Carlotta Festival of New Plays (2025)

2024–25 SEASON

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OUR MISSION

David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

OUR CORE VALUES Artistry

We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.

Belonging

We put people first, centering well-being, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.

Collaboration We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.

Discovery

We wrestle with compelling issues of our time.

Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.

drama.yale.edu ABOVE: Abigail C. Onwunali ’23, Rebeca Robles ’24, Tyler Cruz ’23, Karen Killeen ’24, Giovanna Drummond ’24, and Whitney Andrews ’24 in Marys Seacole by Jackie Sibblies Drury, directed by Leyla Levi ’23. Photo © T. Charles Erickson.

Yale 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 relationship that exists between these peoples and nations and this land.

We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.

Contents From Our Playwriting Chairs..............................................................4 The Festival.............................................................................................5 You Can Tell a Tree by its Fruit.............................................................6 Sort......................................................................................................... 14 Silence/The Village............................................................................... 20 Fesitval Direction............................................................................... 26 For the Festival................................................................................... 27 David Geffen School of Drama Staff............................................. 28

Cover photo: comfort ifeoma catchy, Ida Cuttler, and ML Roberts. © T. Charles Erickson 2025

a note from the playwriting chairs Welcome and thank you for joining us!

The Carlotta Festival at David Geffen School of Drama serves as a platform not only to celebrate the artistic endeavors of three up-and-coming writers and their collaborators but also as an opportunity to witness their remarkable abilities and the compelling narratives they have to share. Working with directors, actors, dramaturgs, designers, technicians, stage managers, and theater managers as well as faculty, these playwrights have dedicated months to crafting their plays.

To this end, the Carlotta Festival is more than just a gathering; it is a forum for exchanging ideas and a showcase of diverse artistic expression. This year’s featured plays delve into the theme of confinement, whether physical or emotional. Each narrative follows characters contending with various challenges, from navigating grief to breaking free from poverty to struggling to find their place, even in a surrogate family. These poignant dramas serve as a reminder of the intrinsic value of freedom, a privilege often taken for granted by many and strenuously pursued by others. These courageous and thought-provoking works pull no punches, will pull at your heart strings, make you laugh, and may even challenge some of your own beliefs.

In Sort, a man enters a mortuary and unexpectedly forms a lasting connection with a clerk as they navigate the complexities of living in the shadow of death.

In You Can Tell a Tree by its Fruit, Louis Carter Senior, a talented shoemaker, dreams of launching a family business. However, in Reconstruction-era Texas, rampant racism towards African Americans poses a challenge. When he encounters an Irish immigrant family that closely resembles his own, Senior is struck with an innovative plan.

In Silence/The Village, a young Black man unexpectedly joins a retreat hosted by his surrogate parents, a liberal, middle-aged white couple on their remote New England island. He is left wondering if the estate will serve as his sanctuary or his confinement.

While the plays presented at the festival represent a culmination of the writers’ efforts at the Geffen School, they merely scratch the surface of their talent and creativity. We are privileged to present these plays as we commend Ida, Comfort, and ML for embarking on the next phase of their careers as they continue to enrich the world of theatre with their unique voices.

Anne Erbe and Marcus Gardley Co-Chairs of the Playwriting program, David Geffen School of Drama 4

MAY 6–14, 2025 DAVID GEFFEN SCHOOL OF DRAMA AT YALE James Bundy, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Carla L. Jackson, Assistant Dean Nancy Yao, Assistant Dean Anne Erbe and Marcus Gardley, Co-Chairs of Playwriting PRESENTS

You Can Tell a Tree by its Fruit By comfort ifeoma katchy

Directed by Juliana Morales Carreño

Sort

By Ida Cuttler

Directed by Alexis Kulani Woodard

Silence/The Village

By ML Roberts

Directed by Kemar Jewel

These productions are supported by the Benjamin Mordecai III Production Fund.

SEASON SPONSOR 5

You Can Tell a Tree by its Fruit By comfort ifeoma katchy

Directed by Juliana Morales Carreño

creative team Scenic Designer­

Jennifer Yuqing Cao Costume Designer

Micah Ohno

Lighting Designer

Celia Weiqing Chen Sound Designer

Constant Dzah Technical Director

Tamara Morris-Thompson Production Dramaturg

Karoline Vielemeyer Fight and Intimacy Director

Kelsey Rainwater Stage Manager

Rethabile Headbush

cast

in alphabetical order Louis Carter Senior

Kieron J. Anthony Luis Carter III

Liam Beveridge Mary Lu-Anne Carter

Dorottya Ilosvai Luanne Carter

Nancy Kimball Mary Louise Carter

Olamide Oladeji

Louis Carter Junior

Darius Sakui Luis Carter II

Max Sheldon Louise Carter

Kim Vilbrun-Francois

setting

Texas, 1872–79

content guidance

This production contains sexual content and coarse language including the use of racial slurs and discriminatory language regarding both Black and Irish people.

You Can Tell a Tree by its Fruit is performed without an intermission.

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Dreams

Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

—Langston Hughes (1923)

The Fruits that Dream The Reconstruction era (1865–77), which followed the ratification of the 13th Amendment, held great hope for the United States and for African Americans in particular. As the Freedman’s Bureau was building public schools across the South, and Black men started to hold elected office all the way up to Congress, many Black families were confident they could now make a life for themselves through education and hard work. In You Can Tell a Tree by its Fruit, Louis Carter Senior dreams up such a future of growth and opportunity for his family. And not only in the here and now, he’s after generational wealth. However, Senior is acutely aware of the rapidly intensifying systemic racism, as white Southerners used intimidation, violence, and legal tactics to take rights and liberties away from newly freed African Americans in Texas and the South at large. So-called “Black Codes,” starting around 1865 as precursors to the Jim Crow laws, criminalized everyday activities and dictated most aspects of Black people’s lives. For instance, those who couldn‘t find work could be imprisoned and forced to labor.

The fate of Senior’s family converges with that of an Irish family, whose immigration tells another crucial part of American history. The Irish Potato Famine (1845–52) caused one of the biggest exoduses from a single island in history and led to millions of Irish people fleeing to the U.S. By the end of the 19th century, there were more people of Irish heritage in the U.S. than in Ireland. Many Irish immigrants competed with African Americans for backbreaking and low-paying labor and faced discrimination as Celts and Catholics in a country dominated by white Anglo-Saxon Protestants.

Stereotyped as “dirty, stupid, and lazy,” the Irish were frequently barred from jobs with the often-used phrase “No Irish need apply.”

The business partnership between Senior and Luis Carter II, the patriarch of the Irish family, is thus much more than an individual rags-to-riches story. It’s a collective dream to circumvent and eventually conquer the roadblocks that 7

The Fruits that Dream

white supremacists put into place to maintain their dominance in society.

However, in the 1880s and 90s, when the most oppressive and widespread Jim Crow laws were passed against African Americans, Irish-Americans began to move up the social ladder of whiteness. In his book, How the Irish Became White, Noel Ignatiev writes: “Since ‘white’ was not a physical description but one term of a social relation which could not exist without its opposite, ‘white man’s work’ was simply work from which Afro-Americans were excluded.”

