Issuu

2017â€“18 SEASON

MAY 9â€“16, 2018 YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean Tarell Alvin McCraney, Chair of Playwriting PRESENTS

TENT REVIVAL

BY MAJKIN HOLMQUIST DIRECTED BY RORY PELSUE

THE GIRL IS CHAINED

BY GENNE MURPHY DIRECTED BY SHADI GHAHERI

MARTY AND THE HANDS THAT COULD BY JOSH WILDER DIRECTED BY LUCIE DAWKINS 2018 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 9 8PM Tent Revival

MAY 10 8PM The Girl Is Chained

MAY 11 8PM Marty and the Hands That Could

MAY 12 2PM Tent Revival 8PM The Girl Is Chained

MAY 13 2PM Marty and the Hands That Could 8PM Tent Revival

MAY 14 2PM The Girl Is Chained 8PM Marty and the Hands That Could

MAY 15 8PM Tent Revival

MAY 16 2PM The Girl Is Chained 8PM Marty and the Hands That Could 2

CARLOTTA MONTEREY PHOTO BY MARCIA STEIN, 1922. COURTESY OF CONDÉ NAST ARCHIVE/CORBIS.

A NOTE FROM THE PLAYWRITING CHAIR

Hello, It is my honor and pleasure to welcome you to the Carlotta Festival of New Plays at Yale School of Drama. I am glad you came to witness the culmination of practice for three emerging writers who have engaged with dynamic directors, technicians, designers, dramaturgs, stage managers, actors, and theater managers—all fellow artists in training at the School—to arrive at this moment. This year’s class of playwrights—Majkin Holmquist, Genne Murphy, and Josh Wilder—have spent three years immersed in a practical learning environment and have honed their skills to share their unique voices. Throughout the festival you will enjoy the distinctive qualities of their works: the wry humor and emotional sensitivity of Majkin’s Tent Rival, the physical dexterity and sensory tumult of Genne’s The Girl Is Chained, and the rhythmic and mythic depths of Josh’s Marty and the Hands That Could. I believe these works sprang from a deep desire for intimate and stringent examination of the world we thought we knew—a world built on pillars, seen and unseen—and these works investigate what happens when those pillars are shaken, broken, or fortified. I am proud to share this auspicious occasion with you as we celebrate the exciting launch of Majkin, Genne, and Josh into the next phase of their burgeoning careers. Most Sincerely,

Tarell Alvin McCraney Chair, Playwriting Department

TENT REVIVAL BY MAJKIN HOLMQUIST DIRECTED BY RORY PELSUE CREATIVE TEAM Choreographer �� MICHAEL BRESLIN Scenic Designer �� GERARDO DÍAZ SÁNCHEZ

Costume Designer �� MIKA H. EUBANKS Lighting Designer ��SAMUEL KWAN CHI CHAN Sound Designer �� KATHRYN RUVUNA Projection Designer �� BRITTANY BLAND Production Dramaturg �� CHARLES O’MALLEY Technical Director �� ROSS WICK Stage Manager �� CHRISTINA FONTANA

CAST

in alphabetical order The Shaking Girl �� JULIANA AIDEN Robert �� STEPHEN CEFALU, JR. Mary ��DANIELLE CHAVES Ida �� EVELYN GIOVINE The Player �� ZOE MANN

Tent Revival is performed without an intermission.

AND THEN HE SAYS “I think love takes more courage, perhaps, than faith. We can’t avoid having faith. When we are babies all of us have faith in our mothers. And we have some degree of faith in ourselves. And we have faith in our close friends, and things that we cherish, like the truth, faith in education, or faith in America. But it takes courage to have love for people who are different from you. Of course, Jesus says we should love our enemies as well as our friends. Love for people who are not lovable. Love for people that don’t love us back. That takes a lot of courage, I think.” —Former President Jimmy Carter, The Late Show with Stephen Colbert, March 30, 2018

For those of us who do not believe in God, it can be difficult not to see robust demonstrations of faith as counterfeit. It can be hard—for those cynics among us, at least—to see large faith movements, belief practices that are centrally organized, as anything but a tool of the powerful to control the vulnerable. We can never know for sure why, or how, or if, or when another has faith. In a way, believing another requires a faith act even among the faithless. Every act of faith is specific; each is personal. Majkin Holmquist’s play sets up many models of faith, every one a boundless web of its own complexity. In creating this production, we’ve asked the actors to parse the different models of faith their characters experience. In offering you the play, we are giving you this same challenge. President Carter says that love takes courage (and he’s right) and that faith is inherent. This may be true, but that which is inherent is not necessarily simple. And as Tent Revival shows us, it requires work, hard and painful work, but work which might lead to something divine.

—CHARLES O’MALLEY, PRODUCTION DRAMATURG

ABOUT THE PLAYWRIGHT MAJKIN HOLMQUIST is a third-year MFA candidate at Yale School of Drama. Her plays include Quickmatch, The Dog Pack Play, Stargazers, Skinflint, and Tent Revival. Other credits include The Quonsets (co-written with Alex Lubischer, Yale Cabaret), Broken Melodies (Women in Theatre Festival), and Styx Songs (contributing writer, Yale Cabaret). She is a native of the Smoky Valley region in central Kansas, where she was co-founder of The Next Stage Theatre Company. She holds a BA in secondary English education from Bethany College.

