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MAY 5â€“13, 2017
YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean Chantal Rodriguez, Assistant Dean Jennifer Kiger, Interim Chair of Playwriting
THE HOUR OF GREAT MERCY BY MIRANDA ROSE HALL DIRECTED BY KEVIN HOURIGAN
EVERYTHING THAT NEVER HAPPENED BY SARAH B. MANTELL DIRECTED BY JESSE RASMUSSEN
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA An understanding of a West African folktale BY TORI SAMPSON DIRECTED BY ELIZABETH DINKOVA
BOX 63 IS THE 2017 CARLOTTA FESTIVAL SPONSOR
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. Thank you, Carlotta.
FESTIVAL SCHEDULE MAY 5 8PM If Pretty Hurts Ugly Must Be a Muhfucka
MAY 6 8PM The Hour of Great Mercy
MAY 7 8PM Everything That Never Happened
MAY 9 8PM If Pretty Hurts Ugly Must Be a Muhfucka
MAY 10 2PM The Hour of Great Mercy 8PM Everything That Never Happened
MAY 11 2PM If Pretty Hurts Ugly Must Be a Muhfucka 8PM The Hour of Great Mercy
MAY 12 2PM Everything That Never Happened 8PM If Pretty Hurts Ugly Must Be a Muhfucka
MAY 13 2PM The Hour of Great Mercy 8PM Everything That Never Happened
CARLOTTA MONTEREY PHOTO BY MARCIA STEIN, 1922. COURTESY OF CONDÉ NAST ARCHIVE/CORBIS.
Welcome to the 12th Annual Carlotta Festival of New Plays at Yale School of Drama! Our graduating playwrights, Miranda Rose Hall, Sarah B. Mantell, and Tori Sampson, have spent three years writing and producing plays in the fully immersive conservatory training that the School of Drama offers. Each of these writers has worked with innovative sound and lighting designers, field-leading projection designers, awardwinning costume and set designers, consummate stage managers, visionary directors; collaborated with visual artists on campus; written songs with composers from the Yale School of Music; and had their minds repeatedly blown by dramaturgical and producing conversations. They have made experimental work at Yale Cabaret, run electrics crew, worked front-of-house, and exerted themselves at 2AM striking sets. In short, they have been thrown in the deep-end of everything that this theatre culture of ours has to offer. Now it is time for them to step out and take their place in an industry that both anticipates and salutes their talent. The Carlotta Festival is a celebration of that arrival. We are very pleased that you can be here in New Haven as the audience with the keenest eye for new talent and the warmest welcome to these new adventurers. Yours,
Jennifer Kiger Interim Chair, Playwriting Department
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
An understanding of a West African folktale BY TORI SAMPSON DIRECTED BY ELIZABETH DINKOVA CREATIVE TEAM Choreographer........................................................ JENNIFER HARRISON NEWMAN Scenic Designer ���������������������������������������������������������������������������������������������� CHOUL LEE Costume Designer ����������������������������������������������������������������������������������COLE McCARTY Lighting Designer ���������������������������������������������������������������������� ERIN EARLE FLEMING Composer and Sound Designer..............................................FREDERICK KENNEDY Projection Designer ���������������������������������������������������������� WLADIMIRO A. WOYNO R. Production Dramaturg ����������������������������������������� CATHERINE MARÍA RODRÍGUEZ Technical Director ����������������������������������������������������������������������������������������� MATT DAVIS Stage Manager ���������������������������������������������������������������������������������������BIANCA A. HOOI
CAST Chorus ����������������������������������������������������������������������������������������������� ERRON CRAWFORD Massassi........................................................................ ANTOINETTE CROWE-LEGACY Adama ������������������������������������������������������������������������������������������������AMANDLA JAHAVA Ma.....................................................................................................COURTNEY JAMISON Kaya ���������������������������������������������������������������������������������������������������������KINETA KUNUTU Kasim ����������������������������������������������������������������������������������������������������� JAKEEM POWELL Dad ����������������������������������������������������������������������������������������������������������������� JAMES UDOM Akim..................................................................................SHAUNETTE RENÉE WILSON
MUSICIANS Vocals ������������������������������������������������������������������������������������������������������� ANITA NORMAN Drums ��������������������������������������������������������������������������������������������� JOCELYN PLEASANT
SETTING Affreakah-Amirrorkah. Present day. There will be one ten-minute intermission. The production thanks Moses Ingram for her contributions to the role of Akim. 4
THE REACH: FRACTURING A FABLE, REFRACTING THE STANDARD “The Pretty Girl and the Seven Jealous Women,” the Nigerian folktale on which this play is based, tells the tale of the beautiful, much-beloved Akim and her only-pretty, petty peers, who attempt to crush their competition for her killer looks. Why? Well, Beauty may be skin deep—but it damn sure counts for something.
this, why do we internalize and replicate these external, often problematic “norms”? How can we resist? Through her imagined world of Affreakah-Amirrorkah, playwright Tori Sampson explores how society demands that we continuously posture and “debut” ourselves to be valued. This exploration has led her to “refashion” all manner of conventional notions: from Beauty itself to diverse theatrical forms, including African total theatre, Brechtian commentary, and African American spiritual expression. This production ponders the burden we lade upon our own backs walking through this world and celebrates those with the strength to lay that burden down, whose arms reach not for an ideal but to embrace the self.