He thus exposes whiteness as a social construct of racial capitalism, a harmful tool which its “members” take advantage of to get ahead while degrading the lives of those they leave behind.

You Can Tell a Tree by its Fruit explores these tense and rapidly shifting historical dynamics of this 19th-century period of upheaval on a profoundly personal level.

Meanwhile, the domestic is in constant conversation with the events happening outside of the Black Carters’ four walls. In a period of extreme uncertainty about the fates of African Americans and immigrants—and thus the identity of the country at large—the power of dreams becomes the bedrock for both families in the play, and ultimately the driving force on a long and winding road to social justice.

You Can Tell a Tree by its Fruit

about the playwright comfort ifeoma katchy is a

playwright and actor hailing proudly from Houston, Texas. She is a thirdyear M.F.A. candidate in playwriting at David Geffen School of Drama, where she wrote Stray Dogs and The Alley.

Other writing credits include How I Learned to Play Tennis, Games have Rules, and The Moon is Upside Down. comfort was most recently seen on stage in Is God Is at the Rec Room Arts in Houston and Pride of Doves at Yale Cabaret. comfort has had work presented through the Alley Theatre’s Alley All New Festival, Theater Masters Take Ten Festival, and the University of Houston’s 2021 mainstage season. She was a semi-finalist for The HansberryLilly Award (2023), UCross + The Blank Theatre Future of Playwriting Prize (2022), and the Third Culture Theatre Nexus Festival (2022). comfort has been an inaugural member of the Rec Room Writers Group in Houston, Texas since 2019. She is also a Teaching Artist for the Dwight/Edgewood Project and Survivors of Society Rising, mentoring middle school students and adult writers from New Haven.

She received her B.F.A. in playwriting/ dramaturgy from the University of Houston’s School of Theatre and Dance and a certificate in acting from the American Musical and Dramatic Academy, NYC. comfortkatchy.com @comfortkatchy

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Biographies are submitted by the artists and edit

cast

in alphabetical order Kieron J. Anthony (Louis Carter

Senior) is a first-year actor at David Geffen School of Drama, hailing from the sunny twin-island republic of Trinidad and Tobago. He is a University of Miami and Atlantic Acting School graduate. Look at God! Selected credits include The Inspector (understudy, Yale Rep); One Night in Miami (Colony Theater); King Lear (A.R.T./New York Theatres); KIN (WP Theater); Field, Awakening (Signature Theatre); Inventing Anna (Netflix). @kieronjanthony

Liam Beveridge (Luis Carter III) is

a first-year actor at David Geffen School of Drama. Recent credits include The Inspector (understudy) at Yale Rep. Liam grew up in Seattle and received his B.A. in theater from Lewis & Clark College.

Dorottya Ilosvai (Mary Lu-Anne

Carter) is from Hungary and is a firstyear M.F.A. candidate at David Geffen School of Drama. Recent credits include The Inspector (understudy) at Yale Rep. She received her B.A. from New York University, Abu Dhabi.

Nancy Kimball (Luanne Carter) is

a first-year actor at David Geffen School of Drama. Recent credits include Witch (Yale Cabaret). She received her B.F.A. from NYU’s Tisch School of the Arts.

Olamide Oladeji she/her (Mary

Louise Carter) is a first-year actor at David Geffen School of Drama. Her previous theater credits include The Inspector (understudy, Yale Repertory Theatre), The Cherry Orchard, Chicken and Biscuits, and Bite Me.

Darius Sakui (Louis Carter Junior)

is extremely thankful to be a part of this talented cast and crew! He wants to thank his teachers, his friends, his family, and especially his mother for their love and support throughout the years! He is a second-year actor at David Geffen School of Drama, where he was seen in Metamorphoses as well as in The Inspector at Yale Rep.

Max Sheldon he/him (Luis Carter II)

is a second-year actor at David Geffen School of Drama, where his credits include What of the Night?, Metamorphoses, and Coriolanus. His professional credits include Finian’s Rainbow (Irish Rep); Afloat (WP Theater); West Side Story, Peter and The Starcatcher (Weston Playhouse); and Dracula, or the Undead (Williamstown Theatre Festival). Film and television credits include Law & Order: Organized Crime (NBC), Theater Camp (Searchlight Pictures), Red Oaks (Amazon), and The Path (Hulu). Max is a proud graduate of NYU’s Tisch School of the Arts. Max would like to thank his friends, incredible teachers, Ted Walch, and his parents for their love and unwavering belief in him.

ted for common house style by David Geffen School of Drama.

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You Can Tell a Tree by its Fruit Kim Vilbrun-Francois she/her

(Louise Carter) is a Haitian-American actress, born and raised in Miami, Florida. Completing her first year, she is humbled and honored to be making her David Geffen School of Drama debut with this show. She extends her heartfelt thanks to God for the continued guidance on her journey and to her talented cast and creative team, whose support and dedication made this experience unforgettable.

Sending love to her 305 family and her new community in New Haven. @kimv.f

creative team

in alphabetical order Jennifer Yuqing Cao 曹语晴 (Scenic Designer) is a second-year M.F.A. scenic design candidate at David Geffen School of Drama. Based in NYC and China, her work in theater and dance as an international artist focuses on the possibilities of space and storytelling. She believes that her design on stage does not act as a still supplementary element but as a crucial and active participant in the narration. Selected works include Once 一场 (China National Tour) as the set designer, costume designer, and production stage manager; set design for Antony and Cleopatra (the Geffen School); Here’s a Blue Morpho For You (NYU CSSA GALA); New York Housing Project (NYU Tisch); My Heavenly Favorite (assistant scenographer, International Theater Amsterdam). jenniferyuqingcao.com

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Juliana Morales Carreño (Director)

is a Colombian interdisciplinary theater artist in search of spaces of communion through theatrical language. She is co-founder of Anfibia Teatro, a theater company based in Bogotá. She has worked in professional theater and opera as a director, actor, producer, and playwright. She was a 2020 winner of the New Creators Cycle for directing at Teatro la Maldita Vanidad and the Guanábana Scholarship for Performing Arts Entrepreneurship at Teatro Varasanta and IDARTES. Her literature thesis for the play María Pizarro was merit-awarded.

Some of her productions include Kilele by Felipe Vergara (directed and co-translated), Hamlet, princesa de Dinamarca (translated, adapted, and directed) at David Geffen School of Drama; Makanaky by Juan Pablo Herrera Montoya (PELZ), at UNATC “I.L. Caragiale” in Bucharest, Romania (2023); Solo Mia (2020) by Juanpablo Gómez at Teatro la Maldita Vanidad; Señorita Julia (2021), directed by Mariana Parejo, produced by Anfibia Teatro, in which she played Julia; As One (2022), winner of the Ópera al Parque 2021 Grant, where she was Pedro Salazar’s associate director; Gianni Schicchi by Giacomo Puccini and The Seven Deadly Sins by Kurt Weill and Bertolt Brecht directed by Pat Diamond at Yale Opera in (2024).