CAST JULIANA AIDEN (THE SHAKING GIRL) is a first-year actor at Yale School of Drama, where she has been seen in The Last Days of Judas Iscariot. Other credits include: To The Bone (Best Supporting Actor nomination, Ubuntu Theater Project); Electra (Theatre Row); and Hamlet (London Academy of Music and Dramatic Arts). Film and television credits include Boundary, Raining Hell, The Mysteries of Laura, and The Bodega. Juliana was a UNIT 52 company member at INTAR Theatre. JulianaAiden.com

STEPHEN CEFALU, JR. (ROBERT) is a second-year MFA candidate at Yale School of Drama, where his credits include The Winter’s Tale, Sweat, Slave Play, Everything That Never Happened, and 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), and 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.

DANIELLE CHAVES (MARY) is a second-year MFA candidate at Yale School

TENT REVIVAL

of Drama, where she has been seen in Romeo and Juliet, The Last Days of Judas Iscariot, and Pentecost. Her other credits include The Trojan Women and Lear (Yale Summer Cabaret); Mud, North of Providence (Yale Cabaret); Anna in the Tropics, A Streetcar Named Desire, Urinetown, Wild Oats (Southern Oregon University); O, Romeo! (Milagro Theatre); Ghost Light, Romeo and Juliet (Oregon Shakespeare Festival). Danielle received her BFA from Southern Oregon University, and was an company member at the Oregon Shakespeare Festival for two seasons.

EVELYN GIOVINE (IDA) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Romeo and Juliet, Pentecost, and The Hour of Great Mercy. Selected credits include Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); The Trojan Women (Yale Summer Cabaret); Elektra, Great Expectations, Uncle Vanya (Lewis Center for the Arts); Zoya’s Apartment, Much Ado About Nothing, Red Noses (McCarter Theatre); No Exit, Venus in Fur, and Frankenstein (Theatre Intime). Evelyn 6

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 Studio, Lee Strasberg Institute, and BADA.

ZOE MANN (THE PLAYER) is a first-year actor at Yale School of Drama.

CREATIVE TEAM BRITTANY BLAND (PROJECTION DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include The Three Sisters. Previously, she was the assistant to the projection supervisor, where she helped design and execute projection designs for Yale Rep and Yale School of Drama productions. Her previous designs include How We Died of Disease-Related Illness and Slouch (Yale Cabaret). She holds a BA in technical theatre and production from Catawba College, North Carolina.

MICHAEL BRESLIN (CHOREOGRAPHER) is a second-year MFA candidate in Dramaturgy and Dramatic Criticism at Yale School of Drama, where his credits include Perfectly Timed Photos Taken Before a Disaster, Romeo and Juliet, and The Winterâ€™s Tale (choreography). Yale Cabaret credits include This American Wife, ...the feels (KMS), Camille: A Tearjerker, as well as Antony + Cleopatra at Yale Summer Cabaret. He holds a BA in theatre from Hamilton College, where he was awarded the Bristol Fellowship. With Patrick Foley, this summer he will perform his original work This American Wife at Next Door at New York Theater Workshop and a new piece A Doll's House, Part 3 at ANT Fest at Ars Nova.

SAMUEL KWAN CHI CHAN (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he designed Death of Yazdgerd and Othello. Other designs include Revolt. She Said. Revolt Again., Mrs. Galveston, and The Quonsets (Yale Cabaret). He collaborated with Yat Po Singers (Music Theatre), Rooftop Production (Physical Theatre), Unlock Dancing Plaza, Four Degrees Dance Laboratory, Macau Experimental Theatre, Hong Kong Ballet and Hong Kong Academy for Performing Arts (Dance & Opera), among others. He holds a BFA in lighting design from the Hong Kong Academy for Performing Arts and a BSc in physics and political theory from the University of Hong Kong. samuelcvlx.com

MIKA H. EUBANKS (COSTUME DESIGNER) is a second-year MFA

TENT REVIVAL

candidate at Yale School of Drama, where she previously designed Death of Yazdgerd. Other work includes Revolt. She Said. Revolt Again., In the Red and Brown Water, One Big Breath (Yale Cabaret); Harry and the Thief (Strand Theater); Animals Out of Paper (Silver Spring Theatre); The Clothesline Muse (National Black Theatre Festival); Hailing from Baltimore, Mika has worked at Center Stage, the Hippodrome, and Rift Art Studio, where she was a cofounder. She earned the Jada Pinkett Smith Applied Arts Award in 2015, and holds a BFA from Maryland Institute College of Art.

CREATIVE TEAM CHRISTINA FONTANA (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Pentecost, Bulgaria! Revolt!, A Midsummer Night’s Dream, and The Hour of Great Mercy. She stage managed The Trojan Women at Yale Summer Cabaret and was the assistant stage manager for Native Son at Yale Rep. Prior to Yale, Christina worked with Cirque du Soleil at KÀ and Criss Angel BeLIEve in Las Vegas. She also stage managed onboard Norwegian Cruise Line with Blue Man Group, Nickelodeon, Cirque Dreams, and Legends in Concert. Christina earned her BA in performing arts from Colorado State University in Fort Collins.

