the People and Hamlet starring Paul Giamatti (James Bundy, dir.); Cymbeline (Evan Yionoulis, dir.); The Caucasian Chalk Circle and The Winter’s Tale (Liz Diamond, dir.); Romeo and Juliet (Shana Cooper, dir.); and The Three Sisters (Les Waters, dir.); among many others. Her New York coaching credits include Mike Nichols’s Death of a Salesman and Betrayal on Broadway, The Dance and the Railroad (Signature, May Adrales, dir.), The Intelligent Homosexual’s Guide… (The Public, Michael Greif dir.), Homebody/Kabul (BAM, Frank Galati, dir.), in addition to numerous individual coaching credits for actors appearing on and off Broadway, in film, and on television. Grace has taught master classes for the Lincoln Center Director’s Lab and the Public Theater’s Shakespeare Lab. She was named Associate Teacher of Fitzmaurice Voicework in 1998 in the first certification program. She was one of the core faculty members of The Actors Center, and The Studio NY, and also served on the faculty of A.R.T./ MXAT (Harvard’s Advanced Actor

20

Training Program with the Moscow Art Theatre). Her work outside of actor training includes individual business and professional coaching as well as workshops on Voice, Presence, and Improv for Executives. She has led workshops for the ABA, Yale School of Medicine, and Yale School of Management among other educational and corporate entities. Grace is CoArtistic Director of The Actors Center Workshop Company, a member of Panthéâtre (Paris), SAG-AFTRA, AEA, and VASTA. Acting credits include the McCarter Theatre; Oregon Shakespeare Festival, Ashland; The Wilma Theatre; and American Conservatory Theatre.

Directing credits include the Peer Gynt Project and Chekhov Shorts. Education: M.F.A., American Conservatory Theatre; B.A., Princeton University. Grace lives in NYC.

Oregon Shakespeare Festival Led

by Artistic Director Nataki Garrett and Executive Director David Schmitz, the Oregon Shakespeare Festival (OSF) was founded in 1935 and has grown from a three-day festival of two plays to a nationally renowned theatre arts organization that presents a rotating repertory season of up to 11 plays and musicals, including both classics and premieres. OSF productions have been presented on Broadway, internationally, and at regional, community, and high school theaters across the country. The Festival presents more than 800 performances annually and draws an audience of more than 400,000 to its home in Ashland, OR. In 2020, OSF launched O!, a new digital platform featuring

performances, groundbreaking art, and mind-expanding discussions that can be accessed from anywhere in the world.

O! attracts more than 10,000 views per month from audience members in over 50 countries. OSF invites and welcomes everyone, driven by a belief that the inclusion of diverse people, ideas, cultures, and traditions enriches not only the creation and experience of the work the organization presents onstage, but also our relationships with each other. OSF’s mission statement: “Inspired by Shakespeare’s work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory.”

The Roy Cockrum Foundation Founded in 2014 by Roy Cockrum and Benita Hofstetter Koman with winnings from Mr. Cockrum’s Powerball lottery jackpot, the Foundation’s mission is to award grants to support world-class performing arts projects in not-for-profit professional theaters throughout the United States. Since 2014, 34 flagship American theatres and performing arts organizations have received major grants from the Foundation. Inspiration for its mission derives from a line in The Myth of Sisyphus and Other Essays by Albert Camus: “Without culture, and the relative freedom it implies, society, even when perfect, is but a jungle. This is why any authentic creation is a gift to the future.”

Yale Repertory Theatre gratefully acknowledges the generous support of The Roy Cockrum Foundation which has made this production possible.

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ARTISTIC

Assistant Scenic Designer

Lindsay Mummert

Assistant Costume Designer

Sonia Alvarez

Projection Engineer

Mia Sara Haiman

Technical Designer

Rose Bochansky

Second Assistant Costume Designer

Wig & Hair Supervisor

Assistant Lighting Designer

Wireless Microphone Technician

Associate Sound Designer

Run Crew

Micah Ohno

Edward Hansen

Barbara Bodine Olivia Denison

Assistant Dramaturg

Jacob Basri, Anna Blankenberger, Luke Bulatowicz, Sebastián EddowesVargas, Jihane Fareseddine, Karl Green, Leyla Levi, Chloe Liu, Miguel Angel Lopez, Charlie Lovejoy, Marcelo Martínez García, Max Monnig, Eugenio Sáenz Flores, Stan Mathabane, Kiyoshi Shaw, Alary Sutherland

Assistant Fight Director

ADMINISTRATION

Music Captain

Jacob Santos Natalie King

Emily Duncan Wilson

Assistant Sound Designer and Engineer

Joe Krempetz

Assistant Projection Designer

Ridley Walker

Sebastián Eddowes-Vargas Brynn Knickle Rachel Crowl Fight and Dance Captain

Shaun Taylor-Corbett

Vietnamese Translation and Recorded Voice

House Managers

UNDERSTUDIES Understudy for Sheila Tousey

Joan Henry*

Understudy for Edward Astor Chin

Ann Nguyen

Jon Hoche*

Assistant Stage Manager

Understudy for Shyla Lefner

Brandon Lovejoy

Jen Olivares*

Production Assistant:

Understudy for Wotko Long

PRODUCTION

Understudy for Derek Garza, Justin Gauthier, and Shaun Taylor-Corbett

Alexus Coney

Associate Production Manager

Joe Hsun Chiang

Assistant Technical Directors

John Scott-Richardson

Kholan Studi

Megan Birdsong, Aholibama Castañeda González, Miguel Angel Lopez

Understudy for Rachel Crowl

Assistant Properties Supervisor

SPECIAL THANKS

Luanne Jubsee

Production Electrician

Jason Dixon

Krista Unverferth

Robin Hirsch, Dana Warrington, Marla Mahkimetas, Mary Scott, John Paul Szczepanski, Xtreme Designs, Alexander Speiser, Erik Harms

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in 22 the United States.

YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Florie Seery Associate Artistic Director, Director of New Play Programs Jennifer Kiger General Manager Kelvin Dinkins, Jr.

ARTISTIC Resident Artists Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard Dramaturgy Advisor Amy Boratko Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi Resident Costume Designer Toni-Leslie James Lighting Design Advisors Alan C. Edwards Stephen Strawbridge Sound Design Advisor Mikaal Sulaiman Voice and Text Advisor Grace Zandarski Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy Stage Management Advisor Narda E. Alcorn

Associate Artists 52nd Street Project Kama Ginkas Mark Lamos MTYZ Theatre/Moscow New Generation Theatre Bill Rauch Sarah Ruhl Henrietta Yanovskaya Artistic Management Production Stage Manager James Mountcastle Senior Artistic Producer Amy Boratko Artistic Associate Kay Perdue Meadows Artistic Fellows Molly FitzMaurice Sophie Siegel-Warren Casting Tara Rubin C.S.A. Laura Schutzel, C.S.A. Merri Sugarman, C.S.A. Peter Van Dam, C.S.A. Claire Burke, C.S.A. Felicia Rudolph, C.S.A. Xavier Rubiano, C.S.A. Kevin Metzger-Timson, C.S.A. Louis DiPaolo Spencer Gualdoni Olivia Paige West Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Laurie Coppola Senior Administrative Assistant for the Design Program Kate Begley Baker Senior Administrative Assistant for the Acting Program Krista DeVellis Library Services Lindsay King

PRODUCTION Production Management Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills Acting Production Coordinator and Student Labor Supervisor Robert Chikar Senior Administrative Assistant to Production and Theater Safety Grace O’Brien

Scenery Technical Directors Neil Mulligan Matt Welander Electro Mechanical Laboratory Supervisor Alan Hendrickson Scene Shop Supervisor Eric Sparks Senior Lead Carpenter Matt Gaffney Lead Carpenters Ryan Gardner Kat McCarthey Sharon Reinhart Libby Stone Carpenter Doug Kester

Painting Paint Shop Supervisor Ru-Jun Wang Scenic Artists Lia Akkerhuis Nathan Jasunas Scenic Painting Intern Jihane Fareseddine

Properties Properties Supervisor Jennifer McClure Properties Craftsperson David P. Schrader

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YALE REPERTORY THEATRE STAFF Properties Associate Zach Faber

Lead Properties Runner William Ordynowicz

Development Assistant Annabel Guevara

Properties Stock Manager Mark Dionne

Lead Light Board Programmer David Willmore

Finance, Human Resources, and Digital Technology Director of Finance and Digital Technology Katherine D. Burgueño

Costumes Costume Shop Manager Christine Szczepanski Senior Drapers Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn

ADMINISTRATION General Management Associate Managing Directors Madeline Carey Caitlin M. Dutkiewicz Emma Rose Perrin

Costume Project Coordinator Linda Kelley-Dodd

Senior Administrative Assistant to the Managing Director and General Manager Emalie Mayo

Costume Stock Manager Jamie Farkas

Assistant Managing Director Chloe Knight

Costume Shop Intern Micah Ohno

Management Assistant Jake Hurwitz

Electrics Lighting Supervisor Donald W. Titus

Company Manager Matthew Sonnenfeld

Senior House Electricians Jennifer Carlson Linda-Cristal Young Interim Production Electrician Christina Dragen-Dima Electrician Tyler Hieb

Sound Sound Supervisor Mike Backhaus Lead Sound Engineer Stephanie Smith Sound Intern Rebecca Satzberg

Projections Projection Supervisor Eric Lin Projection Engineer Mike Paddock

Stage Operations Stage Carpenter Janet Cunningham Lead Wardrobe Supervisor Elizabeth Bolster

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FOH Mix Engineer Eric Norris

Assistant Company Manager Wendy Davies

Development and Alumni Affairs Director of Development and Alumni Affairs Deborah S. Berman Senior Associate Director of Institutional Giving Janice Muirhead Senior Associate Director of Operations for Development and Alumni Affairs Susan C. Clark Associate Director of Development and Alumni Affairs William Gaines Associate Director of Development Communications and Alumni Affairs Casey Grambo Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona

Director of Human Resources Sarah de Freitas Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Digital Communications Associate George Tinari Interim Business Office Analyst Win Knowles Business Office Specialist Andrea Valcourt Interim Business Office Specialist Moriah Clarke Digital Technology Associates Edison Dule Garry Heyward Senior Administrative Assistant to Business Office, Digital and Web Technology, Operations, and Tessitura Shainn Reaves Business Office Assistants Megan Blake Ashlie Russell Database Application Consultants Ben Silvert Erich Bolton Bo Du

Marketing, Communications, and Audience Services Director of Marketing Daniel Cress Director of Communications Steven Padla

Senior Associate Director of Marketing and Communications Caitlin Griffin

Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Ed Jooss John Marquez

Acting Senior Associate Director of Marketing and Communications Jecamiah Ybañez Assistant Director of Marketing and Communications Jason Gray Senior Administrative Assistant for Marketing and Communications Mishelle Raza Production Photographer Joan Marcus Art and Design Paul Evan Jeffrey/ Passage Design Videographer David Kane Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini Audience Services Associate Molly Leona

Box Office Assistants Mikaela Boone Sydney Garick Jordan Graf Lucy Harvey Aaron Magloire Kenneth Murray a.k. payne Jessica Wang Ushers Jillian Albrecht Tracy Bennett Maura Bozeman Denny Burke Gerson Espinoza Campos Nina Gaither Natasha Gaither Maddie Garfinkle Amelia Gates Elli Herzog Spencer Knoll Keenan Miller Bonnie Moeller Aya Ochiai Gabi Poisson Lauren Radigan Jana Ross Jocelyn Wexler Cody Whetstone Kyler Worthington Larsson Youngberg

Theater Safety and Occupational Health Director of Theater Safety and Occupational Health Anna Glover COVID Compliance Manager Jonathan Jolly COVID Compliance Coordinator Amy Stern Associate Safety Advisors Jacob Santos Eric Walker

Operations Director of Facility Operations Nadir Balan Interim Operations Associate Brandon Fuller Interim Operations Assistant Kelvin Essilfie Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Michael Humbert Marcia Riley Custodians Sybil Bell Christina Davis Tylon Frost Cassandra Hobby Kathy Langston Mark Roy Jerome Sonia

Between Two Knees, May 12–June 4, 2022, Yale Repertory Theatre, 1120 Chapel Street, New Haven, Connecticut.

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

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What Your 1970 Textbook Didn’t Te

17,000 B.C.E.

Oldest settlements in North America: Meadowcroft Rockshelter, located west of what is today PA. Archaeological evidence signals this site as the first settlements in the continent, as far as we know currently.

It is located 27 miles from Pittsburgh.

It was constantly occupied by different communities, until it was abandoned in the 18th century, during the American Revolutionary War. The dates are in discussion, but it seems that the place was occupied for the first time between 19,000 and 16,000 years ago. The oldest town in what is now the Americas is the Oraibi settlement founded by the Hopi in Navajo country. It was established and has remained inhabited since before the 12th century.

1491

Maybe the last good year

1492

Columbus arrives With the fall of Constantinople in 1453, the traditional commercial routes between Europe and Asia (primarily India and China) were interrupted, leading to the search for new commercial routes. Portuguese explorer Vasco da Gama traveled around the continent of Africa, but Christopher Columbus was convinced that a faster way would be across the Atlantic, under the (still-not-acceptedby-some-contemporaneous-orcontemporary-Europeans) hypothesis that the world was round. He looked for funding from court to court until the Spanish monarchs agreed to give him money. His arrival in what is now called the Caribbean started the process of European colonization and the kidnapping, murder, and displacement of Indigenous folks. His infamous writings speak about sirens and mythic creatures, apparently inventing a lot of shit to make the Americas feel more exotic.

Teach You

1565

First European settlements in Turtle Island The colonization of North America had many phases. The first Europeans in these lands were Norse explorers who settled in what is now Greenland in the 10th century, and afterwards in what today is Canada. Then, the Spanish messed everything up. Not happy with the conquest of the Aztec Empire by Hernán Cortés (1519) and of the Inca Empire by Francisco Pizarro (1532), these dumbasses invaded what is now Florida in 1565. The first permanent English settlement was in 1607, in what is now Virginia. The French were not as immediately good at messing things up as the Spanish and failed at settling for a while. They finally succeeded in 1634, in today’s Wisconsin.

1776

American Revolution The first English settlements were politically dependent on Queen Elizabeth who was dead by the Revolution even though she may also be immortal. But by the 1770s, the colonizers no longer wanted to colonize under the British flag, they wanted to be free to colonize on their own and decided to throw a lot of tea to the sea, and then shoot at the British Army.

You can learn about this by listening to Hamilton. Also, if you haven’t read the whole thing, now is a good time to learn or remember that the Declaration of Independence was grounded in Indigenous genocide and stolen land and in the enslavement of African peoples. So, you know: Unalienable rights like life, liberty, and the pursuit of happiness for some.

1876

Battle of Little Bighorn In 1874, gold was found in Sioux territory (in modern-day South Dakota).

Ulysses S. Grant’s administration made an offer to buy the land, but it was rejected by the Sioux. The U.S. federal government responded with military aggression. In 1876, the Lakota, Northern Cheyenne, and Arapaho tribes allied against U.S. forces, with an overwhelming Indian victory. The leadership of Crazy Horse (Oglala Lakota) and Chief Gall (Hunkpapa Lakota) ensured victory.