Celia Weiqing Chen (Lighting

Designer) is a second-year M.F.A. candidate at David Geffen School of Drama. Also working as a freelance

producer and facilitator, Celia is currently the co-artistic director at PANShanghai, a non-profit arts organization promoting intercultural exchange and sustainability. Past lighting credits include Ain’t No Mo’ and Hamlet, princesa de Dinamarca (the Geffen School); My Six Therapists, Rasa Jars (Yale Cabaret); The Dark (Shanghai International Dance Center); Wasteland of Puppies (Wuzhen Theatre Festival); 21 Miss Dulis (Goethe-Institut Beijing).

Celia-Chen.com

Constant Dzah (Sound Designer)

is a passionate sound designer born and raised in Ghana, West Africa.

He has a B.F.A. in drama theater art and is currently a second-year M.F.A. candidate in sound design at David Geffen School of Drama, where his credits include Shakespeare’s Antony and Cleopatra. Other work includes falcon girls by Hilary Bettis (Yale Rep), Seven Methods of Killing Kylie Jenner

by Jasmine Lee-Jones (Yale Cabaret), and heaven is something to keep you warm by Kandace James (Yale Summer Cabaret). Fun fact: he loves cooking. Yay! He also loves to listen to music, make music, and spend quality time with friends.

Rethabile Headbush (Stage

Manager) is a second-year stage manager at David Geffen School of Drama. Raised in Johannesburg, South Africa, Rethabile has a background in and passion for devised and interdisciplinary theater.

Recent credits include steve carter’s

Eden (assistant stage manager) directed by Brandon J. Dirden at Yale Rep. Credits at the Geffen School include Jordan E. Cooper’s Ain’t No Mo’, María Irene Fornés’s What of the Night?, and Sarah Kane’s Cleansed.

Off-Broadway: RCI Theatricals Management Fellow for Mario Correa’s new play N/A, directed

by Diane Paulus. Further credits include The Centre for the Less Good Idea’s SEASON 9 Programme, artsINSIDEOUT (ArtsIgnite) program, and D’haus’s URGENT INTERACTIONS Youth International Congress (Market Theatre Laboratory).

Tamara Morris-Thompson

(Technical Director) is a second-year M.F.A. candidate at David Geffen School of Drama, where their credits include Fucking A, Measure for Measure, Cactus Queen, rent free, and Pearl’s Beauty Salon, as well as Eden at Yale Rep. T collaborates closely with creative teams to ensure seamless execution of technical elements, while maintaining a focus on safety and efficiency. With a passion for innovation and education, T is dedicated to enhancing the audience experience and mentoring the next generation of theatre professionals.

T is very thankful to be in this role and a part of David Geffen School of Drama.

Micah Ohno (Costume Designer) is

a costume designer and researcher from Golden, Colorado. She is a third-year M.F.A. candidate at David Geffen School of Drama, where she 11

You Can Tell a Tree by its Fruit designed costumes for Measure for Measure and A Midsummer Night’s Dream. Other credits include falcon girls (Yale Rep); The Aughts (Yale Summer Cabaret); Grandmother/ Bathtub, S’MORES, Hot and Cold Showers, and Four Meddling Kids & One Dumb Dog (Yale Cabaret). She holds two certificates in costume technology from the Geffen School and a B.S. in fashion design from Philadelphia University, where her thesis fashion collection “Art Medicine” received the Mike Ternosky Obey Award for Most Creative Collection. micahohno.com

Kelsey Rainwater (Fight and

Intimacy Director) is an intimacy and fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in Liberation at the Roundabout and Hell’s Kitchen on Broadway. Some of her other credits include Walden at Second Stage; Jordan’s, Sally and Tom, Manahatta, In the Southern Breeze, Measure for Measure, and White Noise by SuzanLori Parks, directed by Oskar Eustis at The Public Theater; Hot Wing King at Hartford Stage; Blues for an Alabama Sky with the Keen Company; The Inspector, Wish You Were Here, Between Two Knees, Edward Albee’s

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Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. Film and television: Baby Ruby, The Green Veil.

She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Karoline Vielemeyer (Production Dramaturg) is a third-year M.F.A. candidate at David Geffen School of Drama, where credits include What of the Night?, Moe’s a D*ck, and How to Live on Earth as well as The Inspector (German translation and language coach) and Escaped Alone at Yale Rep. Originally from Germany, she holds a B.A. from Mount Holyoke College in Theatre Arts and French and graduated from Prague Film School specializing in directing. Before pursuing her M.F.A., Karoline worked as a director and editor for cinema and television productions. Her most recent credits include assistant directing the feature documentary Rock Chicks—I am not female to you and directing the short film Woman in the Mirror, both released in 2023, and editing the German TV show In All Friendship.

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By Ida Cuttler

Directed by Alexis Kulani Woodard

creative team Scenic Designer­

Patrick Blanchard Costume Designer

Allison Morgan

Lighting Designer

Larry Ortiz

Sound Design and Original Music

Emilee Biles

Technical Director

Tamara Morris-Thompson Production Dramaturg

Georgia Petersen

Fight and Intimacy Director

Michael Rossmy Stage Manager

Thomas Nagata

Sort is performed without an intermission.

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cast

in alphabetical order John

Francisco Morandi Zerpa Janitor

Bella Orobaton Clerk

Catherine Young

band

Emilee Biles

EGGS’ BENEDICTION On the morning of Sunday, December 31, 2023, the Times crossword clue “Romantic profession” led to the answer “IMINLOVE.” Taken at its word, the double entendre tells us that speaking and working overlap, that talking is a way of getting something done. That same morning, church services everywhere ended in benedictions—from bene (well) and dictere (say)—blessings which mark the transition from the sacred to the everyday. Likewise in Sort: puzzles, puns, and attempts towards meaning roll over themselves, less for laughs than in hopes that the right words might punch a doorway through grief.

Psychoanalysis—“the talking cure”—imagines mourning as the natural process of detachment, melancholia as the clinical inability to let go. Critics accuse Freud of conceiving the former only to better pathologize the latter, but all’s well: who wants release when batting language around like a speedbag feels so good? Like Sort’s John and Clerk, the mourner turns to language again and again, hoping against hope it will conjure the object they need to behold in order to walk away from it. Odds are it won’t—but ask a writer about her faith in language. Then, ask why she keeps going.

In J.L. Austin’s terms, performative language goes beyond mere description to enactment: I vow, promise, decree. Paraphrasing Judith Butler’s expansion, not-quite-rightly: performativity plus repetition equals gender. But with more speaking come more opportunities for Freudian slippage; in Sort, there’s more than enough grist. About the “egg”—the trans person before they know they’re trans—gender theorist Grace Lavery writes, “by the time one is called one, it must be understood that one is not one, or not one any longer. An egg is displaced in time, a protocol for a new, and newly incommensurable sensemaking procedure.”1 To have one’s egg cracked is to set in motion the annihilatory process of transition, to leave behind life and self and time as received. If there’s one realm where letting go might be better than worrying, maybe it’s gender as we’ve learned it. Speak! Punch the hole! Leave the egg! Enter a world as funny, terrifying, and genderfucked as the one Ida Cuttler has written.