If Pretty Hurts Ugly Must Be a Muhfucka: An understanding of a West African folktale playfully fractures its origin story to reflect on how we reach for what’s beyond us—and invites us to consider why we want it anyway. After all, Beauty literally shapeshifts according to the times, lies in the eyes of the beholder, and reflects on pasts not—so bygone. Colonization wasn’t a bad dream, yet its nightmarishly homogenized beauty standards have dominated popular imaginaries ever after. Knowing
—CATHERINE MARÍA RODRÍGUEZ, PRODUCTION DRAMATURG
CREATIVE TEAM TORI SAMPSON (PLAYWRIGHT) is a third-year MFA candidate at Yale School of Drama, where her credits include This Land Was Made and Some Bodies Travel. This season, she assisted director Timothy Douglas on Seven Guitars at Yale Rep, and directed Tarell Alvin McCraney’s In the Red and Brown Water at Yale Cabaret. Tori’s plays have been developed at Great Plains National Theatre Conference and Berkeley Repertory Theatre’s The Ground Floor residency program. She is the recipient of the Kennedy Center’s 2017 Paula Vogel Award, a 2016 Relentless Award honorable mention from the American Playwriting Foundation, a second-place 2017 Lorraine Hansberry Playwriting Award, a 2017 finalist for the Alliance Theatre’s Kendeda Prize, and she is a 2017–18 Playwrights’ Center Jerome Fellow. Tori’s other plays include Cadillac Crew, Black Girl Nerd, Cottoned Like Candy, and Where Butterflies Go in the Winter. Her short play, She’s Our President, will be produced by Baltimore Center Stage as part of the My America: She commission. Tori is currently working on a commission from Berkeley Repertory Theatre. A native of Boston, Massachusetts, she holds a BS in sociology from Ball State University in Muncie, Indiana.
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
ERRON CRAWFORD (CHORUS) is a first-year MFA candidate at Yale School of Drama. His credits include In the Red and Brown Water (Yale Cabaret); The Wiz, Seven Guitars, Once on This Island (Carnegie Mellon); Black Nativity (Kenny Leon’s True Colors); Scheherazade (FringeNYC); and Many Moons (Alliance Theatre), among others. Erron holds a BFA in musical theatre from Carnegie Mellon University and was a member of the Broadway Dreams Foundation and the Freddie Hendricks Youth Ensemble of Atlanta.
ANTOINETTE CROWE-LEGACY (MASSASSI) is a second-year MFA candidate at Yale School of Drama, where her credits include A Midsummer Night’s Dream, The Three Sisters, Some Bodies Travel, and Our Lady of 121st Street. She recently appeared as Ruby in August Wilson’s Seven Guitars at Yale Repertory Theatre. Other credits include The Slow Sound of Snow and In the Red and Brown Water (Yale Cabaret). She holds a BFA in acting from Southern Methodist University, where she appeared in The Women, for colored girls…, and Blues for Mister Charlie, among others. She has also performed with Soul Rep Theatre and Dallas Theater Center.
AMANDLA JAHAVA (ADAMA) is a first-year MFA candidate at Yale School of Drama. Her credits include In the Red and Brown Water, Debacles, Xander Xyst, Dragon: 1, The Red Tent at Yale Cabaret; The Colored Museum, A Midsummer Night’s Dream, The Government Inspector, and The Colored Museum at California Institute for the Arts, where she earned a BFA in acting.
COURTNEY JAMISON (MA) is a second-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt!; Bluebeard’s Wife, A tale of (gay) marriage and (queer) death; The Three Sisters; and Some Bodies Travel. Other credits include Assassins (Yale Repertory Theatre); In the Red and Brown Water and The Slow Sound of Snow (Yale Cabaret). She has performed regionally in Dreamgirls and The Color Purple (Virginia Repertory Theatre). Courtney holds a BA in musical theatre from James Madison University, where she appeared in How I Learned to Drive, Spring Awakening, Trojan Women, and All Shook Up, among others. CourtneyJamison.com
KINETA KUNUTU (KAYA) is a first-year MFA candidate at Yale School of Drama. Her credits include In the Red and Brown Water (Yale Cabaret); but i cd only whisper (The Flea Theater); Mandela (East Harlem Repertory Company); Macbeth (The Drilling Company); Romeo and Juliet, Richard II (Hamlet Isn’t Dead); and Tourniquet (Chain Theatre). She studied with the American Musical Dramatic Academy, and was a resident member of The Bats at The Flea Theater.
JAKEEM POWELL (KASIM) is a first-year MFA candidate at Yale School of
JAMES UDOM (DAD) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Some Bodies Travel, Our Lady of 121st Street, Othello, and A Midsummer Night’s Dream. His other credits include Salt Pepper Ketchup, The Slow Sound of Snow, Thunder Above, Deeps Below (Yale Cabaret); Tamburlaine (Theatre for a New Audience); Macbeth (The Public Theater); The Winter’s Tale (Pearl Theatre); Julius Caesar (Shakespeare & Company); Of Mice and Men, King Lear (Hubbard Hall); Macbeth, Twelfth Night, and The Odyssey (We Players), among others. He has trained with Shakespeare & Company, Steppenwolf, and Dell’Arte International Ensemble, and received the National Irene Ryan Scholarship Award for Best Actor in 2012.
SHAUNETTE RENÉE WILSON (AKIM) can currently be seen on season two of Billions for Showtime opposite Damian Lewis and Paul Giamatti. Most recently, she shot a series regular role in the Fox medical drama, The Resident executive produced by Antoine Fuqua and directed by Phillip Noyce. Upcoming: Marvel’s Black Panther opposite Michael B. Jordan, directed by Ryan Coogler. Shaunette returns to Yale School of Drama where her credits
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
Drama. His credits include In the Red and Brown Water, Xander Xyst, Dragon: 1 (Yale Cabaret); A Raisin in the Sun (Dallas Theater Center); The Man in the Iron Mask, The Mandrake, Henry IV, Part 2 (Shakespeare Santa Cruz); Blues for Mister Charlie, Richard III, and Alice Underground at Southern Methodist University, where he earned a BFA in acting.
include Macbeth, Women Beware Women, Best Lesbian Erotica 1995, The Skin of Our Teeth, The Children, The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre). Shaunette received her BA in drama and theatre from Queens College and her MFA from Yale School of Drama. She is the recipient of the 2015 Princess Grace Award (Grace LeVine Theater Award).