1890

Massacre at Wounded Knee The U.S. government continued to seize or attempt to seize Native lands through negotiations, or should we say, “negotiations.” When these “negotiations” failed, the colonizers responded in ways like starving Indigenous communities, forced assimilation and kidnapping children to Christian boarding schools, or open war.

Messed up, right? During this period, the U.S. government broke a zillion treaties and divided the Great Sioux Reservation into five smaller zones.

Along with forced assimilation came the U.S. government’s clampdown on Native cultural and religious practices, like the Ghost Dance. And they also had government-hired Indian police.

ABOVE, LEFT TO RIGHT: Sitting Bull, Spotted Elk, and Chief Red Cloud

1879-1968

Boarding Schools Early in the morning of December 19, 1890, these capos came to arrest leader Sitting Bull (Hunkpapa Lakota) for being too strong and influential and generally being a threat to the land grab and genocide, but they said it was for not stopping his people from participating in Ghost Dances. A crowd gathered, altercations ensued, and Sitting Bull was shot to death.

As a result, known Indian troublemaker (he was actually listed that way in U.S. Army documents) Spotted Elk (Miniconjou Lakota) took his followers to Pine Ridge, looking to meet with Chief Red Cloud (Oglala Lakota) and the other Lakota leaders. They set up camp at the Wounded Knee Creek, where they were found by the U.S. Seventh Cavalry on December 29, 1890.

In the massacre that followed, U.S. soldiers murdered approximately 300 people, the vast majority of whom were women and children. Our play Between Two Knees starts with this massacre, from which Isaiah is kind of rescued.

In 1879, Richard Henry Pratt founded the Carlisle Indian Industrial School in Pennsylvania, attempting to “civilize” Native Americans by stripping away their culture. By removing young children from their communities, these institutions attempted to erase their heritage and identity, in order to assimilate them into white mainstream society. His idea was: “Kill the Indian to save the man”? Anyway, many more boarding schools sprung up all around the country ripping children away from their families and communities.

It was common that school authorities abused, raped, or molested the students, and it is unknown how many children died at these schools. In 1968, president Lyndon B. Johnson ended this practice, and the Indigenous nations were able to manage the schools on their own terms. It was only just recently that Pope Francis acknowledged and apologized for the Catholic Church’s role in these criminal institutions. In Between Two Knees, Irma and Isaiah meet in a boarding school.

1914-1918 WWI

After centuries of colonialism and invasion of other nations, World War I was a conflict sparked by European countries seeking to achieve supremacy by invading nations on their own continent again, as well as spreading out into Africa and the Middle East and blowing up ships in the Atlantic. And there was something about an Archduke who has a band named after him now. After four years of brutal conflict, peace was negotiated to stop the destruction.

This war is not mentioned in the play, but we wanted you to know that 12,000 Native Americans fought for the U.S. during WWI.

ABOVE: Sgt. Virgil Brown (Pima), First Sgt. Virgil F. Howell (Pawnee), Staff Sgt. Alvin J. Vilcan (Chitmatcha), General Douglas McArthur, Sgt. Byron L. Tsignine (Navajo), Sgt. Larry L. Dokin (Navajo).

1939-1945 WWII

World War II was a conflict fundamentally between the Axis powers (Germany, Japan, and Italy) and the Allies (UK, USA, USSR, and China) that affected most countries in the world. The U.S. had stayed kind of neutral until 1941, when Japan attacked the naval base of Pearl Harbor in Hawaii. This war was one of the most brutal in human history, destroying many cities in Europe, killing perhaps 80 million people including an estimated 6 million Jews.

Victory in Europe came in May, 1945, but the war didn’t fully end until about 100,000 more civilians died in August, 1945 with the dropping of two Atomic Bombs on Japan, leading to their final surrender. 25,000 Native Americans fought for the U.S. in WWII, including the famed Navajo Code Talkers. In the play, Isaiah and Irma’s son William proudly enlists to fight in WWII.

1945-1989

1950–1953

1955ish-1975

The end of these World Wars left two superpowers: the U.S. and the Union of Soviet Socialist Republics (USSR).

Both struggled for global power and influence of their economic doctrines (capitalism and socialism, respectively and supposedly), while avoiding direct armed confrontation between these two nations. This Cold War unfolded in two main ways: the threat of mutually assured annihilation through the development of weapons of mass destruction, and proxy wars, where the superpowers used other countries to fight in armed confrontation. Two of the major armed conflicts in this period were the Korean War and the Vietnam War.

At the end of World War II, the USSR occupied the northern region of Korea, while the U.S. occupied the southern region. This created two new sovereign states, and in 1950 a war between North and South Korea started.

Both superpowers became involved, leading to 3 million deaths, thousands of massacres, and destruction of all Korean major cities, until an armistice was signed in 1953.