CHARLES O’MALLEY (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include Our Lady of 121st Street and Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. He served as co-production dramaturg for Yale Repertory Theatre’s world premiere production of Imogen Says Nothing. Professionally, he has worked at the Goodman Theatre, Chicago Shakespeare Theater, Victory Gardens Theater, Jackalope Theatre, About Face Theatre, and the Bay Area Playwrights Festival, among others. His play, The Other World, was produced at Yale Cabaret last season.

RORY PELSUE (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where he has directed Passion, Othello, and Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. He is the Associate Artistic Director of Yale Cabaret, where he directed The Apple Tree and And Tell Sad Stories of the Deaths of Queens. He served as Co-Artistic Director of Yale Summer Cabaret, directing Mies Julie and Antony + Cleopatra. As the Co-Artistic Director of Oxbridge Opera, he directed Princess Ida, and Ruddigore, among others. Other credits include Thoroughly Modern Millie, The Children’s Hour, No Exit, Assassins at Yale Rep (assisting James Bundy), and The Figaro Plays at McCarter Theatre Center (assisting Stephen Wadsworth).

KATHRYN RUVUNA (SOUND DESIGNER) is a second-year MFA

TENT REVIVAL

candidate at Yale School of Drama, where her credits include Pentecost and Much Ado About Nothing. Her work has also been heard in In the Red and Brown Water, The Meal, The Red Tent, Ni Mi Madre, Enter Your Sleep (Yale Cabaret); and Mies Julie (Yale Summer Cabaret). She holds a BFA in sound design from the Conservatory of Theatre Arts at Webster University.

GERARDO DÍAZ SÁNCHEZ (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include Romeo and Juliet. Other recent credits include Mud, This American Wife, Re:Union, Yale School of Drag 2017 (Yale Cabaret); and The Trojan Women (Yale Summer Cabaret). Originally from Guayama, Puerto Rico, Gerardo received a BA 8

in environmental design from the School of Architecture at the University of Puerto Rico, with a double major in theatre design and techniques.

ROSS WICK (TECHNICAL DIRECTOR) is a second-year MFA candidate at Yale School of Drama. He was an assistant technical director for Native Son at Yale Rep and a scenic technician and stagehand at the Denver Center for the Performing Arts. His other roles include stage supervisor for Santa Fe Opera, and head carpenter for the Washington Pavilion of Arts and Sciences. Ross holds a BA in theatre design and technology from University of Missouri.

TENT REVIVAL

THE GIRL IS CHAINED BY GENNE MURPHY DIRECTED BY SHADI GHAHERI

CREATIVE TEAM Scenic Designer....................................................................................... RIW RAKKULCHON Costume Designer ..................................................................................... HERIN KAPUTKIN Lighting Designer................................................................................................ NIC VINCENT Sound Designer............................................................................. TYE HUNT FITZGERALD Projection Designer.................................................................................. BRITTANY BLAND Production Dramaturg...................................................................... MOLLY FITZMAURICE Technical Director ..................................................................................................ROSS WICK Stage Manager...............................................................................................BIANCA A. HOOI

CAST

in alphabetical order Son, Julian......................................................................................................JOSÉ ESPINOSA Deb............................................................................................................. LOUISA JACOBSON The Other Girl, Young Dana, The Mediator..................................... AMANDLA JAHAVA Dana................................................................................................................. KINETA KUNUTU The First Girl, Adrienne.............................................................. DOIREANN MAC MAHON Father .....................................................................................................................JJ McGLONE Lacy...........................................................................................................................ELI PAULEY Bea................................................................................................... ILIA ISORELÝS PAULINO

SETTING America The Past is The Present is The Past The Girl Is Chained is performed without an intermission. 10

THE PAST IS THE PRESENT IS THE PAST “What he did to me doesn’t expire, doesn’t just go away after a set number of years. It stays with me, it’s part of my identity, it has forever changed the way I carry myself, the way I live the rest of my life.” —Emily Doe’s victim impact letter, read at the June 2, 2016, sentencing hearing of Brock Turner, where he received six months for three counts of felony sexual assault

“I don’t think I have been able to take a deep breath since this happened. My first thought upon wakening every morning is ‘this isn’t real, this can’t be real. Why him? Why HIM? WHY? WHY?’ I have cried every single day since Jan. 18. This is on my mind every moment.” —Carleen Turner’s letter to the judge, begging clemency for her son

The Girl Is Chained tells the stories of two women on opposite sides. On opposite sides of assault: a survivor and the mother of the accused. On opposite sides of twenty years: in 1998 and the present. Suburban and urban; white and black; straight and queer; opposite genres, even: absurdist comedy and realism—in the ever-absurd reality of rape culture. Yet their parallel worlds begin to converge. One intrudes upon the other, peeks between the lines, and overlaps. No matter how they strive to scrape away, erase, or paint over the past, its remains reappear in the present—like a palimpsest. Traces of trauma linger and underwrite survival. Ultimately, the two women find themselves on the same side of the present: the past.

—MOLLY FITZMAURICE, PRODUCTION DRAMATURG 11

ABOUT THE PLAYWRIGHT GENNE MURPHY is a third-year MFA candidate at Yale School of Drama, where her credits include Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. Her play Fuck Her was part of Yale Cabaret’s 50th season. Her other plays include Sea Witch, The Skinny Killer Inside: A Fat Rage Play, Blind Door, Hope Street and Other Lonely Places (Eugene O’Neill Finalist), and Outside the Wire (shortlist, BBC International Radio Play Competition). Genne won the 2016 Leah Ryan Prize for her play Giantess, and she is a 2017 Theater Masters’ Visionary Playwright. Her work has been produced or developed with Azuka Theatre, Great Plains Theater Conference, PlayPenn, Philly Fringe, San Francisco PlayGround, and Theater Masters. A native of Philadelphia, she holds a BFA in dramatic writing from NYU.