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
MATT DAVIS (TECHNICAL DIRECTOR) is a second-year MFA candidate at Yale School of Drama, where he was the associate production manager for Blood Wedding and Bulgaria! Revolt!, as well as Scenes from Court Life, or the whipping boy and his prince at Yale Rep. His other School of Drama credits include ‘Tis Pity She’s a Whore (assistant lighting designer), The Skin of Our Teeth (properties master), Women Beware Women (assistant technical director), and Othello (master electrician). He serves as the production manager for New York Stage and Film’s Powerhouse season, and has worked as a lighting, sound, and projection designer. Previously, Matt taught production practicum at Pepperdine University, produced shows and managed venues at the Edinburgh, Hollywood, and San Diego Fringe Festivals; produced the first and second international tours of Why Do You Stand There in the Rain?, and was the technical production manager for the Lisa Smith Wengler Center for the Arts in Malibu, CA.
ELIZABETH DINKOVA (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where her credits include Shakespeare’s Othello, Bulgaria! Revolt!, and Best Lesbian Erotica 1995 by Miranda Rose Hall. She also collaborated with Hall on How We Died of Disease-Related Illness (Yale Cabaret) and Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret). As Co-Artistic Director of the 2016 Yale Summer Cabaret, Elizabeth also directed Adam Geist. Other credits include Débâcles, Leonce and Lena, Boris Yeltsin (Yale Cabaret); Bull (staged reading, Studio Theatre); 15’000 Gray (Goethe Institut Participatory Theater Festival); Facebook in Memoriam (Source Festival); Female Kingdom (Small Bulgarian Theatre). Elizabeth has assisted directors Rebecca Taichman, David Muse, Michael Kahn, KJ Sanchez, Serge Seiden, Kim Weild, and Javor Gardev. Before Yale, she served as Studio Theatre’s artistic apprentice and the directing apprentice for One Year Lease. Elizabeth is from Sandanski, Bulgaria. She received a BA from Reed College where she double-majored in theatre and psychology. elizabethdinkova.com
ERIN EARLE FLEMING (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include ’Tis Pity She’s a Whore, Blood Wedding, and Macbeth. Other credits include Xander Xyst, Dragon: 1, MoonSong, Current Location, Kaspar (Yale Cabaret); Les Enfants
Terribles (Butler Opera Center); Bus Stop, Love and Information (Mary Moody Northern Theatre); Pinocchio, ScienceTricks (ZACH Theatre); Bloody Bloody Andrew Jackson (Doctuh Mistuh Production); How I Became a Pirate (Main Street Theatre); and The Attic Space (Palindrome Theatre). Additionally, Erin worked as the assistant production manager at Ballet Austin. She holds a BA with an emphasis in design from St. Edward’s University.
BIANCA A. HOOI (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include The Three Sisters and Our Lady of 121st Street, and she was the assistant stage manager for The Oresteia and New Domestic Architecture. Her other credits include assistant stage manager for Seven Guitars and production assistant for the world premiere of Indecent, both at Yale Rep.
FREDERICK KENNEDY (COMPOSER AND SOUND DESIGNER) is
CHOUL LEE (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include Blood Wedding, The Skin of Our Teeth, and The Merchant of Venice. Other credits include Dutch Masters (Yale Cabaret). Originally from Seoul, South Korea, Choul holds a BA from Korea National University of Arts, and won the 2006 KOSTAT EXPO (Asia Stage, Technical Design Contest) and the 2007 UNESCO Prize for the Promotion of the Arts School Exhibit at the Prague Quadrennial. choullee.com
COLE McCARTY (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include Blood Wedding. Other recent credits include Current Location; Thunder Above, Deeps Below; Collisions; and The Meal (Yale Cabaret). A native Texan, his design credits include Loving v. Virginia, Lydie Breeze, The War Boys (Williamstown Theatre Festival); Reckless (Theatre Three); and the short film Rolling on the Floor
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
a second-year MFA candidate at Yale School of Dram,a where his credits include ’Tis Pity She’s a Whore and Othello. He recently wrote, co-directed, and performed in Collisions at Yale Cabaret and was the associate sound designer for Yale Rep’s Scenes from Court Life, or the whipping boy and his prince. Other credits include Débâcles, Adam Geist, Alice In Wonderland, Envy: the Concert (Yale Summer Cabaret); Lake Kelsey, Vignette of a Recollection, The Bitter Tears of Petra Von Kant, And Tell Sad Stories of the Death of Queens, How We Died of Disease-Related Illnesses, and I’m With You in Rockland (Yale Cabaret). Prior to Yale, Frederick worked full time as a musician, producer, and educator in New York City, where he taught music production at City University of New York and appeared as a drummer on more than 50 albums. His diverse musical career has taken him on tours throughout North America and Europe, as well as to parts of South America, the Caribbean, and the South Pacific.
CREATIVE TEAM Laughing (Official Selection Sundance Film Festival). He has assisted designers such as Catherine Zuber, Emilio Sosa, and Gabriel Berry on various Broadway, Off-Broadway, and major regional productions. He holds a BFA in theatre design and technology from University of Evansville.
JENNIFER HARRISON NEWMAN (CHOREOGRAPHER) received her MFA in theater management from Yale School of Drama in 2011. A New Yorkbased dance and theatre artist, Jennifer has worked with Franco Dragone, Amanda Palmer, Donald Byrd, David Roussève, Ronald K. Brown, Michael Jackson, The Radio City Rockettes, as well as on Broadway in Saturday Night Fever and Disney’s The Lion King. Jennifer has choreographed for the plays Bull Rusher by Eisa Davis, Woman Bomb by Ivana Sajko, Mary Becoming by John Ransom Phillips, and several plays at Yale Cabaret. Jennifer has been an artist-in-residence at The Field, Mabou Mines, Baryshnikov Arts Center, and 651 Arts. As a teaching artist, Jennifer has taught dance workshops across the United States as well as in South Africa, China, and Mexico. She is currently on faculty at Central Connecticut State University.