The Vietnam War was an armed conflict between North Vietnam, supported by the USSR, and South Vietnam, supported by the U.S. Negative public opinion, pressure from U.S. citizens, and depleted funds for war expenses, led the U.S. to recall troops from Vietnam in 1975. The calculation of casualties ranges from 1.4 to 3.6 million, including so many civilians. More than 42,000 Native Americans fought for the U.S. in Vietnam.

10,000 Native Americans fought for the U.S. in Korea, including a damaged and violent guy we meet in a scene of our play.

Many popular movies were made about this war (like Apocalypse Now, directed by Francis Ford Coppola; Full Metal Jacket, directed by Stanley Kubrick; and Forrest Gump, directed by Robert Zemeckis). In Between Two Knees, Eddie fights in the Vietnam War, and this sequence is just like those films.

Cold War

Korean War

Vietnam War

ABOVE: Harvey Pratt (Cheyenne and Arapaho), designer of the National Native Amercians Veterans Memorial, in Vietnam, 1963.

1968

The American Indian Movement The American Indian Movement (AIM) was founded in Minneapolis by a group of formerly incarcerated Native Americans. In the wake of the Indian Relocation Act of 1956 and several other government initiatives that pushed Native Americans from their lands, away from their people, and into forced assimilation and cultural forgetting, AIM fought to reestablish Indian rights and sovereignty. Like many political and radical groups established at this time, they took action to address poverty, police brutality, and discrimination, in their case specifically against Indigenous people, framing these issues as a consequence of settler colonialism in the Americas.

1970

Keep America Beautiful Chief Iron Eyes Cody cries on a commercial to protest littering. It has a tremendous effect. Truth is that Iron Eyes was actually Italian and named Espera Oscar de Corti. He denied being merely Italian. No one cared much that he wasn’t a real Indian, but everyone remembers the commercial and feels bad if they litter.

1973

Occupation of Wounded Knee

by AIM In just 5 years, AIM had undertaken several actions including the takeovers at Alcatraz Prison in California, the Bureau of Indian Affairs in Washington, D.C., and a replica of the Mayflower in Massachusetts. And now, we are back where our play began about an hour and a half ago.

Richard Wilson was elected president of the Oglala Lakota in the Pine Ridge Indian Reservation the year before.

Longstanding tensions rose to the surface, mostly because Wilson was corrupt and abusive. Residents turned to AIM, who tried to impeach him. When this failed, they occupied the town of Wounded Knee in 1973, questioning the failure of the U.S. government to fulfill treaties with Indigenous communities and demanding negotiations. Watergate was going down at the same time, so Nixon and his administration were distracted and disinterested.

Meanwhile, to support the AIM occupation, Native American actor and activist Sacheen Littlefeather used the

Oscar ceremony to bring attention to what was going on at Wounded Knee.

She had gotten in touch with Marlon Brando and asked for his support of AIM and the protesters. So Brando boycotted the ceremony, and when his name was announced as the winner for Best Actor for The Godfather, Littlefeather delivered a speech protesting against Hollywood’s representation of Indigenous people. Six guards had to restrain John Wayne, who tried to hit her. We wanted to highlight this because it’s way more interesting than what happened between Will Smith and Chris Rock, people.

The FBI confronted AIM through public defamation and siege. There were shootings, which wounded and killed several protesters, and activist Ray Robinson disappeared. The occupation lasted 71 days, after which peace was negotiated at the behest of Lakota elders. Wilson remained in power, in one of the few displays of respect for Indian Sovereignty by the U.S. Government who said they could not remove an elected leader of an Indian nation. Our play has an amazing climax at the Second Wounded Knee that causes time to completely collapse and reset. Really.

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 FM listening system, large print and Braille programs, wheelchair accessibility with an elevator entrance into Yale Rep (located on the left side of the building), and accessible seating.

For more information about the theater’s accessibility services, please contact: Laura Kirk, Director of Audience Services | 203.432.1522 | laura.kirk@yale.edu

FOR BETWEEN TWO KNEES ; Audio Description May 28 at 2PM

Pre-show description begins at 1:45PM A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.

Open Captioning June 4 at 2PM

A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.

Available at the concierge desk in the theater lobby are Braille and large print programs and assistive listening devices.

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Yale Repertory Theatre thanks the

Eugene G. and Margaret M. Blackford Foundation, Bank of America, N.A., Co-Trustee for its support of services for our patrons who are blind or have low vision.

c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.

GENERAL INFORMATION MASKING All patrons must wear masks at all times while inside the theater. Our staff, backstage crew, and artists (when not performing on stage) will also be masked at all times.

PHOTO POLICY The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited.

SEATING POLICY Everyone must have a ticket.

Sorry, no children in arms or on laps. Patrons who arrive late or leave the theater during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theater.

FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of emergency, you will be notified by theater personnel and assisted in the evacuation of the building.

RESTROOMS are located on the lower level of the building.

YOUTH PROGRAMS

As part of Yale Rep’s commitment to our community, we provide two significant youth programs.

WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. In 2021–22, we will offer virtual programming centered on Choir Boy and Between Two Knees to New Haven Public Schools students and educators.

In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams.

WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community engagement program of Yale Rep and David Geffen School of Drama for middle school-aged students from Barnard Environmental Studies Magnet School, a K-8 school located on the edge of the Dwight and Edgewood neighborhoods in New Haven. The sixth- and seventhgraders are paired with mentors from the Geffen School to write their own plays.