CAST JOSÉ ESPINOSA (SON, JULIAN) is a second-year MFA candidate at Yale School of Drama, where his credits include Much Ado About Nothing, Death of Yazdgerd, Pentecost, and Escape from Happiness. His other credits include The Meal, The Other World (Yale Cabaret); Macbeth, The Taming of the Shrew (City Shakespeare Co.); and Transformatique (Dixon Place).

LOUISA JACOBSON (DEB) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Much Ado About Nothing and Escape from Happiness. Other credits include Native Son (Yale Rep), The Other World, and Re:Union (Yale Cabaret). She holds a BA in psychology from Vassar College and studied acting in Oxford with the British American Drama Academy.

THE GIRL IS CHAINED

AMANDLA JAHAVA (THE OTHER GIRL, YOUNG DANA, THE MEDIATOR) is a second-year actor at Yale School of Drama, where her credits include If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water, the feels…KMS, The Red Tent (Yale Cabaret); Mies Julie, Lear (Yale Summer Cabaret); and The Colored Museum at CalArts, where she earned a BFA in acting. Amandla was a Los Angeles County Arts Grant recipient in 2015, and is an affiliate member of the Antaeus Company. She was assistant director to LisaGay Hamilton on Sleep Deprivation Chamber (CalArts School of Theater) and to Jason Alexander for Broadway Bound (Odyssey Theatre Ensemble).

KINETA KUNUTU (DANA) is a second-year actor at Yale School of Drama, where she has been seen in Romeo and Juliet and If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water (Yale Cabaret); The Trojan Women, Mies Julie (Yale Summer Cabaret); but i cd only whisper (The Flea Theater); Mandela (East Harlem Repertory Company); and Macbeth (The Drilling Company). She studied with the American Musical Dramatic Academy and was a resident member of The Bats at The Flea Theater. 12

DOIREANN MAC MAHON (THE FIRST GIRL, ADRIENNE) is a first-year MFA candidate at Yale School of Drama, where her credits include The Last Days of Judas Iscariot. Other credits include the Irish tour of Angela’s Ashes: The Musical (Pat Moylan Productions); her own play, How to Relearn Yourself (Old Sole Theatre Company); Wrong Turn at Lungfish (Viking Theatre/Civic Theatre Dublin). Doireann has trained with MoonFool Theatre Company and the Royal Academy of Dramatic Art. She holds a BA with honors in drama and theatre studies from Trinity College in Dublin.

JJ McGLONE (FATHER) is a first-year MFA candidate at Yale School of Drama. His credits include The Guadalupes, Enter Your Sleep (Yale Cabaret); Next Fall, Romeo and Juliet, The Misanthrope, and Prospero’s Storm (The Theatre School at DePaul), among others. He studied at the British American Drama Academy and earned a BFA in acting from DePaul University where he was a recipient of the Sarah Siddons Society Scholarship.

ELI PAULEY (LACY) is a first-year MFA candidate at Yale School of Drama. Recent credits include Tribes (Barrington Stage); OKAY (Ugly Rhino); Dracula (Williamstown Theatre Festival); and As You Like It at Rutgers, Mason Gross School of the Arts, where she earned a BFA in acting.

ILIA ISORELÝS PAULINO (BEA) is a first-year MFA candidate at Yale School of Drama, where her credits include The Last Days of Judas Iscariot. Other credits include The Taming of the Shrew, Julius Caesar, The Little Mermaid, Rapunzel, Pericles, Les Misérables, Twelfth Night, Much Ado about Nothing (Pennsylvania Shakespeare Festival); Electra, The Homecoming, Me and My Girl, Lost in Yonkers, Antigone, A Midsummer Night’s Dream, and Merry Christmas, George Bailey at DeSales University, where she earned a BA in theatre.

CREATIVE TEAM BRITTANY BLAND (PROJECTION DESIGNER) Please see page 7 for her bio.

training at Yale School of Drama, where his credits include Passion. Originally from Toronto, Canada, Tye previously studied music production and engineering at Fanshawe. Select sound design credits include An Enemy of the People (Yale Repertory Theatre); Feral Child, Concord Floral (Suburban Beast Theatre); The Amy Project—Zero Visibility (Summerworks Theatre Festival); The Apple Tree; Slouch; Cloud Tectonics; The Slow Sound of Snow; Thunder Above, Deeps Below (Yale Cabaret); and Lear (Yale Summer Cabaret). Tye was also a co-artist on Anonymous, By Anonymous, a performance art installation at the Yale University Art Gallery. 13

THE GIRL IS CHAINED

TYE HUNT FITZGERALD (SOUND DESIGNER) is in his third year of

CREATIVE TEAM MOLLY FITZMAURICE (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where she recently dramaturged Passion. Other credits include Native Son (Yale Repertory Theatre); Dating Game, The Apple Tree, The Quonsets, Mrs. Galveston (Yale Cabaret); A Guide for the Homesick (Huntington Theatre Company); Tollbooth: A Clown Show, Polaroid Stories, and Grimmfest (First Floor Theater, where she is a company member). She is producing director of the 2018 Dwight/Edgewood Project and has previously served on the artistic teams of the Eugene O’Neill Theater Center; Huntington Theatre Company; Museum of Contemporary Art Chicago Stage; and Salonathon. She holds a BA from the University of Chicago.