Also in that New Year’s Eve Sunday crossword: CAPUTO, with the clue Reality Star Theresa, of ‘Long Island Medium.’ The dead live out of time, too, and come to us in the least sacred of ways. Gender, like each of our dead, is hard to leave behind.

The year ended, and Monday came around; those of us who derive pleasure from language’s impossibilities sped through the early-week puzzles, beckoning the torture of the weekend to come.

—Georgia Petersen, Production Dramaturg 1

Grace Lavery. “Egg Theory’s Early Style.” TSQ: Transgender Studies Quarterly 7, no. 3

(August 1, 2020): 383–98. https://doi.org/10.1215/23289252-8553034.

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about the playwright

cast

Ida Cuttler is a playwright and actor

pronouns (John) is a second-year M.F.A. candidate at David Geffen School of Drama, born in Caracas, Venezuela. Recent productions include falcon girls (Yale Rep), Kilele, and The Sign in Sidney Brustein’s Window (the Geffen School). This summer he is proud to be one of two co-teaching artists running the 30th anniversary of The Dwight/Edgewood Project at Yale Rep. He is particularly thankful to Tamilla, Grace, James, Erica, Bill, Chris, and his advisor Mary Lou, for holding me throughout this big ol’ second year.

And to his roommate, Georgia, and his friend, Ida, for a dream of an end to the semester. He is a 2022 graduate of NYU Tisch School of the Arts where he studied with Anna Deavere Smith.

from San Francisco, California, and a third-year M.F.A. candidate at David Geffen School Drama, where she wrote Moe’s a D*ck and Running Play.

She was a company member of NeoFuturists from 2015–22, where she wrote over 200 plays for Chicago’s longest-running late-night show, The Infinite Wrench. Ida was also a company member of PlayMakers Laboratory, where she adapted and performed in stories written

by Chicago public school students.

Ida’s other writing and performing credits include Comfortable Shoes, The Infinite Wrench, and Jeff Awardnominated Wildcats. She is a 2025–26 Alliance/Kendeda National Graduate Playwriting Award Finalist.

As an actor, Ida was most recently seen in The Day the Butcher Shop Closed and the sketch revue *Is This Mom* both at Yale Cabaret. One time she entered a giant donut eating competition. idacuttler.com | @idaecuttler

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in alphabetical order Francisco Morandi Zerpa any

Bella Orobaton (Janitor) is a

playwright, educator, and secondyear actor at David Geffen School of Drama, where her credits include The Tragedy of Coriolanus, Ain’t No Mo’, and rent free. She trained at Cornish College of the Arts, where she graduated summa cum laude with a degree in original work. Previous theater credits include Dance Nation (Yale Cabaret); Returning the Bones (National Association for Campus Activities); Tiara’s Hat Parade (BookIt Repertory Theatre’s educational tour); This Girl Laughs, This Girl Cries, This Girl Does Nothing (Arts West); Auntie Val (Freehold Theatre). Big thanks and love to her family, friends, and teachers!

Biographies are submitted by the artists and edited for common house style by David Geffen S

Catherine Young (Clerk) is a first-

in alphabetical order

theatre work includes The Return of Benjamin Lay at the Sheen Center in NYC/Quintessence Theatre Group in Philadelphia, and a handful of shows at Yale Cabaret. Patrick is a third-year M.F.A. candidate in scenic design at David Geffen School of Drama and received his B.F.A. in graphic design from University of Kansas. patrick-blanchard.com @patrickblanchard

Emilee Biles (Band; Sound Design

Allison Morgan (Costume Designer)

year acting student at David Geffen School of Drama. Their recent credits include Witch at Yale Cabaret and The Little Prince at the Guthrie Theater.

Catherine grew up in Louisville, Kentucky and got their B.F.A. in acting from SUNY Purchase.

creative team

and Original Music) is a multiinstrumentalist, songwriter, and engineer in her second year at David Geffen School of Drama, where her credits include Ain’t No Mo’, The Tragedy of Coriolanus, and several productions at Yale Cabaret.

Select credits include Cost of Living (Broadway, Assistant Sound Designer), The Salvagers (Yale Repertory Theatre, Assistant Sound Designer), Into the Woods (Dallas Theater Center, Associate Sound Designer), The Manic Monologues (WaterTower Theatre), The Play that Goes Wrong (Stage West), and The Elephant Man (Theatre 3). Studio: letters to nowhere EP by e.vangeline (Recording Artist and Producer). www.emilee.party | @emilee.party

Patrick Blanchard (Scenic

Designer) is a designer/årțĩstë from small-town Kansas. His work spans installation, performance, sculpture, film, and photography and can be seen in parking garages, cemeteries, skyscrapers, cruise ships, apartments, deserts, the streets of L.A., the theater you’re in right now, and more. Recent

School of Drama.

is a costume designer for the stage and screen and a second-year M.F.A. candidate at David Geffen School of Drama. Recent productions include Shakespeare’s Antony and Cleopatra (costume designer, the Geffen School), Mozart’s Don Giovanni (assistant costume designer, Santa Fe Opera), and Verdi’s Rigoletto (upcoming, Assistant Costume Designer, Santa Fe Opera). She holds degrees in apparel design, art history, and French from the Brown University/ Rhode Island School of Design Dual Degree Program. In 2019–20, she studied operatic costume design and history on a Fulbright fellowship in Venice, Italy. Since, she has staged her costume collections and soft sculpture to live opera, through an invented genre she calls “Opera Stuffa.” She is a 2025–26 recipient of the Beinecke Graduate Research Fellowship for her proposed project Draping the Diva: the Evolution of Operatic Costume from the 17th Century to the Present.

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Sort Larry Ortiz (Lighting Designer)

is a second-year M.F.A. candidate at David Geffen School of Drama, originally from El Paso, Texas.

Select lighting design credits include La muerte y la doncella, La pasion segun antigona perez (El Repetorio Espanol, Off-Broadway); Kilele, A Midsummer Night’s Dream (the Geffen School); Lepke in the Night, H.E.A.T.T. (Connecticut College); Can the Peruvian Speak?, Romeo and You-Liet (Yale Cabaret); Let it Be-A Beatles Musical, Vanya and Sonia and Masha and Spike (Okoboji Summer Theatre).

Larry Ortiz graduated from The University of Texas at El Paso with a B.F.A. in theater. Special thanks for my family and partner who have inspired me immensely.

LarryOrtiz.com

Tamara Morris-Thompson

(Technical Director) Please see page 11.