IF PRETTY HURTS UGLY MUST BE A MUHFUCKA
CATHERINE MARÍA RODRÍGUEZ (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where she founded El Colectivo, Yale’s Latinx theatre group. Catherine currently serves on the National Endowment for the Arts’s theatre panel, the Latinx Theatre Commons’ National Steering Committee, Literary Managers and Dramaturgs of the Americas’ Board of Directors, and Yale School of Drama’s Equity, Diversity, and Inclusion Working Group. Prior, she was the Dramaturgy and Artistic Fellow at Baltimore Center Stage, visiting instructor of dramaturgy at Catholic University, co-organizer of online parity project #WikiTurgy, and co-host of the Dramaturgy Open Office Hours Project. Recent credits: Seven Guitars (Yale Repertory Theatre); Amy and the Orphans (Yale School of Drama); And Tell Sad Stories of the Death of Queens and Salt Pepper Ketchup (Yale Cabaret). Past credits: Baltimore Center Stage, El Círculo Teatral (México), Borderlands, Steppenwolf, and Northwestern University (Performance Studies). Carnegie Mellon: BFA, dramaturgy; BA, Latina/o studies. Black Lives Matter.
WLADIMIRO A. WOYNO R. (PROJECTION DESIGNER) is a secondyear MFA candidate at Yale School of Drama, where his credits include Bulgaria! Revolt! and The Merchant of Venice. His design credits include The Last Voyage of Donald Crowhurst (Ghost River Theatre, Canada); Parade (Nederlands Dans Theater, Netherlands); Ziriguidum (Decidedly Jazz Danceworks, Canada); and Sometime Between Now and When the Sun Goes Supernova (Theatre Junction, Canada). He was also the associate projection designer on GHOST—O Musical (4ACT, Brazil) and The Stampede Grandstand Show (Calgary Stampede, Canada). He holds a BFA in theatre design and production from the University of British Columbia. wawr.ca 10
THE HOUR OF GREAT MERCY
BY MIRANDA ROSE HALL DIRECTED BY KEVIN HOURIGAN
CREATIVE TEAM Scenic Designer ������������������������������������������������������������������������������� EMONA STOYKOVA Costume Designer ��������������������������������������������������������������������������� SARAH WOODHAM Lighting Designer ������������������������������������������������������������������������������������� KRISTA SMITH Sound Designer �������������������������������������������������������������������� MICHAEL COSTAGLIOLA Projection Designer ���������������������������������������������������������� WLADIMIRO A. WOYNO R. Production Dramaturg �������������������������������������������������������������������GAVIN WHITEHEAD Technical Director �����������������������������������������������������������������������������������������MATT DAVIS Stage Manager �������������������������������������������������������������������������������������������WILL RUCKER
CAST Joseph ����������������������������������������������������������������������������������������������������������ABUBAKR ALI Roger ������������������������������������������������������������������������������������������������������ JOHN R. COLLEY Maggie ���������������������������������������������������������������������������������������������������� EVELYN GIOVINE Ed........................................................................................................... PATRICK MADDEN Irma................................................................. FRANCESCA FERNANDEZ McKENZIE
SETTING The fictional town of Bethlehem, Alaska, 2011. There will be one ten-minute intermission.
A DRAMATURG’S PRAYER About the Dramaturgy of Prayer In the early days of rehearsal for The Hour of Great Mercy, director Kevin Hourigan explored the question of faith—a crucial theme in Miranda Rose Hall’s play—by asking us to write a prayer. What follows is something of a dramaturg’s prayer about the dramaturgy of prayer. As such, it gives thanks to Gotthold Ephraim Lessing (1729–81), the father of dramaturgy, and Aristotle (384–22 BCE), the prime mover of dramatic theory. Blessings on Lessing. Glory and praise be to Aristotle. We thank them for writing on dramaturgy and tragedy. Without the bright light of that Hamburgbased geek and that stodgy, old Greek, blind might we be to the dramaturgy of prayer. Yea, for as Aristotle taught, every tragic plot must have beginning, middle, and end. And, as the apostle-dramaturg might preach, so too must every prayer. Shall we see for ourselves? Let us examine an old standard, The Lord’s Prayer:
ur Father, who art in heaven, hallowed be thy name; thy kingdom come, thy will be done, on earth as it is in heaven.
Give us this day our daily bread and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil. Amen.
It begins with apostrophe: “Our Father, who art in heaven.” An apostrophe is a literary form of address spoken to an auditor who isn’t present in the flesh. How do you stage apostrophe? Well, in Mercy, a teacher instructs a class that is itself invisible—apostrophe embodied. Apostrophe implies absence, and, as it happens, the Alaskan townsfolk in this play struggle to cope with absence in the form of heart-rending loss. Then comes a series of entreaties: “Give us this day…forgive us…, and lead us not…, but deliver us ….” We pray for nourishment to sustain life on Earth and grace to ensure bliss in life after death. In Mercy, a man comes home to the community that cast him out with an urgent entreaty of his own. Like all prayer and much wishful thinking, our example ends with “Amen.” In other words, “Be it so.” Or, “Truly.” “Verily.” We assure God that every word has been true, as well as that we believe. Still, despite that affirmation, the speaker humbly submits to the divine will of God. The Hour of Great Mercy is in its own way a prayer for that titular balm for the spirit to salve the wounded souls not only in the small town where it takes place, but also soothing all of us here today. Amen.
—GAVIN WHITEHEAD, PRODUCTION DRAMATURG 13
ABOUT THE PLAYWRIGHT MIRANDA ROSE HALL (PLAYWRIGHT) is a third-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt! (cocreator, book and lyrics) and Best Lesbian Erotica 1995 (writer). Her other plays include How We Died of Disease-Related Illness (Yale Cabaret) and Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret). Her plays have also been produced at DC’s Capital Fringe Festival, and Longacre Lea as part of the DC Women’s Voices Theater Festival. Miranda was the 2013–14 Hot Desk Playwright in Residence at Baltimore’s Center Stage and is currently Resident Playwright and ensemble member with LubDub Theatre Company. She grew up in Baltimore and graduated from Georgetown University. mirandarosehall.com
CAST ABUBAKR ALI (JOSEPH) is a first-year MFA candidate at Yale School of Drama. His credits include Xander Xyst, : Dragon 1 (Yale Cabaret); Macbeth, The Threepenny Opera, Julius Caesar, Six Characters in Search of an Author, A Christmas Carol (A Noise Within); The Rock of Abandon (Lillian Theater); and Handjobs The Musical! (Kraine Theater). He holds a BFA from NYU’s Tisch School of the Arts.