The month-long program begins in late May, culminating in fully produced plays performed by the Yale mentors and presented for the New Haven community in late June.

Yale Rep’s youth programs are supported in part by:

NewAlliance Foundation Esme Usdan

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DAVID GEFFEN SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke YC ’69, Chair Jeremy Smith ’76, Vice Chair Nina Adams MS ’69, NUR ’77 Rudy Aragon LAW ’79 Amy Aquino ’86 John Badham ’63, YC ’61 Pun Bandhu ’01 Sonja Berggren Special Research Fellow ’13 Frances Black ’09 Carmine Boccuzzi YC ’90, LAW ’94 Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. YC ’74 Kate Burton ’82 James Chen ’08 Lois Chiles Patricia Clarkson ’85

Edgar M. Cullman III ’02, YC ’97 Michael David ’68 Scott Delman YC ’82 Michael Diamond ’90 Polly Draper ’80, YC ’77 Charles S. (Roc) Dutton ’83 Sasha Emerson ’84 Lily Fan YC ’01, LAW ’04 Terry Fitzpatrick ’83 Marc Flanagan ’70 Anita Pamintuan Fusco YC ’90 David Marshall Grant ’78 David Alan Grier ’81 Sally Horchow YC ’92 Ellen Iseman YC ’76 David G. Johnson YC ’78 Rolin Jones ’04 Sarah Long ’92, YC ’85 Cathy MacNeil-Hollinger ’86

Brian Mann ’79 Drew McCoy David Milch YC ’66 Jennifer Harrison Newman ’11 Carol Ostrow ’80 Tracy Chutorian Semler YC ’86 Tony Shalhoub ’80 Michael Sheehan ’76 Anna Deavere Smith HON ’14 Andrew Tisdale Edward Trach ’58 Esme Usdan YC ’77 Courtney B. Vance ’86 Donald Ware YC ’71 Shana C. Waterman YC ’94, LAW ’00 Henry Winkler ’70 Amanda Wallace Woods ’03

Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000+)

Anonymous Ed Barlow John B. Beinecke Sonja Berggren and Patrick Seaver Estate of James T. Brown* Lois Chiles The Roy Cockrum Foundation Connecticut Department of Economic and Community Development Colleen and Kipp deVeer Estate of Nicholas Diggs* Estate of Richard Diggs* Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation

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Jerome L. Greene Foundation David G. Johnson Cathy MacNeil-Hollinger and Mark Hollinger Richard Ostreicher Raymond Plank Philanthropy Fund The Prospect Hill Foundation The Shubert Foundation Tracy Chutorian Semler Jeremy Smith Stephen Timbers Nesrin and Andrew Tisdale Edward Trach Esme Usdan Don Ware

GUARANTORS ($25,000–$49,999) Jim Burrows Burry Fredrik Foundation Sarah Long Talia Shire Schwartzman

Estate of Eugene Shewmaker* The Sir Peter Shaffer Charitable Foundation Estate of William Swan*

BENEFACTORS ($10,000–$24,999) Nina Adams and Moreson Kaplan Amy Aquino and Drew McCoy Americana Arts Foundation Rudy Aragon Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton Wendy Davies Michael Diamond Educational Foundation of America Ettinger Foundation Heidi Ettinger Lily Fan Terry Fitzpatrick

Mabel Burchard Fischer Grant Foundation Ellen Iseman in memory of Marjorie Frankenthaler Iseman Estate of James E. Jewell* Lucille Lortel Foundation National Endowment for the Arts Michael and Riki Sheehan Ted and Mary Jo Shen Carol L. Sirot Trust for Mutual Understanding The Wilke Family Foundation

PATRONS ($5,000–$9,999)

John Badham The Hilaria and Alec Baldwin Foundation Foster Bam Pun Bandhu Richard C. Beacham

Eugene G. and Margaret M. Blackford Memorial Fund Clare and Sterling Brinkley James Bundy and Anne Tofflemire Ian Calderon Janet Ciriello CT Humanities Brett Dalton Michael S. David Scott Delman Robert and Mercedes Eichholz Foundation Barbara and Richard Franke* Howard Gilman Foundation Sally Horchow Rolin Jones Eugene Leitermann Adrianne Lobel Tien-Tsung Ma Brian Mann Neil Mazzella Roz and Jerry Meyer David and Leni Moore Family Foundation James Munson Jason Najjoum NewAlliance Foundation Carol Ostrow Bill and Sharon Reynolds Tony Shalhoub Russ Rosensweig

PRODUCER’S CIRCLE ($2,500–$4,999)

Anonymous Jody Locker Berger Frances Black Donald and Mary Brown Joan Channick and Ruth Hein Schmitt* Jon Farley David Marshall Grant JANA Foundation Ann Judd and Bennett Pudlin Fred Gorelick and Cheryl MacLachlan Rocco Landesman George Lindsay, Jr. Jonathan S. Miller Abby Roth and R. Lee Stump Kenneth J. Stein Amanda Wallace Woods

*deceased

DIRECTOR’S CIRCLE ($1,000–$2,499)