Thomas Nagata he/they (Stage

Manager) Selected credits include Eden (Yale Rep); Fucking A, Uncle Vanya, Cactus Queen, Tempt Me (David Geffen School of Drama); The Tempest, it’s not a trip it’s a journey, Quixote Nuevo (Round House Theatre); King Lear (Shakespeare Theatre Company); Ain’t No Mo’,The Nosebleed, Incendiary, Rose: You Are Who You Eat (Woolly Mammoth Theatre Company); In the Heights, Annie, Proof (Olney Theatre Center); All the Way, The Roommate, The Yoga Play (South Coast Repertory). Thomas received their B.A. from Wheaton College, Massachusetts.

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Georgia Petersen (Production

Dramaturg) is a second-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama and a managing editor at Theater magazine, Yale’s journal of theater and performance. She most recently worked as a dramaturg on The Inspector and Escaped Alone at Yale Rep. She holds a B.F.A. in acting with a minor in creative writing from New York University.

Michael Rossmy (Fight and

Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and Stage Combat and Intimacy Advisor for Yale College. Broadway credits include Branden Jacobs-Jenkins’s Purpose directed by Phylicia Rashad, A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional theater credits include The Public Theater, Roundabout, The Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for The Public’s production of Troilus and Cressida and is a 2024 Barrymore Award nominee for Bonez at People’s Light.

Alexis Kulani Woodard she/her

(Director) is a director and adaptor, proud Spelman College Alumna, and former Spelman Leadership Fellow at the Alliance Theatre. She is a 2024 Princess Grace Award Winner in Theatre. She served as the Co-Artistic Director of The Alliance Theatre’s inaugural 2020–2021 Digital Season, where she programmed Laugh Track, BackStage Atlanta, Spotlight Studio, and From the Ashes. Select directing credits include Metamorphoses, Measure for Measure (Geffen School); Four Meddling Kids and One Dumb Dog, Every Brilliant Thing (Yale Cabaret); Hamlet (The Tiny Theater Company, Alliance Theatre: Guest Artist Series); From the Ashes (Alliance Theatre Anywhere); Hands Up: 7 Playwrights, 7 Testaments and Do You

Love The Dark? (Alliance Theatre).

Associate directing credits include A Christmas Carol: The Live Radio Play, Working (Alliance Theatre), and the world premiere tri-production of Dream Hou$e (Alliance Theatre, Long Wharf Theatre, Baltimore Center Stage). Hands Up: 7 Playwrights, 7 Testaments won a Suzi Bass award in 2022 for outstanding Social Justice production. She has also assistantdirected for the Suzi Award-winning world premiere play, Hands of Color (Synchronicity Theater), A Christmas Carol (The Repertory Theater of St. Louis), Escaped Alone (Yale Repertory Theatre), and A Kids Play About Racism (Bay Area Children’s Theater). Upcoming: The Dark Lady (Synchronicity Theatre) alexiskwoodard.squarespace.com

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Silence/The Village

By ML Roberts

Directed by Kemar Jewel

creative team Scenic Designer

Patrick Blanchard Costume Designer

Tricie Bergmann Lighting Designer

Gib Gibney

Sound Designer

Tojo Rasedoara Projection Designer Ke Xu 许可 Technical Director

cast

in alphabetical order Manny

Juice Mackins Josefa

Rebecca Rivera Phil

Michael Saguto Nico

Kiera Anne Smith Tammy

Grace Wissink

Tamara Morris-Thompson Production Dramaturg

Austin Riffelmacher Fight and Intimacy Directors

Kelsey Rainwater Michael Rossmy Stage Manager

ty ruwe

setting

A New England island, 2021

content guidance

This production contains staged violence, sexual content, partial nudity, and discussions of racial violence.

Silence/The Village is performed without an intermission.

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Dystopian Disconnection in Silence/The Village You may have noticed that the title of this play is divided in two.

“The village is obsolete. But the body never forgets. It begins to seek out the village in destructive ways.”

—Nico, Silence/The Village First, let’s look at the second part, The Village.

Communities make up villages, and often community is thought of in the most affirming light. However, community can manifest itself in the most grotesque of ways. The Third Reich was a community. So was the Ku Klux Klan.

Insurrectionists emerge from community. Communities produce cults.

In 1933, Austrian Psychologist Wilhelm Reich published his book, The Mass Psychology of Fascism. Later banned by the Nazis, Reich theorized that authoritarianism emerges from a sexually repressed working class and a cult of personality—a manipulation of mass media into the idolizing of one figure.

Reich scrutinized the “leading class” in explicitly fascist governments like Germany’s while also taking aim at the “United” (my quotes) States, where those with money, largely white people, both conservative and liberal, exploited and profited off essential work by people of color. He wrote, the leading class was “not in a position to assume social responsibility,” and in America,

Unions of white workers deny membership to black workers.

All of this is the result of deeply ingrained ideological party concepts, under whose sway the community, which is produced by work, is suffocated. Hence, it is only the new concept of the worker, i.e., as a person who performs vitally necessary work, which is in a position to bridge the gap and to bring the social bodies into line with the organizations of vitally necessary work.

Now back to the first part of the title, Silence.

In comedy, awkward silences make us laugh. In horror, the absence of sound causes fright. Both stir tense reactions in our bodies.

Winter 2021 brought an abundance of baffling media moments caught in a juncture between the absurd and the grotesque. One of the blither ones occurred when Oprah Winfrey asked Meghan Markle, “Were you silent, or silenced?” Although the moment became a humorous meme, Markle was given 21

Dystopian Disconnection in Silence/The Village

the opportunity to disclose if she had been self-censoring, or if there was a power keeping her from speaking out. An important question that was unfortunately contextualized by the interview being conducted by a billionaire on the isolated estate of Tyler Perry.

Silence has no partitions when it comes to race and class. Minorities appear silent because they’ve been alienated by social inequities.

Linguistic dominance remains a tool for imperial control. The majority often makes the choice to be silent publicly despite their private alarms.

Some choose to believe there are problems that are not theirs to solve, so they remain silent.

That’s a reverberating privilege and perpetuates problems instead of resolving them. When silence is broken, it is often in equivocating language in half-hearted catch-all corporate statements and cynical slogans.

Silence (the play) and silence (the act) express what is not said, what is not heard, and what is not understood. The power of silence can be resounding.

—Austin Riffelmacher, Production Dramaturg

Silence/The Village

about the playwright ML Roberts he/him is a third-year

M.F.A. candidate at David Geffen School of Drama, where he wrote Solstice and HellYouTalmBout Part 1.

His other credits include Riverside (Indy Shakes) and Abolitionists (Broadway Advocacy Coalition).

As a playwright, his work has been developed with New Harmony Project, SPACE on Ryder Farm, and GTG’s Speaker’s Corner. As a screenwriter, he co-wrote a Lifetime movie and has developed work with Hulu.

ML is a member of the Dramatists Guild of America, a Broadway Advocacy Coalition Fellow, and Co-Artistic Director of Yale Cabaret Season 57: Phoenix. He is also a company member of Indianapolis Shakespeare, and an inaugural Core Company Member at ACT Theatre (Seattle).

As a member of Actors’ Equity Association he has performed with Folger Shakespeare, Unicorn Theatre (UK), The Williams Project, and Santa Cruz Shakespeare, among others.