SHADI GHAHERI (DIRECTOR) is a third-year MFA candidate from Tehran, Iran. At Yale School of Drama, she has directed Death of Yazdgerd, Titus Andronicus, and Wrong River, and choreographed Passion. She also directed The Slow Sound of Snow (Yale Cabaret). Shadi was the assistant director on Cymbeline at Yale Rep and was co-artistic director of Yale Summer Cabaret’s 2017 season, directing The Trojan Women and Lear. She directed Art and devised a piece called A Stranger Walking in My Room at Tehran’s Shahid Beheshti University. She has also led workshops at Iranian refugee camps for Afghani children fleeing the war in their country. Shadi was a 2016 Paul and Daisy Soros Fellow and is the 2017–18 recipient of the John Badham Scholarship in Directing. shadighaheri.com

BIANCA A. HOOI (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include If Pretty Hurts Ugly Must Be a Muhfucka, The Three Sisters, Our Lady of 121st Street, and she was the assistant stage manager for The Oresteia and New Domestic Architecture. At Yale Rep, she stage managed Field Guide, and served as the assistant stage manager for An Enemy of the People, Seven Guitars, and the world premiere of Indecent.

THE GIRL IS CHAINED

HERIN KAPUTKIN (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include Pentecost. Other credits: Marvellous (FringeNYC); The Shakes: Romeo and Juliet (Flea Theater); Cendrillon (Purchase Opera Company); Twelfth Night and Three Birds Alighting on a Field (Purchase Repertory Theatre). She has assisted designers such as Linda Cho, Paul Carey, and Rachel Guilfoyle, among others, and was the design assistant at Long Wharf Theatre assisting Ilona Symogi, Jess Goldstein, Emily Rebholz, and Paul Tazewell. Herin holds a BFA in costume design and construction from Purchase College.

RIW RAKKULCHON (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he designed the sets for Passion. Other credits include Thunder Above, Deeps Below; One Big Breath (Yale Cabaret); Antony + 14

Cleopatra (Yale Summer Cabaret); Loose Canon (Fringe Encore NYC 2015); and Far From Canterbury (FringeNYC), as well as collaborations with Kitchen Theatre Company, Opera Ithaca, and Ithaca Shakespeare. He assisted designers such as Wilson Chin and Walt Spangler on productions at The Public Theater, La Jolla Playhouse, and Berkeley Rep, among others. He holds a BFA in theatrical production from Ithaca College. riwrdesign.com

NIC VINCENT (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he designed the lighting for Passion, Pentecost, and A Midsummer Nightâ€™s Dream. Other credits include The Ugly One, The Red Tent, and This American Wife at Yale Cabaret. Originally from Ontario, Canada, Nic has worked with The Shaw Festival, Shakespeare in the Ruff, and The Banff Centre, among others. He holds a BFA in theatre performance production from Ryerson University.

ROSS WICK (TECHNICAL DIRECTOR) Please see page 9 for his bio.

COMPLIMENTARY GLASS OF PROSECCO WITH DINNER BEFORE OR AFTER THE SHOW

satisfying meals and loyal guests. Custom cuisine from farm to fork. 372 Greenwich Avenue, Greenwich | 1104 Chapel Street, New Haven 36 Railroad Place, Westport | 64 Lasalle Road, West Hartford harvestwinebar.com 15

THE GIRL IS CHAINED

Harvest is a fresh take on our lifelong Harvestto issatisfying a fresh take dedication meals andon loyal guests. cuisine from farm to ourCustom lifelong dedication tofork.

MARTY AND THE HANDS THAT COULD BY JOSH WILDER DIRECTED BY LUCIE DAWKINS CREATIVE TEAM Scenic Designer.........................................................................JOHN BONDI-ERNOEHAZY Costume Designer..............................................................................MATTHEW R. MALONE Lighting Designer .......................................................................SAMUEL KWAN CHI CHAN Sound Designer..........................................................................................ANDREW ROVNER Projection Designer...................................................................................BRITTANY BLAND Production Dramaturg ....................................................................................... KARI OLMON Technical Director....................................................................................................ROSS WICK Stage Manager....................................................................................................OLIVIA PLATH

CAST

in alphabetical order Mike Money.......................................................................................... BRANDON E. BURTON Marty....................................................................................................................ROBERT HART Angel................................................................................................................. MOSES INGRAM Nick..................................................................................... MANU NEFTA HEYWOT KUMASI Neet..........................................................................................CIARA MONIQUE McMILLIAN Junior............................................................................................................. JAKEEM POWELL Lil’ Mar................................................................................................. SANA “PRINCE” SARR Tan..................................................................................................................ADRIENNE WELLS

SETTING A front step somewhere in Philadelphia. There will be one ten-minute intermission.