THE HOUR OF GREAT MERCY
JOHN R. COLLEY (ROGER) is a first-year MFA candidate at Yale School of Drama, where his credits include Escape from Happiness. Recent credits include Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); Cock (Creative Works Theatre); Amandine, Girl in Window (New York Theatre Workshop); Rickhardt (HB Playwrights Foundation); The Illusion, Angels in America (NYU); Inherit the Wind, The Secret Garden (Texas Rep); You’re a Good Man, Charlie Brown and Little Shop of Horrors (Little Theatre Company). Film and television credits include A Week in London (opposite Denise Richards), August Falls (with Fairuza Balk), Devious Maids, NCIS, Castle, Criminal Minds, and Chosen. He holds a BFA from NYU’s Tisch School of the Arts.
EVELYN GIOVINE (MAGGIE) is a first-year MFA candidate at Yale School of Drama. Selected credits include Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); Elektra, Great Expectations, Uncle Vanya (Lewis Center for the Arts); Zoyka’s Apartment, Much Ado About Nothing, Red Noses, Der Bourgeois Bigwig (McCarter Theatre, Princeton University); No Exit, Venus in Fur, and Frankenstein (Theatre Intime). Evelyn earned her BA in English with an emphasis in Slavic studies and a minor in theatre from Princeton University with additional training from Stella Adler, Lee Strasberg, and BADA.
PATRICK MADDEN (ED) is a second-year MFA candidate at Yale School of Drama, where his credits include Bulgaria! Revolt!, The Three Sisters, New Domestic Architecture, and Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. He also appeared in And Tell Sad Stories of the Deaths of Queens at Yale Cabaret. He has trained and performed at Shakespeare & Company, Williamstown Theatre Festival, and Brown University, where he received a BA in English.
FRANCESCA FERNANDEZ McKENZIE (IRMA) is a second-year MFA candidate at Yale School of Drama, where she was seen in Othello, Wrong River, Blood Wedding, and Our Lady of 121st Street. Other credits include Salt Pepper Ketchup and Thunder Above, Deeps Below (Yale Cabaret). She is a proud member of the School’s first Equity, Diversity, and Inclusion Working Group. She is an ensemble member of both Cripple Creek Theatre Company and Goat in the Road Productions in New Orleans.
CREATIVE TEAM MICHAEL COSTAGLIOLA (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he recently composed and arranged the music for Bulgaria! Revolt!. Other credits include Styx Songs (Yale Cabaret) and The Moors (Yale Repertory Theatre, assistant sound designer). He studied music at Brown University, where he received the Weston Award for Music Composition. He is a teaching artist in sound design for the Roundabout Theatre Company and is the resident composer for the AntiGravity Theatre Project. His work has been heard in New York at La MaMa E.T.C., Manhattan Theatre Club, Dixon Place, Incubator Arts Project, the PRELUDE Festival, and the Brick Theater, among others, as well as at various theatres in Providence, Philadelphia, Boston, Madrid, and across Europe and India.
KEVIN HOURIGAN (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where he directed Blood Wedding, The Merchant of Venice, and Tiny by Sarah B. Mantell. He is currently serving as Co-Artistic Director of Yale Cabaret, where he has directed Lake Kelsey by Dylan Frederick, I’m With You in Rockland, and Collisions. Additional directing credits include La Cenerentola (Curtis Opera Theater); Talk to me about Shame (New York International Fringe Festival Fringe Award; Syrena Theatre in Warsaw, Poland); Sweeney Todd (Performing Arts Institute); Invisible Plains (Boston University, the Green Gallery in New Haven); Gentlemen of Kentucky by Thomas Daniel Valls (Dixon Place); and Magellanica by A.J. Ditty (Access
THE HOUR OF GREAT MERCY
MATT DAVIS (TECHNICAL DIRECTOR) Please see page 8 for his bio.
CREATIVE TEAM Theater). As an assistant/associate director, Kevin has worked with Rachel Chavkin, Nicky Silver, Jackson Gay, John Jesurun, Christine Jones, Laura Savia, and Mike Donahue.
WILL RUCKER (STAGE MANAGER) returns to Yale School of Drama, where his previous Carlotta Festival credits include Cardboard Piano by Hansol Jung, Sagittarius Ponderosa by MJ Kaufman, and serving as production stage manager of the 2015 Festival. Now living in Brooklyn, Will has worked on developing new plays for the New School for Drama, Working Theater, Atlantic Theater Company, The Playwrights Realm, and Dorset Theatre Festival (Vermont). He is a founding member of The Party Line, a Brooklyn-based theatre company with a penchant for confetti. Other School of Drama credits include Platonov, directed by Joan MacIntosh. At Yale Repertory Theatre, he was the stage manager for the world premiere of War by Branden Jacobs-Jenkins and the assistant stage manager for Accidental Death of an Anarchist, directed by Christopher Bayes. Will was an artistic director of Yale Cabaret’s 47th Season. BA, University of Virginia; MFA, Yale School of Drama.