He received a B.F.A. in acting from UNC School of the Arts (Home of the Fighting Pickles). He is the son of a Navy veteran, and descendant of the Gullah Geechee of the Carolinas. marceselorenzo.com

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Biographies are submitted by the artists and edited

cast

in alphabetical order Juice Mackins (Manny) is a second-

year M.F.A. candidate at David Geffen School of Drama, an alum of Fordham University’s theater program, and a Debbie Allen Dance Academy baby, studying with and under her in various forms of dance and artistic ventures she’s shared.

His stage credits include Eden at Yale Rep; Come Fall in Love—The DDLJ Musical directed by Aditya Chopra at the Old Globe; the tour of Brothers of The Knight directed by Debbie Allen; and the Broadway musical The Prom, directed by Casey Nicholaw; as well as work in concert and commercial dance. His current works at the Geffen School include Ain’t No Mo’ directed by Kemar Jewel, Cactus Queen directed by Bobbin Ramsey, as well as The Royale directed by Lauren F. Walker (2024) at Yale Cabaret.

Television appearances include Shook, Grey’s Anatomy, and Blue Bloods, among others. Lastly, Juice would like to thank Cynthia Santos-DeCure and Hector Flores Kamatsu for their dedicated and focused language and dialect assistance. Also, sharing immense gratitude to the cast, crew, and production team for their uplifting union and carving of a place open for play and collaboration. @juicemackins

Rebecca Rivera (Josefa) is a first-

year M.F.A. acting candidate at David Geffen School of Drama. She was born and raised in Brooklyn, New York. This is her first production at

Yale. She would like to thank her parents and sisters for their fierce and endless love and support.

Michael Saguto (Phil) is a second-

year actor at David Geffen School of Drama, where his credits include The Sign in Sidney Brustein’s Window, Antony and Cleopatra, The Tragedy of Coriolanus, Charity (2024 Langston Hughes Festival), as well as The Royale and The Day the Butcher Shop Closed (Yale Cabaret). Other select theater credits include The Misanthrope (HERE Arts); Lobby Hero (Florida Rep.); London Wall, Men Should Weep (Griffin Theater); A Christmas Carol (the Goodman Theater). Select television and film credits include Easy (Netflix), Tour Bus Legends (pilot), and the series Play by Play. B.F.A., NYU Tisch School of the Arts. michael.saguto.com

Kiera Anne Smith (Nico) is an

actor, singer, and dancer from Harmony, Minnesota. She is very excited to be making her Carlotta Festival debut and is grateful to be working with such talented artists on this production. She would love to dedicate this performance to her family and friends back home, in Minnesota.

Grace Wissink (Tammy) is a first-

year actor at David Geffen School of Drama. Grace received her B.A. in Dramatic Art from the University of North Carolina at Chapel Hill.

d for common house style by David Geffen School of Drama.

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Silence/The Village

creative team

in alphabetical order Tricie Bergmann (Costume

Designer) is a costume designer from Vienna, Austria. She holds a B.A. in fashion and textile design from the Amsterdam Fashion Academy. Before coming to Yale, she worked as a costume production manager at the Vienna State Opera and Volksoper, and designed for performance art and film. While at Yale, she designed the costumes for Kilele and has worked as an assistant costume designer on The Salvagers (Yale Rep) and Hamlet (the Geffen School). She is grateful to be part of this creative team.

Patrick Blanchard (Scenic Designer) Please see page 17.

Gib Gibney (Lighting Designer) is

a second-year M.F.A. candidate at David Geffen School of Drama, where his credits include Metamorphoses and Measure for Measure. Other select credits include Into the Woods and Blood at the Root at Penn State’s Centre Stage as well as Associate Lighting Designer on Invasive Species at the Vineyard Theatre. Originally from Long Island, he is a graduate of SUNY Suffolk and Penn State University.

Kemar Jewel (Director) is a Black

Queer director and choreographer from New York City, raised in Philadelphia. Currently, he is obtaining his M.F.A. in directing from David Geffen School of Drama, where he directed Ain’t No Mo’ by Jordan E. 24

Cooper. Kemar’s art has been seen in theatre, dance, opera, music videos, live tours, and in musical theater. As a member of the Legendary House of Lanvin, Kemar, an alum of the Drama League Fellowship, draws inspiration from the Ballroom scene and his Caribbean upbringing. Kemar’s mission is to revamp classic stories by having them reflect the people today.

Particularly, he is passionate about showcasing the magic of Blackness, Queerness, and their intersections through theatre, music, and dance.

Kemar believes that great stories teach the best lessons, and that those stories should have everyone reflected in them. kemarjewel.com | @kemar_jewel

T Morris-Thompson (Technical Director) Please see page 11.

Kelsey Rainwater (Fight and

Intimacy Director) Please see page 12.

Tojo Rasedoara (Sound Designer)

is also a third-year composer for theater, dance, film, and video games and M.F.A. candidate at David Geffen School of Drama at Yale. Since starting his design journey, Tojo has been working on over 25 productions in and outside of school. Recent and notable credits include Eden, Wish You Were Here (Yale Rep); The Seven (The Juilliard School); Every Goodbye Ain’t Gone, Charlotte, Springtime, Birthday Candles, Fabulation, falcon girls, The Light and the Dark (Chautauqua Theater); Pearl’s Beauty Salon, Measure for Measure, Macbeth, Ghosts, Furlough’s Paradise (Geffen School); Soft Jade (Yale Cabaret);

OFF-PEAK (world premiere, Hudson Stage Company, 59E59 Theatre); Sandblasted (Vineyard Theatre); Is There Still Sex in the City? (Daryl Roth Theatre); Citizen: An American Lyric (Duke University); The Gradient (Repertory Theatre of St. Louis); and Harriet Tubman (HI-ARTS), The Gravesend Inn—escape room (CityTech Theatreworks. Tojo holds a B.A. in entertainment technology from City Tech Brooklyn. He also worked with various New York Fashion Weeks as a production assistant. He would like to thank his sound team and creatives Eden Wyandon, Eun Kang, Nicky M. Brekhof, Robert Salerno, Mike Backhaus, Justin Ellington, and Jill Du Boff for their incredible support towards the play.

Austin Riffelmacher he/him

(Production Dramaturg) is a thirdyear M.F.A. candidate at David Geffen School of Drama, where his credits include Stray Dogs by comfort ifeoma katchy, HellYouTalmBout Part 1 by ML Roberts, and The Misanthrope directed by Mary Lou Rosato. Other work includes Eden (production dramaturg, Yale Rep); The Royale directed by Lauren F. Walker and his solo performance “A Phantastic Christmas” at Yale Cabaret. Originally from Worcester, Massachusetts, he holds a B.A. in English with a concentration in African American literature and film from Framingham State University.