THE ROCK STILL ROLLS:

Sisyphus & the System

When crack cocaine hit America in the mid-1980s, it devastated the nation’s black communities. Crack brought instant and fatal addiction. The news media reported shocking violence, terrifying gangs, and hollowed-out inner cities; the government responded with incarceration and militarized policing. These excessive punishments put a generation of black men and women behind bars, and the Reagan administration’s “Just Say No” campaign cast the plight of Black America as evidence of its collective moral failure. With no help forthcoming, black people had to shoulder a perpetual burden, like Sisyphus condemned to push a rock up a mountain for eternity. Every time Sisyphus got to the mountaintop, his rock would roll back down again. “Myths are made for the imagination to breathe life into them,” French existentialist Albert Camus tells us in his famous version of the Sisyphus story, and that is precisely what playwright Josh Wilder does in Marty and the Hands That Could. In his 21st-century myth, a close-knit family in South Philly is still pushing their boulder uphill. The crack epidemic might be over, but its survivors—and their children—didn’t go anywhere. However much the young generation strives to end the cycle, Sisyphus’s law of eternal return forces them down again. They begin to stiffen up, lose their suppleness. Babies are born with faces like stone. “Surely, a face that toils so close to stone is already stone itself,” Camus remarks. Marty and the Hands That Could takes place on an ordinary front stoop; it also takes place in a land of enchantment. Josh is a fabulist in the tradition of Toni Morrison: his play reflects the very practical, day-to-day existence of black Americans while at the same time encompassing a great supernatural element. “That’s the way the world was for me and for the black people I knew,” Morrison once explained. “There was this other knowledge or perception, always discredited but nevertheless there, which informed their sensibilities and clarified their activities. It formed a kind of cosmology that was perceptive as well as enchanting, and so it seemed impossible for me to write about black people and eliminate that simply because it was ‘unbelievable’…” Josh takes a story that is too easily missed and dismissed, and uses magic to make it indelible. Stereotype grows into archetype and magic becomes myth, and a heavy burden may one day be laid down.

—KARI OLMON, PRODUCTION DRAMATURG 17

ABOUT THE PLAYWRIGHT JOSH WILDER is a third-year MFA candidate at Yale School of Drama, where his credits include Wrong River. Other plays include Salt Pepper Ketchup and One Big Breath (Yale Cabaret). Josh’s plays have been developed at various theatres and festivals across the country including The Fire This Time Festival, New York Theatre Workshop, Oregon Shakespeare Festival, 2015 O’Neill National Playwrights Conference, and Milwaukee Rep. His play Leftovers was the recipient of the Holland New Voices Award at the Great Plains Theatre Conference, and will have its world premiere this July at Company One Theatre in Boston. Recent commissions include Love’s Labour’s Lost for Play On! at Oregon Shakespeare Festival and She a Gem for the Kennedy Center. Josh is a 2014 Jerome Fellow and is the recipient of the 2013 Jerome Many Voices Fellowship at The Playwrights’ Center. He has been in residence at The Royal Court Theatre, Sundance Institute at UCROSS, and currently serves as Co-Artistic Director at Yale Cabaret. Josh has a BFA in acting from Carnegie Mellon. mrwildah.com

CAST BRANDON E. BURTON (MIKE MONEY) is a first-year MFA candidate at Yale School of Drama, where his credits include The Last Days of Judas Iscariot. Other credits include Mud (Yale Cabaret); Angel Food Cake (Strange Sun Theater); One Flew Over the Cuckoo’s Nest (Gallery Players); and Macbeth (Pennsylvania Shakespeare Festival). Brandon’s voice can be heard as part of The Green Book Project and Middle Passage Exhibit at the National Museum of African American History and Culture in Washington, DC. He holds a BA in education and Japanese from Coe College.

MARTY AND THE HANDS THAT COULD

ROBERT HART (MARTY) is a first-year MFA candidate at Yale School of Drama. His credits include The Duchess of Malfi, Macbeth (California State University, Long Beach); The Laramie Project, Flowers for Algernon, and Electric Roses (El Camino College).

MOSES INGRAM (ANGEL) is a second-year actor at Yale School of Drama, where she has been seen in Sweat, Romeo and Juliet, and The Winter’s Tale. Her other credits include In the Red and Brown Water, Fuck Her (Yale Cabaret); Ruined (Everyman Theatre); Working (Showdown Theatre Company, UK); and Harry and the Thief (The Strand). Moses can also be seen in Candace at the 2018 Short Film Corner at Cannes Film Festival. She attended the Baltimore School for the Arts.

MANU NEFTA HEYWOT KUMASI (NICK) is a first-year MFA candidate at Yale School of Drama, where his credits include The Last Days of Judas Iscariot. Selected credits include Lost in the Stars, Darius and Twig (Kennedy Center); Soulagraphie (La MaMa E.T.C.); Ruined (Everyman Theatre); Hamlet (Annapolis Shakespeare Company); Measure for Measure (Shakespeare Theatre Company); Titus Andronicus (Faction of Fools); The Gospel of Lovingkindness (Mosaic Theater); and How We Got On (Forum Theatre). He has toured with educational companies for the Smithsonian and Young Playwrights’ Theater (YPT), and trained at The Theatre Lab School in Washington, DC, as well as The Esper Studio in New York. 18

CIARA MONIQUE McMILLIAN (NEET) is a first-year MFA candidate at Yale School of Drama. Her credits include The Wedding Gift, Pen/Man/Ship (Contemporary American Theatre Festival); Wait Until Dark (Firehouse Theatre); The Color Purple, Pride and Prejudice, The Colored Museum, Arabian Nights, The Rocky Horror Show, Hairspray, and Vanya, Sonia, Masha, and Spike (Virginia Commonwealth University). She holds a BFA in theatre performance from Virginia Commonwealth University, and has studied with the Contemporary American Theatre Festival and Mississippi School of the Arts.