THE HOUR OF GREAT MERCY
KRISTA SMITH (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt! and The Merchant of Venice. Other credits include Adam Geist and Alice in Wonderland (Yale Summer Cabaret); And Tell Sad Stories of the Death of Queens, Dutch Masters, Styx Songs, Collisions, and Débâcles (Yale Cabaret). Originally from Albany, California, her regional credits include Beneath Paris Skies, The Marriage of Figaro, Once on This Island, Jacques Brel Is Alive and Well and Living in Paris, Rent (Cinnabar Theater); The Great Tragedies by Mike Daisey (California Shakespeare Theater); Anatol (Aurora Theatre); Fire Work (Theatre FIRST); Little Brother (Custom Made Theatre); A Doll’s House, The Wild Party, Flu Season, and Sueño (A.C.T. Conservatory); Equus (Boxcar Theatre). She received her BA in drama from San Francisco State University. KristaSmithLD.com
EMONA STOYKOVA (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt!. Other credits include The Meal (Yale Cabaret). As an intern at the National Theatre of Bulgaria in Sofia, she worked on Enchanted Night and Life Is Beautiful. American design credits include Kaspar (Acme Corporation); Mary Hartman, Mary Hartman (Annex Theatre); and Potatoes of August (E.M.P Collective). Film work includes costume design for Me, You, Nobody Else and Tales (short). She holds BAs in scenography and in art education theory and practice the from National Academy of Arts in Sofia, Bulgaria, as well as a qualification of professional painting from the National School of Fine Arts.
GAVIN WHITEHEAD (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include Othello, The Merchant of Venice, and Best Lesbian Erotica 1995. His other credits include Débâcles, Styx Songs, and Leonce and Lena (Yale Cabaret). At Yale Summer Cabaret, Gavin worked on Adam Geist by Dea Loher and Antarctica! Which Is to Say Nowhere, also written by Miranda Rose Hall.
SARAH WOODHAM (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include ’Tis Pity She’s a Whore and Amy and the Orphans. Other credits include Styx Songs (Yale Cabaret), Phaedra’s Love, and Adam Geist (Yale Summer Cabaret). She holds a BFA in fashion and design from The University of Trinidad and Tobago (Caribbean Academy of Fashion and Design), where she designed An Echo in the Bone for The Trinidad Theatre Workshop. She is a winner of the Meiling Designer Critique Award, a freelance storyboard artist, graphic designer, and co-director of her own fashion print house, A Memory Emerging New (A.M.E.N.) Print House.
WLADIMIRO A. WOYNO R. (PROJECTION DESIGNER ) Please see page 10 for his bio.
THE HOUR OF GREAT MERCY
EVERYTHING THAT NEVER HAPPENED
BY SARAH B. MANTELL DIRECTED BY JESSE RASMUSSEN
CREATIVE TEAM Scenic Designer ���������������������������������������������������������������������������������������������������� JOO KIM Costume Designer ������������������������������������������������������������������������������SARAH NIETFELD Lighting Designer ������������������������������������������������������������������������������������� KRISTA SMITH Sound Designer ���������������������������������������������������������������������MICHAEL COSTAGLIOLA Projection Designer ���������������������������������������������������������� WLADIMIRO A. WOYNO R. Production Dramaturg ������������������������������������������������������������������������� CHAD KINSMAN Technical Director �����������������������������������������������������������������������������������������MATT DAVIS Stage Manager �������������������������������������������������������������������������������� CAITLIN O’ROURKE
CAST Jessica ������������������������������������������������������������������������������������������������������ STELLA BAKER Gobbo........................................................................................... STEPHEN CEFALU, JR. Lorenzo ���������������������������������������������������������������������������������������������������� PATRICK FOLEY Shylock ������������������������������������������������������������������������������������������������������ ARTURO SORIA
SETTING Venice, 1596 Everything That Never Happened is performed without an intermission.
The Who and What of Venice It is only by tracing the pinprick back to other pinpricks—when his mother tried to fix his sleeve while his arm was still in it, when his grandfather’s fingers fell asleep from stroking his great-grandfather’s damp forehead, when Abraham tested the knife point to be sure Isaac would feel no pain— that the Jew is able to know why it hurts. When a Jew encounters a pin, he asks: What does it remember like? —JONATHAN SAFRAN FOER, EVERYTHING IS ILLUMINATED
Over the course of its 400-year history, The Merchant of Venice has been seen as a critique of capitalism, an examination of the interplay between economics and romantic intrigue, a depiction of the commodification of women and love, an anti-Semitic screed, and an exposé of Christian hypocrisy. But when you think of The Merchant of Venice, chances are Antonio—the title character—isn’t the first thing to come to mind. Nor is it Bassanio, Nerissa, or perhaps even Portia, the characters directly involved in the mercantile (even originally mercenary) marriage plot.
Is he a villain, a comic type, or a tragic figure? A fulfillment or a subversion of Jewish stereotypes? But while Shylock is so central to conversations about the play, his identity as a widowed father of a teenage daughter is largely lacking from the discourse. What richer stories are possible if we remember that over the course of the play Shylock’s loses both his religion and his daughter? More broadly, what kind of play are Shylock and Jessica in—a tragedy, a history, or a comedy? These are questions Shakespeare couldn’t answer. In Everything That Never Happened, playwright Sarah B. Mantell restores this missing piece by writing the story of what could actually happen between a Jewish father and his Jewish daughter caught in the rivers of historical persecution. This story, set in kitchens and bedrooms, streets and canals, shows the price of moving forward, the profound cost of love. Among meals, prayers, candles, pomegranates, a servant, a boat, oh, and a romantic thing about cockroaches.
Although appearing only in five scenes, Shylock, the mistreated Jewish moneylender, stands out in popular imagination as the play’s principle character. For centuries, Shakespearean actors—and later some from Hollywood—have coveted the role; his famous “If you prick us, do we not bleed?” speech is as anticipated in performance as another famous Act 3, Scene 1 monologue, Hamlet’s “To be or not to be.” Performers and critics have fought almost continually over how to interpret this complicated character.