Emily Aber and Rob Weschler Donna Alexander Anonymous Paula Armbruster Mamoudou N. Athie Richard and Alice Baxter John Lee Beatty Patricia Bennett and Rich Gold Jeff Bleckner Santino Blumetti Cyndi Brown Kate Burton Michael Cadden Anne and Guido Calabresi Cosmo Catalano, Jr. James Chen Audrey Conrad Raymond Curtis Ramon Delgado ERJ Fund Melanie Ginter Shelley Geballe Marc Flanagan Tony Foreman Rob Greenberg Jane Head Donald Holder Suzanne Jackson Elizabeth Kaiden Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Abby Kenigsberg The Ethel & Abe Lapides Foundation Charles E. Letts III Kenneth Lewis Jennifer Lindstrom William Ludel Neil Mulligan Gayther Myers Janet Oetinger Amy Povich Kathy and George Priest Pam and Jeff Rank Lance Reddick Joumana Rizk Dr. Michael Rigsby and Prof. Richard Lalli Douglas and Terri Robinson Russ Rosensweig Mark Rosenthal

Benjamin Slotznick Shepard and Marlene Stone John Thomas III Carol M. Waaser Clifford Lee Warner Shana C. Waterman Carolyn Seely Wiener Steven Waxler Evan Yionoulis Steve Zuckerman and Darlene Kaplan

PARTNERS ($500–$999)

Actors’ Equity Foundation Shaminda Amarakoon Mary Ellen and Thomas Atkins Ashley Bishop James and Dorothy Bridgeman Joy Carlin Sarah Bartlo Chaplin Sean Cullen Bob and Priscilla Dannies Rick Davis Robert Dealy Aziz Dehkan and Barbara Moss Kelvin Dinkins, Jr. and Alexis Rodda Sasha Emerson Bernard Engel Peter Entin Glen R. Fasman Randy Fullerton Peter Gerwe Betty and Joshua Goldberg Walter and Karla Goldschmidt Eduardo Groisman Regina Guggenheim William B. Halbert Andy Hamingson Judy Hansen Alan Hendrickson Armondo Huipe Peter Hunt Pam Jordan Harvey Kliman and Sandra Stein Susan Knight Frances Kumin Suttirat Larlarb Chih-Lung Lui Virginia (Wendy) Riggs Lyons in memory of Robert W. Lyons

John McAndrew Susie Medak and Greg Murphy Jonathan Miller Daniel Mufson Janice Muirhead William Nordhaus Janet Oetinger Arthur Oliner F. Richard Pappas Louise Perkins and Jeff Glans Point Harbor Fund of the Maine Community Foundation Alec Purves Faye and Asghar Rastegar Howard Rogut Kenneth Sonnenfeld Anna Deavere Smith James Steerman Matthew Suttor David Sword Sarah Treem Paul Walsh Vera Wells Ray Werner Walton Wilson Steven Wolff Albert Zuckerman

INVESTORS ($250–$499)

Bruce Ackerman and Susan Rose-Ackerman Narda Alcorn Alexander Bagnall Georg’Ann Bona Susan Brady and Mark Loeffler Mr. and Mrs. Robert Buckholz David Budries Jonathan Busky Nicholas Cimmino Paul Cleary William Connor Daniel Cooperman and Mariel Harris Robert Cotnoir Claire A. Criscuolo John W. Cunningham William Curran F. Mitchell Dana Laura Davis and David Soper Dennis Dorn Dr. Marc Eisenberg Ann Erbe Richard and Barbara Feldman

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Thank you to the generous contributors to David Geffen School Joel Fontaine David Freeman Shelley Geballe Eric Gershman and Katie Liberman Lindy Lee Gold LT Gourzong Linda Greenhouse Emmy Grinwis Michael Gross Barbara Hauptman Jennifer Hershey Dale and Stephen Hoffman James Guerry Hood Chuck Hughes David Henry Hwang Joanna and Lee A. Jacobus Bruce Katzman Edward Kaye Alan Kibbe Amir Kishon Mitchell Kurtz Maryanne Lavan and Larry Harris Bona Lee Irene Lewis Eric Lin Charles H. Long Mary Lloyd Virginia (Wendy) Riggs Lyons in memory of Robert W. Lyons Adam Man Peter Marshall Deborah McGraw David Muse Jennifer Harrison Newman Regina and Thomas Neville Edward and Frances O’Neill Jacob Padrón Bruce Payne and Jack Thomas Dw Phineas Perkins Jeffrey Powell and Adalgisa Caccone Jon and Sarah Reed Ted Robb Brian Robinson Steve Robman Constanza Romero Nan Ross Jean and Ron Rozett Robert Sandberg Suzanne Sato Robin Sauerteig Kenneth Schlesinger

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Kathleen McElfresh Scott Florie Seery Paul Selfa William Skipper Dr. and Mrs. Dennis D. Spencer Kenneth Stein Howard Steinman Susan Stevens Wilma and Williams Summers Bernard Sundstedt Richard B. Trousdell George C. White Guy and Judith Yale

FRIENDS ($100–$249)