JAKEEM POWELL (JUNIOR) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Slave Play, Much Ado About Nothing, and If Pretty Hurts Ugly Must Be a Muhfucka. Other 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.

SANA “PRINCE” SARR (LIL’ MAR) appeared in Assassins at Yale Rep and in Westport Country Playhouse’s production of Lerner and Loewe’s Camelot as Tom of Warwick. Other credits include A Raisin in the Sun, The Hunchback of Notre Dame, Bye Bye Birdie (Downtown Cabaret, Bridgeport); The Emperor's New Clothes and Annie JR (Bridgeport Summer Stage). At school, Sana has performed in Shrek and Charlie and the Chocolate Factory. He was featured on WNPR in October 2016 and was his school’s 2018 Spelling Bee Champion. Sana lives in Bridgeport with his parents and younger brother, Ali. He loves singing, reading, and sports.

ADRIENNE WELLS (TAN) is a first-year MFA candidate at Yale School of

CREATIVE TEAM BRITTANY BLAND (PROJECTION DESIGNER) Please see page 7 for her bio. JOHN BONDI-ERNOEHAZY (SCENIC DESIGNER) is a second-year designer at Yale School of Drama, where his credits include Death of Yazdgerd. Also, Collisions at Yale Cabaret. He has assisted and supported designers such as Alexander Dodge, Todd Rosenthal, and David Korins, and worked on theatrical and industrial designs with Doyale Werle Design and Bentley Meeker Lighting and Sound in New York. He was a design and production teacher at the Lavilla School of the Arts in Jacksonville, Florida, before coming to Yale. He holds a BA in history and economics from Fordham University.

SAMUEL KWAN CHI CHAN (LIGHTING DESIGNER) Please see page 7 for his bio 19

MARTY AND THE HANDS THAT COULD

Drama. Her credits include The Other Place, Jerry’s Girls, A Christmas Story, High Society, Memphis (Walnut St Theatre); Macbeth, Oklahoma!, and Spring Awakening (Tomlinson Theater). Adrienne received a BA in theatre from Temple University.

CREATIVE TEAM LUCIE DAWKINS (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where she has directed Pentecost, The Dog Pack Play, and A Midsummer Night’s Dream. Other credits include Styx Songs (Yale Cabaret) and assistant director for Happy Days (Yale Rep); The Picture of Dorian Gray (Oxford Playhouse); The Merchant of Venice (Worcester College Lake, Oxford); Spoon River, Faultlines, The Arabian Nights (Burton Taylor Theatre, Oxford); and Killing Hitler (O’Reilly Theatre, Oxford, and Chipping Norton Theatre). She has a Double First BA in classics from Oxford, and earned the Cullman Scholarship in Directing, and support from the Cameron Mackintosh Foundation. luciedawkins.com

MATTHEW R. MALONE (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he recently designed Passion. Other credits include The Apple Tree (Yale Cabaret); Julius Caesar, The Tempest, Medea, Anna in the Tropics, The Cripple of Inishmaan, Wilderness of Mirrors, Five Women Wearing the Same Dress, Lizards… (Stella Adler Studios); Anything Goes (Little Theatre on the Square); Anne Boleyn (Calderwood Pavilion); Woyzeck, Trestle at Pope Lick Creek, Cold Summer (Boston University); and Gods and Kings (The Other Mirror). Matthew holds a BFA in costume design from Boston University, and has worked for John Kristiansen New York, Inc, Glimmerglass Opera, Boston Ballet, and Theatre de la Mode.

KARI OLMON (PRODUCTION DRAMATURG) is a third-year MFA candidate at

MARTY AND THE HANDS THAT COULD

Yale School of Drama, where her credits include Wrong River. Other credits include An Enemy of the People; Scenes from Court Life, or the whipping boy and his prince (Yale Rep); One Big Breath; The Other World; and Current Location (Yale Cabaret). She has worked in the literary departments of Playwrights Horizons, Soho Rep, the Wilma, and the Guthrie Theater, among others. Select dramaturgy and new play development credits include Dan LeFranc’s Rancho Viejo; Anne Washburn’s Mr. Burns; and Annie Baker’s Uncle Vanya. Television work includes Skam (NRK); Codes of Conduct (HBO); and The Affair (Showtime). Upcoming: Not Every Mountain with Rude Mechs.

OLIVIA PLATH (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Sweat, Escape from Happiness, and Wrong River. Her other credits include Mud, This American Wife, In the Red and Brown Water (Yale Cabaret); Mies Julie, Antony + Cleopatra (Yale Summer Cabaret); Melancholy Play (The Liminal Playhouse); Beauty and the Beast (The Theatre Downstream); and dirty sexy derby play (Alley Theatre), among others. Olivia was a board member of the Louisville Repertory Company, and holds a BFA in photography with a minor in theatre studies from Eastern Kentucky University.

ANDREW ROVNER (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include Romeo and Juliet and Perfectly Timed Photos Taken Before a Disaster. Other credits include The Other World (Yale Cabaret); 1984 (Steppenwolf Theatre Company); Four, Rolling (Jackalope Theatre Company); Edith Can Shoot Things and Hit Them (First Floor Theater); and The December Man (Mary-Arrchie Theatre Co.). He was also the sound designer for Storm, The Wild (Walkabout Theater Company); Circle-Machine (Oracle Theatre); among others. Andrew holds a BA in drama and philosophy from Vassar College.