Michael Rossmy (Fight and

ty ruwe they/them (Stage Manager)

is a second-year M.F.A. candidate at David Geffen School of Drama, where their credits include HellYouTalmBout Part 1, Pearl’s Beauty Salon, and Hamlet, princesa de Dinamarca as well as My Six Therapists, The Aughts, seven methods of killing kylie jenner, and Witch at Yale Cabaret. Other credits include Macbeth in Stride (Yale Rep); The Pirates of Penzance (Cape Repertory Theatre); Fairview (Speakeasy Stage Company); honeyhole (MoonBox Productions, Boston New Works Festival); The Half-Life of Marie Curie, and Ada and the Engine (Central Square Theater). ty received their B.A. in psychology from Smith College.

Ke Xu

(Projection Designer) is a multidisciplinary theater designer.

She graduated from Central Saint Martins (UAL) with first-class honors in product design and is currently a projection design M.F.A. candidate at David Geffen School of Drama, where her credits include Ain’t No Mo’. She was working professionally in China before coming to Yale and is passionate about exploring new theatrical language that integrates digital media with physical space.

Recent credits include video and set design for Detective Zhao Gan’e (Beijing 77 Theater); projection design for And the Beetle Hums and Can the Peruvian Speak? (Yale Cabaret); Miss Julie (Beijing Star Theatre); 10:59 (Off Broadway Theater). behance.net/kxu

Intimacy Director) Please see page 18.

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festival direction Steph Burke (Production Manager) is a third-year technical design and production M.F.A candidate at David Geffen School of Drama. This is Steph’s third year as a part of the Carlotta Festival, previously working as a stage carpenter and props associate. Other credits include Associate Production Manager for Escaped Alone (Yale Rep); Dwight/Edgewood Project Technical Director/Production Manager (2023); production staff at Williamstown Theatre Festival (2023), and Associate Production Manager of the International Festival of Arts and Ideas (2024). Steph is very thankful for everyone who has been a part of this journey. Forever grateful for this community.

Jeremy Landes (Managing Director) is a producer, director, artistic leader, and

is currently a third-year M.F.A. candidate in theater management at David Geffen School of Drama. In his time at Yale, he has served as the Associate Managing Director at the School, Assistant Managing Director at Yale Rep, and was a fellow to the Artistic and Managing Directors at the Woolly Mammoth Theatre Company.

Prior to grad school, he served as the Founding Executive Director of Normal Ave, a nonprofit theater company in Manhattan, as well as the Director of Education at MaineStage Shakespeare in Kennebunkport, Maine. Proud graduate of the B.F.A. acting program at Montclair State University. For Tom, always. @jeremylandes

Colleen Rooney (Production Stage Manager) is a third-year student in the stage

management M.F.A. program at David Geffen School of Drama. They hold a B.S. in theater arts and in anthropology from the University of Oregon. Select credits include Macbeth in Stride, Wish You Were Here (Yale Rep); The Carlotta Festival, Cleansed, Color Boy, WAKE (the Geffen School); UDO (Yale Cabaret); Alabaster, Northwest 10, The Curious Incident of the Dog in the Night-Time, and A Doll’s House, Part 2 (Oregon Contemporary Theatre). Other theatrical credits include CoExecutive Artistic Director of Yale Summer Cabaret Season 50 Greenhouse, sound design for Arlington (Yale Cabaret Season 56 Sandbox), and The Betrayal Project (Yale Summer Cabaret: Development Studio 49).

The Benjamin Mordecai III Production Fund, established by a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater Management program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director, alongside Dean/Artistic Director Lloyd Richards from 1982– 1993, Mordecai developed a model of professional producing that changed the course of new play development in the American theatre. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th-Century Cycle.

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Carlotta Monterey, the widow of Eugene O’Neill, chose Yale University Press as the publisher of Long Day’s Journey Into Night. It is written on the copyright page of the first paperback edition that the proceeds from its publication are to go to playwriting at Yale University.

Production Sound Engineer

Robert Salerno

Projection Engineer

Cat Slanski

Projection Content Creator

Jae Lee

artistic

Projection Programmer

Anne Erbe

Scenic Charges

Festival Producer Assistant Scenic Designers

Seth Byrum, Kiki Gordon, Richard Lee Assistant Lighting Designers

Finn Bamber, Qier Lo, Amanda Burtness Assistant Projection Designer

Jae Lee

Associate Sound Designer and Engineer

Nicky Brekhof

Assistant Sound Designers and Engineers

Eun Kang, Eden Wyandon Spanish Language Translations for Silence/The Village

Esperanza Rosales Balcárcel

Associate Production Stage Manager

Caileigh Potter

Assistant Stage Managers Amanda Blitz (Sort) Payton Gunner (Silence/The Village) Claire Young (You Can Tell a Tree by its Fruit)

Wiktor Freifeld

Gabriela Ahumada Gwendoline Chen Stage Carpenters

Sean Blue, Bryant Heatherly Light Board Programmer

Tyler Zickmund Run Crew

Andreas Andreou, Nicky Brekhof, Jasmine Brooks, Nawinda Chanmalee, Matthew Chong, Josie Cooper, Aaron Frongillo, Caleb Krieg, Jocelyn Lopez-Hagmann, Gretta Marston, Destyne Miller, Sveta Moroz, Ameya Narkar, Rebecca Pietri, Chris Pow, Andrew Rincón Changeover Crew

David DiFabi, Shawn Poellet, Leo Surach , Alex Theisen, Jacob Thompson

administration

Assistant Managing Director

production

Sarah Saifi

Katie Chance

Raekwon Fuller, Gavin D. Pak

Associate Production Manager

Management Assistants

Assistant Technical Directors

Festival House Manager

Bekka Broyles, Allie Posner, Judith Villalva Properties Managers

Hsaio Ru-Ho, Lilliana Gonzalez

Davon Williams

Production Photographer

T. Charles Erickson

Production Electricians

Mara Bredovskis, Forrest Rumbaugh

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special thanks For You Can Tell a Tree by its Fruit: Jeremy Fuentes, Amanda Quaid, Andrew Rowand For Sort: Majkin Holmquist, Hansol Jung, Esperanza, Andrew, Emily, Mathew, comfort, ML, Doug, Stefani, Dani, Surrey, Nia, and, finally, Emma Steiner for being the first to help me cherry the cherry out of cherry.

For Silence/The Village: Suraj Singareddy Dash Beber-Turkel, Branden Jacobs-Jenkins, Joaquin Medrano, Megan Ruoro, Pyle, Maia Siegel, Danielle Stagger

Thank you, Elation lighting.