Paola Allais Acree Theresa Aldamlouji Christopher Akerlind Michael Albano Rachel and Ian Alderman Michael Annand Anonymous William Armstrong Peter Aronson Clayton Austin Angelina Avallone Emily Bakemeier and Alain Moreaux Dylan Baker Warren Bass William and Donna Batsford Michael Baumgarten Karen BedrosianRichardson Jennifer Bennick Mark Bly Amy Brewer and David Sacco Oscar Brownstein Stephen Bundy Richard Butler Susan Byck David Byrd Barbara Bzdyra David Calica Kathryn A. Calnan Robert Campbell Juliana Canfield H. Lloyd Carbaugh Vincent Cardinal Sami Joan Casler Gus Christiansen Audrey Conrad David Conte

Douglas and Roseline Crowley Anne Danenberg Mr. and Mrs. Paul DeCoster Penney Detchon Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Megan and Leon Doyon Jeanne Drury Samuel Duncan John Duran Terry Dwyer Ann D'Zmura Laura Eckelman Phoebe and Kem Edwards Fran Egler Robert Einienkel Nancy Reeder El Bouhali Janann Eldredge Donald Engelman Dirk Epperson David Epstein Dustin Eshenroder Frank and Ellen Estes Femi Euba Connie Evans Jerry Evans John D. Ezell Ann Farris Paul and Susan Birke Fiedler Terry S. Flagg Madlyn and Richard Flavell Keith Fowler Adam Frank Walter M. Frankenberger III Richard Fuhrman Stephen Gefroh Carol Gibson-Prugh Lindy Lee Gold Carol Goldberg Robert Goldsby Naomi Grabel Casey Grambo Hannah Grannemann Steve Grecco Bigelow Green Marion Grinwis David Hale Stephanie Halene Amanda Haley Marion Hampton Alexander Hammond Ann Hanley

Scott Hansen John Harnagel Charlene Harrington Babo Harrison Brian Hastert Catherine Hazelhurst James Hazen Al Heartley Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Jeffrey Herrmann Caite Hevner Elizabeth Holloway Nicholas Hormann Susan Horrowitz Bruce Horton Kathleen Houle Kevin Hourigan Evelyn Huffman Charles Hughes Derek Hunt Peter H. Hunt John Huntington John W. Jacobsen Chris Jaehnig Eliot and Lois Jameson Elizabeth Johnson Martha Jurczak Jonathan Kalb Carol Kaplan Edward Lapine Jay B. Keene Samuel Kelley Roger Kenvin Peter Kim William Kleb Dr. Lawrence Klein Fredrica Klemm Deborah Kochevar Steve Koernig Bonnie Kramm Brenda and Justin Kreuzer David Kriebs Joan Kron Mitchell Kurtz Ojin Kwon Marie Landry and Peter Aronson Robert Langdon James and Cynthia Lawler Clare Leinweber Martha Lidji Lazar Drew Lichtenberg Elizabeth Lewis Fred Lindauer Benjamin Lloyd

of Drama and Yale Repertory Theatre Thornton Lockwood Jerry Lodynsky Robert Hamilton Long II Everett Lunning Andi Lyons Wendy MacLeod Marvin March Edwin Martin Maria Matasar-Padilla Margaret and Robert McCaw Robert McDonald Deborah McGraw Bill McGuire Patricia McMahon Donald Michaelis Kathryn Milano George Miller Jane Ann Miller Jonathan Miller Lawrence Mirkin Jennifer Moeller Richard Mone Beth Morrison Jay Mullen Jim and Eileen Mydosh Kaye Neale Kate Newman Ruth Hunt Newman Jane Nowosadko Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor

Richard Olson Alex Organ Kendric T. Packer Michael Parrella Jeffrey Park Dr. and Mrs. Michael Parry Amanda Peiffer Ruth Perlman Thomas G. Masse and James M. Perlotto, MD William Peters Joel Polis Lisa Porter Michael Posnick Gladys Powers Robert Provenza William Purves Norman Redlich Ralph Redpath Gail Reen Barbara Reid Oakton Reynolds Lisa Richardson Elizabeth Riedemann Joan Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Kevin Rogers Stu Rohrer Robert Rooy Melissa Rose Joseph Ross

Donald Rossler John Rothman Rebecca Rugg Janet Ruppert John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Georg Schreiber Jennifer Schwartz Tom Sellar Ellen Seltzer Subrata K. Sen Paul Serenbetz Morris Sheehan William and Elizabeth Sledge Gilbert and Ruth Small E. Gray Smith, Jr. George Smith Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Charles Steckler Louise Stein John Stevens Mark Stevens Michael Strickland

Mark Sullivan Thomas Sullivan Erik Sunderman Jane Suttell Douglas Taylor Jane Savitt Tennen Muriel Test David F. Toser Russell L. Treyz Deb Trout Carrie Van Hallgren Jaylene Wallace Erik Walstad Brad Ward Peter White Robert Wildman Annick Winokur and Peter Gilbert

EMPLOYER MATCHING GIFTS

Aetna Foundation Ameriprise Financial Chevron Corporation Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation

This list includes current pledges, gifts, and grants received from January 1, 2021, through March 1, 2022.

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

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