—CHAD KINSMAN, PRODUCTION DRAMATURG
ABOUT THE PLAYWRIGHT SARAH B. MANTELL (PLAYWRIGHT) is a third-year MFA candidate at Yale School of Drama, where her play Tiny was performed last fall. Tiny has since been developed at Seven Devils Playwrights Conference, Great Plains Theatre Conference, and was a finalist for the New Harmony Project. Her other full-length plays include Mrs. Galveston (Yale Cabaret, 2016), Fight Call, and Southbound, Soon as We Can. Her work has also been developed with Philadelphia Theatre Company, Geva Theatre, Play by Play, and PlayPenn, among others. Sarah holds a BFA in illustration from Rhode Island School of Design and is a proud alumna of Philadelphia’s The Foundry. sarahmantell.com
CAST STELLA BAKER (JESSICA) is a second-year MFA candidate at Yale School of Drama, where she appeared in The Dog Pack Play and Othello. Other credits include Styx Songs and The Quonsets (Yale Cabaret). She holds a BA in philosophy from Reed College, where she appeared in Julius Caesar and The Bacchae and spent a semester with the American Conservatory Theater.
EVERYTHING THAT NEVER HAPPENED
STEPHEN CEFALU, JR. (GOBBO) is a first-year MFA candidate at Yale School of Drama, where his credits include Escape from Happiness. Selected Chicago credits: world premiere of Tracy Letts’s Mary Page Marlowe directed by Anna D. Shapiro (Steppenwolf Theatre), Who’s Afraid of Virginia Woolf? (Redtwist Theatre, Jeff Award Nomination), End Days (Windy City Playhouse), Pins and Withers (A Red Orchid Theatre). Stephen has also participated in readings and workshops for the Goodman Theatre, Steppenwolf Theatre, Victory Gardens Theatre, Steep Theatre, Sideshow Theatre, and Chicago Dramatists. Television and film credits include Shameless, Support, and This Afternoon.
PATRICK FOLEY (LORENZO) is a second-year MFA candidate at Yale School of Drama, where his credits include Titus Andronicus, ’Tis Pity She’s a Whore, The Three Sisters, and Our Lady of 121st Street. He holds a BFA in drama from NYU’s Tisch School of the Arts. Other credits include Lake Kelsey (Yale Cabaret); Alice In Wonderland, and Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret); Chang in a Void Moon (Incubator Arts Project); Lake Victory (Judson Memorial Church); All’s Well That Ends Well (Shakespeare on the Sound); Edward II (The Tank); Wallenstein, Coriolanus (Shakespeare Theatre Company); and Shakespeare’s R&J (Signature Theatre).
ARTURO SORIA (SHYLOCK) is a first-year MFA candidate at Yale School of Drama. Recent credits include The Meal, Débâcles (Yale Cabaret); Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); Hit the Wall (Steppenwolf Theatre, Off-Broadway at Barrow Street Theatre); Olivério: A Brazilian Twist (Kennedy Center); Deferred Action (Dallas Theater Center); Peter and the Starcatcher (Repertory Theatre of St. Louis, Milwaukee Rep); Water by the Spoonful (Studio Theatre); Seven Spots on the Sun (Cincinnati Playhouse in the Park); Oedipus el Rey, and Equivocation (Victory Gardens Theater). Arturo received his BFA in acting from the Theatre School at DePaul University in Chicago. ArturoSoria.org
CREATIVE TEAM MICHAEL COSTAGLIOLA (SOUND DESIGNER) Please see page 15 for his bio.
MATT DAVIS (TECHNICAL DIRECTOR) Please see page 8 for his bio. JOO KIM (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Some Bodies Travel and Fucking A. Her other credits include Caught, Current Location (Yale Cabaret); and The Cunning Little Vixen (Opera Theatre of Yale College). Joo has a BA in fine arts from Hongik University in South Korea. joo-kim.com
CHAD KINSMAN (PRODUCTION DRAMATURG) is a second-year MFA
SARAH NIETFELD (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt!. Other credits include The Quonsets (scenic design), And Tell Sad Stories of the Death of Queens (scenic design), How We Died of DiseaseRelated Illness (Yale Cabaret); Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret); August: Osage County (Balagan Theatre); Once in a Lifetime (Theater Anonymous); Austen Translation (Jet City Improv); Pride and Prejudice, The Old Maid and the Thief, and Incite (Cornish College of the Arts). Born in Ireland and raised in Seattle, Sarah holds a BFA in performance production and costume design from Cornish College of the
EVERYTHING THAT NEVER HAPPENED
candidate at Yale School of Drama, where his credits include The Dog Pack Play and A Midsummer Night’s Dream. Other credits include Current Location, Kaspar, and Xander Xyst, Dragon: 1 (Yale Cabaret); and multiple staged readings at Westport Country Playhouse. Chad is a co-facilitator of analyzing and mobilizing privilege, a group for aspiring allies in social justice issues at the School. Chad has a Bachelor of Fine Arts from Stephen F. Austin State University in Nacogdoches, Texas. He is also the general manager of the 2017 Dwight/Edgewood Project.
CREATIVE TEAM Arts. She has interned with Seattle Opera, Guthrie Theatre, and the Royal Lyceum in Edinburgh and has also worked at Colonial Williamsburg, La Jolla Playhouse, and Fuel Theatre in London in association with the National Theatre.
CAITLIN O’ROURKE (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Blood Wedding, Othello, and The Skin of Our Teeth. Other credits include Imogen Says Nothing (assistant stage manager, Yale Repertory Theatre); Antarctica! Which Is to Say Nowhere, Alice in Wonderland (Yale Summer Cabaret); Me, My Mom, & Sharmila (Catharsis Productions); Assistance, A Permanent Image, The Mistakes Madeline Made (LiveWire Chicago Theatre); Much Ado About Nothing, Gruesome Playground Injuries (Rasaka Theatre Company); American Storm (Theatre Seven of Chicago); and more. Caitlin has worked regionally at Actors Theatre of Louisville and was the managing director of LiveWire Chicago Theatre. She holds a BA in English and theatre from University of Michigan.