ROSS WICK (TECHNICAL DIRECTOR) Please see page 9 for his bio. 20

FESTIVAL STAFF FESTIVAL ARTISTIC

ADMINISTRATION

Anne Erbe, Festival Producer Evan Christian Anderson, Emma Deane, Assistant Lighting Designers Michael Commendatore, Assistant Projection Designer Dakota Stipp, Production Sound Engineer Caitlin O'Rourke, Production Stage Manager

Dani Barlow, House Manager

FOR TENT REVIVAL Carrie Mannino, Assistant Director Alex McCargar, Assistant Scenic Designer Emily Duncan Wilson, Assistant Sound Designer and Engineer Fabiola Feliciano-Batista, Assistant Stage Manager

FESTIVAL PRODUCTION

FOR THE GIRL IS CHAINED

Valerie Tu, Associate Production Manager Tatsuya Ito, Jonathan Jolly, Alexandra McNamara, Assistant Technical Directors Hyejin Son, Scenic Charge Amanda Creech, Madeleine Winward, Properties Masters David Phelps, Master Electrician Rajiv Shah, Assistant Master Electrician Ellen Reid, Projection Engineer Kevin Belcher, Latiana (LT) Gourzong, Stage Carpenters Alicia Austin, Stephanie Bahniuk, John Carlin, Madeline Charne, Danilo Gambini, Jeremy O. Harris, April M. Hickman, Megumi Katayama, Alex Lubischer, John Evans Reese, Dakota Stipp, Erin Keller Tiffany, Run Crew Samantha Else, Dashiell Menard, Jon West, Yaro Yarashevich, Changeover Crew

Sarah Karl, Assistant Scenic Designer Dakota Stipp, Assistant Sound Designer and Engineer Samantha Tirrell, Assistant Stage Manager

FOR MARTY AND THE HANDS THAT COULD Lily Guerin, Assistant Scenic Designer Liam Bellman-Sharpe, Assistant Sound Designer and Engineer Zachry J. Bailey, Assistant Stage Manager

SPECIAL THANKS For The Girl Is Chained: Devon McCormick/ Tow Youth Justice Institute; Rachel Kenney For Marty and the Hands That Could: Lamar LeGare; Gregory Georges; Ilia Paulino; Sana & Miriam Sarr

YALE SCHOOL OF DRAMA STAFF James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean

ARTISTIC MANAGEMENT Jennifer Kiger, Associate Artistic Director for Yale Repertory Theatre and Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, 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 Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services

PRODUCTION Production Management Shaminda Amarakoon, Director 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

Scenery Neil Mulligan (on leave), Matt Welander, Technical Directors Lily Twining, Interim Technical Director Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors

Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Hyejin Son, Assistant to the Painting Supervisor

Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Molly Gambardella, Interim Properties Stock Manager Amanda Creech, Madeleine Winward, 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 Logan Baker, Assistant to the Costume Shop Manager

Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Daniela Fresard, Assistant to the Lighting Supervisor

Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Ruoxi Jia, Assistant to the Sound Supervisor

Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor

Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer David Willmore, Light Board Programmer

ADMINISTRATION General Management Adam J. Frank, Ruoran (Kathy) Li, Melissa Rose, Associate Managing Directors Armando Huipe, Leandro A. Zaneti, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Deputy Dean, Associate Dean, and Assistant Dean Carl Holvick, Management Assistant Caitlin Crombleholme, Company Manager Dani Barlow, Markie Gray, Assistant Company Managers

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  Al Heartley, Associate Director of Development and Alumni Affairs  Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications  Jean Gresham, Development Associate Caitlin Volz, Development Assistant

Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Teressa Reese, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ann Corris, Business Operations Portfololio Analyst Ashlie Russell, Business Office Assistant

Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Malenky Welsh, Marketing and Communications Assistant Marguerite Elliott, Publications Manager Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Kenneth Murray, Interim Audience Services Assistant Mikaela Boone, Sara Cho, Gabrielle Colangelo, Samantha Else, Jordan Graf, Christian Milian, Amir Rezvani, Elijah Weaver, Box Office Assistants T. Charles Erickson, Production Photographer

OPERATIONS Nadir Balan, Interim Director of Facility Operations Devin Matlock, Interim Operations Associate Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, James Hansberry, Rodney Heard, Kathy Langston, Patrick Martin, Andy Martino, Shanna Ramos, Mark Roy, Custodians

Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Ben Silvert, Database Application Consultant

Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers

Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications

Carlotta Festival of New Plays May 9–16, 2018 Iseman Theater, 1156 Chapel Street Cover photo by Joan Marcus, 2017. 23

photograph by David Ottenstein

printing and mailing

475 heffernan drive, west haven, connecticut 06516 t 203 479 7500 f 203 479 7575 24

www.ghpmedia.com

BOOK YOUR NEXT EVENT HERE!!! Private Dinner Parties All Special Events No Event too Big or too Small Formal to Casual Holiday Parties Birthday Parties Graduation Parties Wedding Rehearsals Dance Parties Social Events

Contact Our Catering Department

BOX63CATERING@GMAIL.COM 203-821-7772