David Geffen School of Drama and Yale Repertory Theatre Staff Elizabeth Parker Ware Dean/ Yale Rep Artistic Director James Bundy Associate Dean/Yale Rep Managing Director Florie Seery Associate Dean/Yale Rep Associate Artistic Director, Director of New Play Programs Chantal Rodriguez Assistant Dean/Yale Rep General Manager Carla L. Jackson Assistant Dean Nancy Yao

Academic Programs

Chair, Acting Program Tamilla Woodard Associate Chair, Acting Program Grace Zandarski Co-Chair, Design Program and Head of Set Design Concentration Riccardo Hernández

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Co-Chair, Design Program and Head of Costume Design Concentration Toni-Leslie James Head of Sound Design Concentration Jill BC Du Boff Head of Projection Design Concentration Wendall K. Harrington Head of Lighting Design Concentration Stephen Strawbridge Chair, Directing Program Liz Diamond Associate Chair, Directing Program Yura Kordonsky Chair, Dramaturgy and Dramatic Criticism Program Catherine Sheehy Associate Chair, Dramaturgy and Dramatic Criticism Program Kimberly Jannarone

Co-Chairs, Playwriting Program Anne Erbe Marcus Gardley Chair, Stage Management Program Narda E. Alcorn Associate Chair, Stage Management Program James Mountcastle Chair, Technical Design and Production Program Shaminda Amarakoon Associate Chair, Technical Design and Production Program Jennifer McClure Chair, Theater Management Program Joan Channick

Artistic

Yale Rep 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 Projection Design Advisor Shawn Lovell-Boyle Sound Design Advisor Jill BC Du Boff

Yale Rep Associate Producer Kay Perdue Meadows Yale Rep Artistic Fellow Hannah Fennell Gellman Yale Rep Artistic Coordinator Andrew Aaron Valdez Yale Rep Casting James Calleri Erica Jensen Paul Davis Editor, Theater Magazine Tom Sellar Managing Editor, Theater Magazine Gabrielle Hoyt Senior Associate Editor, David Geffen School of Drama Alumni Magazine Catherine Sheehy Senior Administrative Assistant to the Artistic Director/ Dean and Associate Artistic Director/Associate Dean Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine Laurie Coppola

Voice and Text Advisor Grace Zandarski

Senior Administrative Assistant, Design Program Kate Begley Baker

Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy

Senior Administrative Assistant, Acting Program Krista DeVellis

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 Administration

Production Stage Manager James Mountcastle Yale Rep Senior Artistic Producer Amy Boratko

Library Services Erin Carney

Production

Production Management Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills

Senior Administrative Assistant to Production, Technical Design and Production Program, and Theater Safety Rachel Zwick

Scenery

Technical Director for Yale Rep and Fall Protection Program Administrator Neil Mulligan (on leave) Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander Electro Mechanical Laboratory Supervisor Eric Lin Metal Shop Foreperson Matt Gaffney Wood Shop Foreperson Ryan Gardner Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Abigail “Galleon” Richard Carpentry Interns Jacob Thompson Laurel Capps

Painting

Scenic Charge Mikah Berky Lead Scenic Artists Lia Akkerhuis Nathan Jasunas Paint Interns Gabriela Ahumada Gwendoline Chen

Properties

Properties Supervisor Jennifer McClure Properties Craftsperson Steve Lopez Properties Associate Zach Faber Properties Stock Manager Mark Dionne Properties Assistant Destany Langfield

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David Geffen School of Drama and Yale Repertory Theat Properties Interns Angie Hause Hsiao Ru-Ho

Projection Intern Jada Rose Pinsley

Costumes

Stage Carpenter Janet Cunningham

Costume Shop Manager Christine Szczepanski Senior Drapers Susan Aziz Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn First Hand Maria Teodosio Costume Project Coordinator Linda Kelley-Dodd Costume Stock Manager Jamie Farkas Assistant Costume Shop Supervisor Timothy “TJ” Wildow Costume Technology Intern Nawinda Chanmalee

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electricians Alary Sutherland Ryan White Electrics Interns April Salazar Tyler Zickmund

Sound

Sound Supervisor Mike Backhaus Sound Interns Eden Wyandon Eun Kang

Projections

Projection Supervisor Anja Powell

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Projection Technician Victoria Loye

Stage Operations

Senior Associate Director of Development and Alumni Affairs Scott Bartelson

Lead Wardrobe Supervisor Elizabeth Bolster

Associate Director of Development and Alumni Affairs Roman Sanchez

Lead Properties Runner William Ordynowicz Light Board Programmer Sabrina Idom Lead Front of House Mix Engineer Keirsten Lamora

Administration General Management

Associate Managing Directors Anne Ciarlone Adrian Alexander Hernandez Jeremy Landes Mikayla Stanley Assistant Managing Director Sarah Saifi Senior Administrative Assistant to the Managing Director, General Manager, and Theater Management Program Sarah Masotta Management Assistants Raekwon Fuller Jocelyn Lopez-Hagmann Gavin D. Pak Company Manager Joy Chen Assistant Company Managers Kay Nilest Gavin D. Pak Gaby Rodriguez

Development & Alumni Affairs

Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine Deborah S. Berman Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark

Alumni Affairs Officer and Senior Writer Cayenne Douglass Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona Development and Alumni Affairs Assistant Jocelyn Lopez-Hagmann

Finance, Human Resources, & Digital Technology Director of Finance and Business Administration/Lead Administrator Nicola Blake Human Resources Business Partner Trinh DiNoto Manager, Staff and Faculty Affairs Malaika Green El Hamel Interim Director of Information Technology Eric Lin Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Business Office Analyst Shainn Reaves Web Technology Assistant Kenneth Murray Business Office Specialists Moriah Clarke Karem Orellana-Flores Business Office Assistant Asberry Thomas

tre Staff Digital Technology Associates Edison Dule Garry Heyward Senior Administrative Assistant to Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura Monique Moore Database Application Consultants Ben Silvert Erich Bolton

Financial Aid, Admissions, and Student Services

Associate Director of Marketing and Communications Taylor Ybarra Senior Administrative Assistant to Marketing and Communications Mishelle Raza Publications Manager, Artwork, and Program Designer Marguerite Elliott Director of Audience Services Laura Kirk

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisors Jazzmin Bonner Matteo Lanzarotta Catherine MacKay Alesandra Reto Lopez Meredith Wilcox

Operations

Director of Facility Operations Nadir Balan

Financial Aid Officer Andre Massiah

Assistant Director of Audience Services Shane Quinn

Registrar/Admissions Administrator Ariel Yan

Subscriptions Coordinator Tracy Baldini

Associate Director of Operations Brandon Fuller

Audience Services Associate Molly Leona

Operations Assistant Devon Reaves

Customer Service and Safety Officers Teo Baldwin Ralph Black, Jr. Kevin Delaney

Facilities Area Manager Joey Adcock

Non-Clinical Counselor Krista Dobson Senior Administrative Assistant to Financial Aid and Admissions Laura Torino

Marketing, Communications, & Audience Services Director of Marketing Daniel Cress

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin

Box Office Assistants Taylor Blackman, Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Diana Shyshkova, Elliot Valentine, Timothy “TJ” Wildow Accessibility Assistant Prentiss Patrick-Carter

Arts and Graduate Studies Superintendents Jennifer Draughn, Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas, Marcia Riley Custodians Tylon Frost, Willia Grant, Cassandra Hobby, Melloney Lucas, Shanna Ramos, Jerome Sonia

David Geffen School of Drama and Yale Repertory Theatre are supported by the work of over 200 faculty members.

For a complete faculty listing by program and department, please visit drama.yale.edu/about-us

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