EVERYTHING THAT NEVER HAPPENED
JESSE RASMUSSEN (DIRECTOR) is a director, writer, and lyricist. She is a third-year MFA candidate at Yale School of Drama, where she directed ’Tis Pity She’s a Whore, Macbeth, and This Land Was Made. Other credits include Knives in Hens (Yale Cabaret). Jesse served as Co-Artistic Director of Yale Summer Cabaret’s 2016 season, where she directed the Manhattan Theatre Project’s adaptation of Alice in Wonderland and Sarah Kane’s Phaedra’s Love. Jesse is a founding member of the award-winning theatrical collective Four Larks, where her credits include Orpheus, Undine, and The Temptation of St. Antony. She has created pieces with Four Larks in the USA and Australia, with residencies including the Malthouse Theatre (Melbourne) and the Getty Villa (Los Angeles). She holds a BA from the University of Melbourne and a postgraduate diploma in theatre creation from The Victorian College of the Arts.
KRISTA SMITH (LIGHTING DESIGNER) Please see page 16 for her bio. WLADIMIRO A. WOYNO R. (PROJECTION DESIGNER) Please see page 10 for his bio.
Festival Staff ARTISTIC Anne Erbe, Festival Producer Benjamin Edward Cramer Pfister, Production Stage Manager PRODUCTION Becca Terpenning, Associate Production Manager Kevin Belcher, Kirk Keen, Valerie Tu, Assistant Technical Directors Logan Baker, Michael Shermann, Properties Masters Jenna Heo, Master Electrician Mary Paul, Assistant Master Electrician Andrew Rovner, Production Sound Engineer Elena Tilli, Projection Engineer Jen Seleznow, Stage Carpenter Mika H. Eubanks, Jeremy O. Harris, Roxy Jia, Herin Kaputkin, Alex Lubischer, Genne Murphy, Christopher Gabriel Núñez, Rory Pelsue, Beatrice Vena, Ross Wick, Josh Wilder, Haley Wolf, Run Crew ADMINISTRATION Caitlin Crombleholme, House Manager
FOR EVERYTHING THAT NEVER HAPPENED Jesse Chen, Assistant Scenic Designer Samuel Chan, Assistant Lighting Designer Kathy Ruvuna, Assistant Sound Designer and Engineer Brittany Bland, Assistant Projection Designer Olivia Plath, Assistant Stage Manager FOR THE HOUR OF GREAT MERCY Riw Rakkulchon, Assistant Scenic Designer Samuel Chen, Assistant Lighting Designer Tye Hunt Fitzgerald, Assistant Sound Designer and Engineer Brittany Bland, Assistant Projection Designer Christina Fontana, Assistant Stage Manager “We Are Called” by David Haas ©1988, GIA Publications, Inc. All rights reserved. Used by permission.“Shall We Gather at the River?” by Robert Lowry, 1864.
CARLOTTA FESTIVAL SPECIAL THANKS Taylor Barfield, Sarah Blush, David Dreyfoos and Westport Country Playhouse, The Barrale Fords, Dylan Frederick, Rebekah Heusel, Majkin Holmquist, Kevin Hourigan, Moses Ingram, Stephen Johnson, Niall Powderly, Dr. Eleanor Thomas, Jason Land, Chris Melillo, Aubie Merrylees, Davina Moss, Erika Niemi, Michael Rohrer and Long Wharf Theatre, Michelle Obama, Jeanie O’Hare, Julia Roberts, Seven Devils, Anika Solveig, Tom Sullivan, Yale Opera, Yale School of Music, The Yarmouth Foundation
FOR IF PRETTY HURTS UGLY MUST BE A MUHFUCKER Stephanie Cohen, Assistant Scenic Designer Nic Vincent, Assistant Lighting Designer Brittany Bland, Assistant Projection Designer Kathy Ruvuna, Assistant Sound Designer and Engineer Erron Crawford, Dance Captian John Carlin, Assistant Stage Manager Additional performance material from Once Upon a Time by Tiwa Savage, Beyoncé by Beyoncé, and The Pinkprint by Nicki Minaj.
Yale School of Drama Staff Painting
James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean Chantal Rodriguez, Assistant Dean
Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Olga Tyurikova, Assistant to the Painting Supervisor
ARTISTIC MANAGEMENT Jennifer Kiger, Associate Artistic Director, Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Rachel Carpman, Literary Associate Josie Brown, Senior Administrative Assistant to the Dean and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments Lindsay King, Library Services
Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager Logan Baker, Michael Schermann, Assistants to the Properties Master
Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise Oâ€™Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Jamie Farkas, Rachel Gregory, Assistants to the Costume Shop Manager
PRODUCTION Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace Oâ€™Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians
Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Roxy Jia, Haley Wolf, Assistants to the Sound Supervisor
Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Trent Davis, Interim Shop Carpenter Bryanna Kim, Brian Pacelli, Assistants to the Technical Director
Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician
Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer
ADMINISTRATION General Management
Marketing, Communications, and Audience Services
Flo Low, Gretchen Wright, Associate Managing Directors Melissa Rose, Sylvia Xiaomeng Zhang, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Deputy Dean Leandro A. Zaneti, Laura Cornwall, Management Assistants Al Heartley, Company Manager Lisa D. Richardson, Assistant Company Manager
Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Emily Reeder, Associate Director of Marketing and Communications Marguerite Elliott, Publications Manager Gwyneth Muller, Malenky Welsh, Marketing and Communications Assistants Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Sara Cho, Jordan Graf, Nicolette Mántica, Kenneth Murray, Alexis Payne, Tarleton Watkins, Box Office Assistants T. Charles Erickson, Production Photographer
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Institutional Giving Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects Chiara Klein, Associate Director of Development and Alumni Affairs Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications Alice Kenney, Development Associate Gwyneth Muller, Rebecca Hampe, Development Assistants
Operations Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate Jennifer Draughn, Arts and Graduate Studies Superintendent Sherry Stanley, Team Leader Michael Humbert, Facility Steward Donell DiGioia, Ty Frost, Kathy Langston, Mark Roy, Jerome Sonia, Custodians
Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Chris Fuller, Preston Mock, Business Office Specialists Shanaea Galloway, Interim Business Office Specialist Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Susan Ireland, Ashlie Russell, Business Office Assistants
Digital Technology Chris Kilbourne, Director of Digital Technology Luis Serrano, Web and Email Services Associate Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants
Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers
Published on May 1, 2017